Documenting the Oakland cultural renaissance

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“Miles Ahead”: A Jazz Legend’s Lost Period, Revisited


In 1976, after 30+ years as a bandleader, recording artist and jazz superstar, legendary trumpet player Miles Davis took a hiatus from recording and public appearances. His disappearance from the limelight was hastened by poor health—he reportedly suffered from an ulcer, a hernia, osteoarthritis, sickle-cell anemia, bursitis, and depression—yet it’s also entirely possible he was experiencing creative burnout as well.

Davis wasn’t terribly interested in revisiting where he’d already been; simply making another Kind of Blue or Sketches of Spain seemed beneath his artistic sensibilities.

After pioneering jazz-fusion with 1969’s In A Silent Way and 1970’s Bitches Brew, incorporating rock rhythms as well as experimental recording techniques such as tape loops, Davis forayed into dense Afro-futurist funk on 1972’s On the Corner. The album is widely recognized today as a genius-level musical statement, but at the time, it offended jazz purists (which may have been an intentional move on Davis’ part). Later mid-70s studio releases Big Fun and Get Up With It weren’t terribly well-received, either, and a slew of live releases from this period, including Dark MagusAgharta, and Pangaea, continued this polarizing trend, despite their out-of-the-box use of electric effects, electric guitar, and even electric trumpet. Evidently, Davis wasn’t terribly interested in revisiting where he’d already been; simply making another Kind of Blue or Sketches of Spain seemed beneath his artistic sensibilities. Instead of crafting museum-piece monuments to jazz history, he kept trying to connect with a younger zeitgeist, which by this time included psychedelic rock, way-out funk, and worldly hybrids of ethnic instrumentation.


After being hospitalized while on tour, Davis returned to his New York pad and went into self-imposed exile. He became somewhat of a hermit and stopped practicing trumpet regularly. He continued to compose, however, and made several abortive attempts at recording new music, all the while dealing with considerable substance abuse problems. His exile lasted five years, until the recording of his comeback album, The Man With the Horn (recorded in 1980-81 and released in 1981).

Curiously, it’s the tail end of Davis’ exile period that actor, director and co-writer Don Cheadle zeroes in on in “Miles Ahead,” a new biopic produced with the cooperation of the Davis estate (which means, unlike recent Jimi Hendrix and Nina Simone movies, there’s plenty of Miles’ music included).

Why, one might ask, would Cheadle choose of his own free will to place his film during Davis’ least-prolific period, a time when by the trumpeter’s own admission,  he was little more than a drugged-out wreck, living almost entirely in his own head?


There’s a simple answer to that. Cheadle is a character actor, and “Miles Ahead” is primarily a character study. Freed from the moorings of having to recount Miles’ rise to fame, and the minute details of his most celebrated recordings, Cheadle burrows deep inside Davis’ skull, in an attempt to reveal a man who was more than the sum of his music.

Why, one might ask, would Cheadle choose of his own free will to place his film during Davis’ least-prolific period?

The portrait he sketches here is one of a larger-than-life individual who carried fame with the casualness of a keychain. Miles is simply Miles, no last name necessary. Cheadle doesn’t entirely disappear within the role, but he comes close. The actor was first linked to the role about a decade ago, and it’s clear he’s done his research.

While Cheadle’s Davis may seem over the top at times—this is a loud, brash, entertaining film—there’s also plenty of subtle nuances, if you look hard enough (and a superb score by Robert Glasper which largely flies under the radar). Cheadle absolutely nails Davis’ hoarse whisper of a voice. He evokes Davis’ famous temper and violent rage, although the sexual perversion and misogyny also associated with him are only hinted at – perhaps due to the need to make the lead character seem sympathetic—which he is, mostly.


In life, Davis was a dark, if mercurial, man. On celluloid, portrayed by Cheadle, his comfortability with his shadow is like a superpower he wields whenever he faces conflict. He’s just too cool and too black, and he knows it. This is clearly evidenced by the fictional relationship between Davis and a magazine reporter played by Ewan McGregor.

In life, Davis was a dark, if mercurial, man. On celluloid, portrayed by Cheadle, he’s just too cool and too black, and he knows it.

McGregor’s role is that of Hollywood buddy, yet within that context he somehow manages not to be a complete dork. He is the square who is rebirthed in coolness from merely associating with Davis. In the course of the movie, McGregor snorts lines, drinks liquor, and accompanies Davis in a mission to retrieve the movie’s enigmatic MacGuffin – a reel to reel tape of a studio session. McGregor upgrades from Brit twit status when Davis gives him a stylish blue shirt to wear (to prevent him from impinging on Miles’ cool factor by being sartorially unprepared), and finally achieves hipness in his own right, by mastering Miles’ favorite epithet, “motherfucker.”

McGregor’s a fine actor, but his role is not played for utter believability. Few music journalists, for instance, have actually gotten into shootouts with the bodyguards of rival managers while tracking down a story. And few would witness a music superstar shake down execs at a record company’s office, and then say, they’d rather write the real story.


Essentially, McGregor is there so that Cheadle has someone to bounce “motherfuckers” off of; otherwise, we could have had a far more insular movie consisting of just Cheadle as Miles talking to himself and looking regretfully at his past album covers with ex-flames displayed prominently. That might have been cool, too, but it would have confined the film to avant-garde status, and limited its populist appeal considerably.

Cheadle’s Davis is a piece of work. He’s a black man with rock star status, a host of personal demons, and a one-in-a-million talent who has forgotten his ability to even blow a solid note throughout much of the film… More than just a jazzman, he’s presented almost as a Blaxploitation hero, an Afro-Sheened superfly dude whose own contradictions enhance rather than limit him as a culture hero.

“Miles Ahead” is not a by-the-numbers biopic. It probably won’t appeal to people looking for a Cliff Notes summary of every notable musical thing Davis ever did, and the celebrity cameos are almost non-existent, until the film’s end. The flimsy, circular plot takes a backseat to character development, and the one plot device which actually moves the story – other than the frequent flashbacks to a younger Miles – does so in an ironic and somewhat anticlimactic way. But rather than nitpick what isn’t in the movie, we can simply appreciate it for what it is.

Cheadle’s Davis is a piece of work. He’s a black man with rock star/style icon status, a host of personal demons, and a one-in-a-million talent who has forgotten his ability to even blow a solid note throughout much of the film. He has no moral qualms about strong-arming record executives to buy cocaine to feed his habit, throwing a quick punch at an unexpected visitor, or shooting out the window of a moving car. More than just a jazzman, he’s presented almost as a Blaxploitation hero, an Afro-Sheened superfly dude whose own contradictions enhance rather than limit him as a culture hero.


It helps, too, that we get liberal doses of Miles’ music throughout the film, from “Blue in Green” to “Solea” to “Black Satin” to “Nefertiti.” That adds context to what is being presented on screen – a period where Miles made almost no music – and fills in the plot holes by suggesting a much deeper backstory than what we see.

The film departs from historical fact so frequently, it soon becomes clear that’s not the point. Rather, “Miles Ahead” offers parable as metaphor, folktale as fable. We get frequent flashbacks to Miles’ wooing – and subsequent post-conquest arguments with – Frances Taylor, a black beauty who in real life graced three of his album covers, played by Emayatzy Corinealdi. However, by 1979, Davis had reunited with his former wife Cicely Tyson, who is never mentioned in the film – nor is Betty Davis, Miles’ muse during the Bitches Brew period, and a funk diva in her own right. Many other details are also fictionalized; the filmmakers chose to emphasize the feeling of being in the presence of Miles over pinpoint accuracy.


The abrupt ending is a case in point. Instead of seeing Miles reunite with his true love and gradually get a new band together for what would become The Man With The Horn sessions, we get a flash-forward into an alternate universe, where Davis jams with an all-star band of contemporary artists, among them guitarist Gary Clark, Jr. , pianist Robert Glasper, and bassist Esperanza Spalding. The two connections to actual history are pianist Herbie Hancock and saxman Wayne Shorter – who played with Davis, in his legendary “second Quintet.” Though this fictional concert comes off as a little heavy on the glitz, it’s intended to drive home the point that Davis’ legacy lives on, that his legend didn’t stop with Kind of Blue or Jack Johnson. But it also makes an unintended, ironic point, that fiction is stranger than truth.

Does it work? Mostly, although the flashier scenes tend to obscure the nuanced subtleties which are the film’s true strength. Don’t be surprised if the music stays in your head long after the credits roll and you subsequently find yourself on a Miles binge, either.




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Orisa Urban World Festival Promises Positive Vibrations and Spiritual Development

Luisah Teish

Luisah Teish

It’s the biggest religion you’ve never heard of. But unlike the Abrahamic religions, Orisa worship is an organic lifestyle and spiritual practice which revolves around ancestral elemental forces. Originally developed in West Africa, where it is also known as Yoruba and Ifa, Orisa came to the New World with the African human cargo transported on slave ships. There, it developed further into variants such as Lucemi, Condomble, Voudun and Santeria, and was often integrated into the imposed religion of Christianity, where Orisas were syncretized with Christian saints. Today, the Orisha tradition links places like Cuba, Trinidad, Haiti, and Brazil with Afro-Caribbean cultures in New Orleans, Miami and New York, as well as in its original home of Nigeria.

Orisa sacred music has long been a part of African, Latin, and Hispanic culture, and there are Orisa-affirming festivals all over the world. But until this weekend, there had never been an Orisa-themed festival in Oakland. That all changes with the Orisa Urban World Festival, a two-day event which kicks off Friday night at Oakstop with “Oro Lati Enu Awon Agba: When the Elders Speak,” a panel discussion of Ifa elders which also features musical performances by Zion Trinity, Charlotte Hill O’Neal & Awon Ohun Omnira, an African marketplace, and DJ Kobie Quashie.

On Saturday, the location shifts to the Uptown Nightclub, and features performances by Afro-Cuban singer and Lucumi priestess Bobi Cespedes, vocal harmony group Zion Trinity, urban world music artist WolkHawkJaguar, reggae-hip-hop fusion group Prosperity Movement, neo-soul vocalist Osunfemi Wanbi Njeri, former Flipsyde emcee Jinho “The Piper” Ferreira, and Afrocentric singer-songwriter  Sistah IMiNAH Orisabukola.

Orisa worship is a way of integrating the energy of the cosmos, the power of nature, the history of human civilization, and our individual and communal inheritance into a practice that engages our creativity and aligns us with our chosen destinies” — Luisah Teish

It’s a truly impressive lineup, and one which connects the spiritual and rhythmic practices of African-American and Afro-Caribbean culture with their elemental roots, through both contemporary and traditional forms.



Because something like this has never happened before in Oakland – a city known for its love of Afrocentric culture as well as its large black population – Oakulture thought it would be appropriate to ask the performers themselves to describe the significance of the event and explain what Orisa means to them.

According to Obafemi Origunwa, “Orisa lifestyle is sacred science, codified into day to day life. By aligning your life with the divine principles that govern the universe and the natural world, you learn to practice small acts that have a big impact on your life and the lives of those you’re destined to serve.”

Ifa priestess and storyteller Luisah Teish adds, “Orisa worship is a way of integrating the energy of the cosmos, the power of nature, the history of human civilization, and our individual and communal inheritance into a practice that engages our creativity and aligns us with our chosen destinies.”

While Orisa is an established practice, many people are still unfamiliar with ritual-mythic traditions. Origunwa says attendees should be aware that “òrìsà is the natural path. Everyone has ancestors. None of us sent ourselves into the world. We are all here to continue the missions handed down from our family lineages.”

Teish further elaborates: “First they must ask themselves whether their presence here is a response to a deep calling or a mere curiosity. If it is a mere curiosity, there is a lot of material online (a lot of it is pure trash) that they can access to entertain themselves. But if the attendees are impelled by ancestral calling to further investigate this path, I recommend that they connect with these or other elders/teachers who can perform divination, connect them with their ancestors, provide materials for study and guide them on a path of spiritual growth and destiny fulfillment.”

Mama C and members of Prosperity Movement

Mama C and members of Prosperity Movement

Unsurprisingly, there are many misconceptions about Orisa. Perhaps the biggest is that it is evil, or demonic. These misconceptions, Teish says, “were based on Eurocentric, Christian interpretations of our traditions as uncivilized, violent, and ineffective. Through the blessing of enlightenment, those notions are daily being disproven and dispelled.” However, she adds, “Some people fail to realize that Orisha are living entities-energies with real power and consciousness that is both receptive and responsive to human interaction.”

Origunwa notes that “people tend to fear what they do not understand. Because òrìsà tradition is so deeply embedded into Yoruba culture, which few people [in America] have been exposed to, it is convenient to project one’s fears onto practices, images and ideas that seem so foreign at first glance.”

Charlotte O’Neal aka Mama C also weighs in here: “many people look at African traditional spiritual paths in a somehow negative light, even going so far as to relate it to some form of ‘witchcraft’…This is so very obviously because of the brainwashing that continues in so many communities around the continent from the majority religions and missionaries from back in the day to present.”

Bobi Cespedes

Bobi Cespedes

One of the things the Orisa Urban World Festival hopes to clarify is the symbiotic relationship between spiritual and cultural tradition. As Origunwa says, “What we call arts are actually sacred disciplines, from the indigenous perspective. Poetry, music, dance and visual arts are all essential elements of the practice. They blend seamlessly together during rituals, ceremonies and festivals, as expressions of the òrìsà themselves. The arts reveal spiritual values, according to the will of the òrìsà.”

Teish adds that ancient traditions such as storytelling are indeed relevant in these modern times, while the purpose of the cultural arts “is to awaken and nurture the inherited genius each of us received from the Universe through the surviving intelligence of the ancestors. When we express that genius through the arts we affect people and things at an emotional-cellular level that goes beyond mere intellect and helps the person to experience a direct transmission of energy and wisdom to manifest transformation.”

Oakland is a lei line for spiritual development… Also, Oakland needs Orisha’s healing energy to address the challenges of poverty, violence, and pollution” — Luisah Teish

Bringing Orisa to Oakland is both intentional and significant, Teish says. “Oakland is a lei line for spiritual development. In the past we have looked to Cuba, Brazil, Haiti and places outside the U.S. (save New Orleans which is really a culturally Caribbean city inside the U.S.). We now have enough initiated priests in U.S. cities like New York, Miami, Los Angeles, Chicago, etc. to begin to manifest an African-American expression of our inherited genius. Also, Oakland needs Orisha’s healing energy to address the challenges of poverty, violence, and pollution.”

Having previously attended global events such as the Orisa World Congress in Nigeria, WolfHawkJaguar relates that the decision to bring an Orisa festival to Oakland was actually made by the Orisas themselves. “This is ancestor work. It’s what they called for and we give thanks they trusted us to carry out their wishes.” He goes on to note that the goal of the event is “to spread love, peace, prosperity and positive progressive universal vibes through our creations, giving thanks to our ancestors, our head, and our Orisa.”

For more information, or to buy tickets, click here.










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UnderCover Presents Drops A Big ‘Dookie’ On the Fox Theater

Live Music Review/ UnderCover Presents: A Tribute to Green Day’s Dookie. February 19, 2016, Fox Theater, Oakland.

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Green Day’s Mike Dirnt, Tre Cool, and Billie Joe Armstrong

It was something unpredictable, but when it happened, it was right. Fittingly, Billie Joe Armstrong got off perhaps the best line of the night: “It’s like a beautiful feeling and totally awkward at the same time. I don’t know if I was late for my funeral, or early to it.” The statement made perfect sense; the Green Day frontman, along with a couple thousand of rabid, hardcore fans and admirers crammed into Oakland’s Fox Theater, had just witnessed a pretty surreal experience. It’s not hard to imagine that for Armstrong, the scene felt like something he might experience in the afterlife. Ten locally-based bands had just performed cover versions of songs from Green Day’s 1994 breakthrough album Dookie, a certified power-pop or mainstream punk classic which has sold about, oh, approximately 20 million albums to date – making it one of the biggest-selling albums ever in Bay Area music history.

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Music Director  Brian Adam McCune and UnderCover Presents’ Lyz Luke

That in and of itself wasn’t surreal. What was surreal, however, were the various interpretations and extremely creative arrangements of the by now well-worn album, which reimagined Dookie’s source material as so much more than three chords, poppy melodies, introspective yet rebellious lyrics, furious drums, wraparound basslines, and a cloud of pot smoke.

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La Plebe’s Lupe Bravo

Only one band—Love Songs—performed what came close to a “traditional” or straight-ahead version of their selection, in this case “Pulling Teeth” – which was still infused with nuanced touches, although not too far from the original. The others twisted, pulled, reshaped, mutated and otherwise transmogrified the material, turning the proverbially pop-punkish album into a many-faceted musical amoeba. “Burnout” became an emo-indie rock testament to Grrrl Power in the hands of Marston. “Having a Blast,” as envisioned by La Plebe, affixed Éspañol vocals and skanking uptempo horns to a breakneck tempo. Sal’s Greenhouse sashayed through a soulful, funky take on “Chump” which sounded absolutely nothing like the original, highlighted by vocalist/saxophonist Sally Green’s powerhouse vocal chops and staccato horn riffs.

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Sally Green of Sal’s Greenhouse

Jazz Mafia Choral Syndicate’s “Longview” proved praiseworthy with a sanctified gospel arrangement which was as transcendent as it was mind-blowing, as soloists Trance Thompson, Tym Brown, Gabriela Welch, Joe Bagale, and Felecia Walker and a 35-member chorus took the entire house to church. Vocalist Moorea Dickson of MoeTar brushed up “Welcome to Paradise”—a song about squatting in a punk house in Oakland—with layers of glossy prog-rock sheen.

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Soloist Trance Thompson performs with Jazz Mafia’s Choral Syndicate

By far the lengthiest and most twisted Dookie cover played on this night was The Fuxedo’s wonderfully insane “Basket Case,” which took an already good song and made it into punk performance art, complete with shifting tempos and musical styles, multiple costume changes from Fuxedo frontman “Diabolical” Danny Shorago, and even dueling soliloquies about the pros and cons of prescription drugs — which may or may not allow one to see through squids.

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Diabolical Danny Shorago donned a mask for “Basket Case”

“She,” as played by Goodnight, Texas, imagined the American Idiots as Punk Americana, toning down the distorted fuzztones of the original in favor of Appalachian banjo and baritone guitar. It was back to way-out land after that, as Tunisian vocalist MC Rai sang “Sassafras Roots” in Arabic, complete with a belly-dancing interlude courtesy of Aimee Zawitz and Cora Hubbert. Which led up to “When I Come Around,” one of Green Day’s most-loved songs and a sonic template for what their career blossomed into. The version featured at the Fox was a contemporary and super-urban one by live electronic beatsmiths NVO which spotlighted former E-40 collaborator Bosko on talk box.

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Goodnight, Texas perform “She”

All of that preceded the mid-show interlude, wherein Green Day were ever so lightly roasted by their first manager, and then given a proclamation by Oakland’s mic-dropping mayor Libby Schaaf – who thus decreed that February 19th is now the wonderfully-redundant-sounding “Green Day Day.” Schaaf also said, “never let it be said that Oakland doesn’t know how to rock” – to which Oakulture agrees.

The proclamation went on to note that Green Day “has a cultural impact which spans generations,” which is certainly true. Many musicians (and even UnderCover Presents maven Lyz Luke)  that night noted that Dookie was the first album they bought, yet the audience was packed with twentysomethings who might have been one or two years old in 1994, as well as grizzled, mohawked, and tattooed punk rock veterans.

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Bosko’s talk box vocals were a highlight of “When I Come Around”

The three Green Day dudes (vocalist/guitarist Armstrong, bassist Mike Dirnt, and drummer Tre Cool) looked out at the audience, often in what seemed like stunned amazement, mixed with churlish in-joke humor. Which was understandable. After all, they’ve played festivals for hundreds of thousands of people in Europe, yet been branded sellouts in their own home region, banished from their veritable point of origin — legendary East Bay punk mecca 924 Gilman – until very recently, when they played a secret show which eclipsed the venue’s no-major-label-artists ban enacted in 1994 in response to the release of Dookie.

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El Duque

Throughout that episode, one thing was clear: Armstrong and the boys had come full circle. They seemed to be into letting the moment sink in, not saying too much, showing no obvious signs of outward emotion (or unsobriety), yet evidently deeply touched by the outpouring of pure Dookie love. Armstrong then hung around for a minute to introduce the next band, Skank Bank, a young, energetic ska outfit who tackled the confessional “Coming Clean.” The Awesome Orchestra then set up for the next three songs: “Emenius Sleepus,” featuring Casey Crescendo, “In the End,” featuring Martin Luther, and “F.O.D.” featuring Tilt.

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MoeTar performed “Welcome to Paradise”

Can we just pause for a minute here to consider the implications of Green Day songs being played by an actual orchestra?  On a sociocultural level, it elevates punk way past a basic black leather aesthetic, and places it—almost—in the pocket of “high art.” Or at least conceptualized art. Yet the songs themselves remain in the punk canon, no matter how much eyeshadow or window dressing is applied to them. That is to say, Green Day’s music is still quite subversive when applied in this context.

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The show was a fund-raiser for 924 Gilman 

I’m sure other tributes could have been more by-the-numbers. But this was not that. This was a pop culture production which treated Dookie with the same reverence as the alien monolith from “2001: A Space Odyssey,” if somewhat more humorously. An iconic piece of music worthy of reflection, yes, but also a template for further evolution. It’s hard to imagine anything more frivolous than more than 2,000 people singing along to the masturbation anthem “All By Myself” which closed the show, yet the Dookie tribute wasn’t strictly played for laughs and chortles.

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MC Rai sang “Sassafras Roots” in Arabic

On a more serious note, the event feted one of the Bay Area’s most celebrated and groundbreaking bands, welcoming them as conquering heroes of the pop culture wars, while spotlighting local acts soon to garnish your personal affirmation of Bay Area bad-assery. The Dookie-fest may have been the most “official” thing to happen thus far for the East Bay punk scene, an underground factor since the mid-80s. Yet its reverberations went far beyond the sonic and cultural limitations of punk. What other recent Oakland event has resulted in a mic-dropping mayor? Or a LED-lit piece of poo (identified as “El Duque”) playing the mascot role to the hilt? Can we mention the freakin’ belly dancers again? Or the orchestra and choirs?

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Cora Hubbert performed with MC Rai

At the end of the day, the care, attention, and love UnderCover Presents put into the show – a benefit for 924 Gilman, who are attempting to buy their space and stave off the scythe of the gentrification reaper—was its silver lining and saving grace. There may never again be a local punk group honored at the Fox in this way.

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Tre Cool holds up the Mayor’s Proclamation of “Green Day Day”

But that matters little, in the wake of all the hoopla. The point was that this happened, on a scale equally as grand as 2015’s UnderCover Presents’ tribute to Sly & the Family Stone, “Stand!” It will go down in history as a night neither Green Day nor the audience will ever forget, as well as a show which could propel some deserving local acts to wider and greater recognition. If you missed the show, or just want to relive it, the studio recordings are available in CD and MP3 format, so you can get your Dookie on forever more, and perhaps even more importantly, support local artists and Bay Area music.

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Green Day singer/guitarist Billie Joe Armstrong


Life, Death, and Rhythm: Cultural Resiliency and Anti-Displacement Efforts Gaining Momentum in Oakland

Life Is Living festival

Life Is Living festival

So, let me get this straight: According to the New York Times, gentrification is going to save Oakland? That’s funny, almost, because that’s not the conversation Oaklanders are having about the Town they live in.

To recap: On October 3, journalism’s Grey Lady showed her true colors in an article ostensibly about the tragic murder of muralist Antonio Ramos, slain by a random act of violence while ironically working on a mural designed to heal trauma and beautify the hood. When we say ‘hood, we’re talking about freeway underpasses in West Oakland, which are typically not the parts of town you would show off to Marin socialites and international jet-setters.

"Oakland Superheroes" mural in progress

“Oakland Superheroes” mural in progress

Yet in the Times’ view, the killing of a muralist was a blip on a forward march of foodie guidebook ratings, North Bay one-percenters mingling with pierced and tatted urchins during First Friday, and tech invaders annexing downtown, signaling Oakland’s arrival as – what, exactly? The Times didn’t specify.

What they did say was this: “the death of Antonio Ramos… was a reminder of the stubborn grit and crime that still cling to the city despite the gentrification boom that has fueled its reputation as Brooklyn by the Bay.” (emphasis added.)

Altar for Antonio Ramos

Altar for Antonio Ramos

The Times article went on to quote OPD Chief of Police Sean Whent as saying, “people are worried about gentrification because, I think, it does enhance conflict.” Yet, maybe because that point conflicted with the article’s insistence that gentrification is a desired and entirely serendipitous outcome for all, the writer just sort of let that comment hang. She went on to quote Mayor Schaaf, who seemed apologetic that she had to deal with the reality that good people like Ramos are sometimes murdered over nothing. “That’s the life of an Oakland mayor,” she said.

Antonio Ramos dedication at mural site

Antonio Ramos dedication at mural site

Neither Schaaf nor the Times seemed to be able to grasp the essential dichotomy, that the mural Ramos was working on before he died was not about gentrifying Oakland for newcomers able to afford skyrocketing rents, but about beautifying an area whose primary demographic is black and poor, a woebegone, dark, and foreboding passageway which, prior to the mural, was primarily characterized by homeless people, birdshit, and carbon emissions – for the benefit of current residents.

As muralist Pancho Peskador, who witnessed the shooting, said, “This fucking freeway is pretty shady. It’s dark. It’s ugly.” But in doing the work, he added, “I see the transformation of it. It’s progress for the whole community.”

"Oakland Superheroes" mural in progress

“Oakland Superheroes” mural in progress

Ramos’ death, sensationalized by the media, has catalyzed the mural project – the third in a series developed by non-profit Attitudinal Healing Connection. I hesitate to use the word martyr, but there’s been a tremendous outpouring of love for the fallen 27-year old artist, from candles, flowers, and altars which cover almost the entire 200 feet of sidewalk at the mural site, to a tribute piece painted in his honor by his art teacher Eric Norberg, to a renewed dedication to the mural’s mission by the surviving artists. Even before the mural has been completed, the effect is tangible: a once foreboding piece of turf is now a sanctified, hallowed ground. It’s as if Ramos was a blood sacrifice to the gods. That’s a hard price to pay, but one which will hopefully bring more peace and less violence.

A wreath for slain muralist Antonio Ramos hangs in front of the mural site

A wreath for slain muralist Antonio Ramos hangs in front of the mural site

Antonio Ramos didn’t die because Oakland isn’t being gentrified fast enough; he died because systemic  inequity and internalized oppression among people at risk of displacement  — on top of income gap, on top of daily pollution exposure, on top of police misconduct, etc., etc.,  — have degraded respect for life. As Project Director Dave Burke said, “that’s America” – not just Oakland.

The answer for Oakland isn’t more gentrification, although that seems fairly inevitable. The answer for Oakland is more art and culture which reflects, respects, and engages the community, celebrates diversity, and improves the quality of life in parts of town where cold-blooded murder can happen as quick as a furtive glance.

Life Is Living festival

Life Is Living festival

Speaking of life, there was plenty of it, in abundance, at this year’s Life Is Living Festival. Although there was some talk of the repercussions of not having a big headliners as in years past, that didn’t matter at all. Essentially, no one cared, because big headliners aren’t what people go to the festival for; the main reason to attend LIL is to be immersed in community and culture.

That was well-evident last Saturday. In the space of just a few hours, Oakulture experienced an African drum and dance circle; an amazing group of young Haitian musicians playing original compositions; an eye-popping demonstration of turf dancing; powerful sangin’ sistahs; equally powerful youthful spoken-word sheroes;  Town Park youths perfecting ollie grinds; and a streetful of people filling up the asphalt of 18th Street, dancing joyously to a baile funk DJ as the sunset glowed with iridescent hues of orange and red.

Life I Living Festival

Life Is Living Festival

Earlier, in a conversation with artist Brett Cook, I remarked that LIL seemed to embody the fulfillment of the Black Panthers’ vision of community-oriented social services intermingled with Afrocentric-leaning culture – a vision which began almost 50 years ago, and frequently utilized that same location (DeFremery Park, aka Lil Bobby Hutton Park). There were no overt politics on display, and the ideology being pushed essentially amounted to, celebrate life, the sunshine, and the people. It was a concrete example of what LIL producer Hodari Davis called “black joy in the hour of chaos.”

Life Is Living festival

Life Is Living festival

If LIL was a subtle anti-displacement initiative, somewhat less subtle was the Samba Funk-led #SoulOfOakland rally protesting a recent transplant’s attempt to shut down a drum cipher in honor of the Blood Moon, which ended in multiple citations and allegations of racial profiling and false accusations of assault. You may have heard about it; not only has reportage by Davey-D and others gone viral on social media, but Chronicle columnist and perennial Oakland hater Chip Johnson even weighed in, predictably defending OPD while chiding SambaFunk for riding the “racism train. “

To even go there, one has to ignore all the disturbing reports, not just of racial profiling by police, but of noise complaints against black churches, the non-profit-friendly Humanist Hall, and the Malonga Center—home to Oakland’s Afro-Diasporic dance and drum community—as well as the closure of the Burrito Shop on Lakeside and the Rock Paper Scissors collective on Telegraph, and reports that Uber’s relocation to the Sears building will accelerate gentrification even more.

In solidarity: Ieumsae

In solidarity: Ieumsae

As Oakulture previously noted, Oakland’s recent percent for art ordinance was hit with a lawsuit by developers before it could commission even one work, and a proposal for an arts-friendly project on the Henry J. Kaiser Auditorium site was rejected by the City Council. Since then, more ominous news on the development front has come from the announcement of the Downtown Oakland Specific Plan and a SPUR report on the area — which specifically mentioned art in just one of 30 recommendations.

All of these are signs of the times, and if you connect the dots, it’s clear that what mainstream media calls a “gentrification boom” clearly means displacement for the have-nots.

#SoulOfOakland rally at City Hall

#SoulOfOakland rally at City Hall

But Samba Funk isn’t having that. Not without a fight. And by fight, they mean, drums, lots of them. And dancers. The rally at the lake followed a successful action on the steps of Frank Ogawa plaza, within earshot of City Hall, which was followed dutifully by a TV news crew. Samba Funk Artistic Director Theo Williams later spoke up at the City Council meeting; the vibrant drumming from outside the building was clearly audible as he testified about the original incident.

The momentum generated by the action coalesced into the “#SoulofOakland movement, whose first action was Sunday’s rally at the Lake. In the course of two incredibly full hours, participants were treated to First Nation drummers Manny Lieras and George Galvis doing indigenous songs of resistance, Korean drummers Ieumsae playing traditional instruments in the Poongmul style (a folk art associated with working class people and social justice), a Puerto Rican Bomba troupe led by Shefali Shah complete with long-skirted dancers, Haitian troupe Rara Tou Limen led by master drummer Daniel Brevil, and a Brazilian outfit.

SambaFunk's Theo Williams and Rara Tou Limen's Daniel Brevil lead the drumline

SambaFunk’s Theo Williams and Rara Tou Limen’s Daniel Brevil lead the drumline

It was a bit cute, light-hearted even, to see signs on people’s backs announcing “More Drumming, Less Gentrifying.” But there were serious undertones to the entire event. Cultural resilience is embedded into every beat of ethnic drums, and to experience a world-class exhibition of cultural diversity which was so much more than a drum circle – really, it was an anti-displacement ritual, and all that embodies – had a resonant impact. To hear tales of the Haitian defeat of Napoleon along with stories of the Ohlone village of Huichin gave a certain perspective which put gentrification, displacement, and cultural resistance in a historical context.

Indigenous noise: Manny Lieras and George Galvis

Indigenous noise: Manny Lieras and George Galvis

Councilmembers Desley Brooks and Abel Guillen professed support for the cause, but microphone pontification was kept at a bare minimum, and; instead of long-winded speeches, the focus was on building and engaging community through drumming and dancing.

According to Lieras, “Drums and voices were the first instruments. Some of you who have been drumming for a long time understand the healing powers these drums possess. We believe inside these drums, there’s spirits… when we use this drum, it has ceremonial healing practices and purposes.”

As an Ieumsae spokesperson said, “Drumming is an act of resistance. What happened last week with SambaFunk is not ok, it’s a problem. It’s gentrifying the soul of Oakland, so we’re here in solidarity.”

Shefali Shah's Bomba troupe in action

Shefali Shah’s Bomba troupe in action

“We’re gonna be drumming here on a regular basis,” said Williams, adding that he was renaming the amphitheater “freedom center.” Every time we’re here, he said, “we’re gonna exercise our freedom.”

“This is what makes Oakland great. It’s our culture and our arts,” said Guillen, who reaffirmed his intention to reinstate the city’s now-defunct Cultural Arts Commission.

By the end of the day, nearly all of the audience had joined the dance section; off to the side, the percussion contingent, most wearing white, supplied the music as the dancers supplied the movement. If Williams had wanted to emphasize that cultural diversity and rhythmic expression are indeed the soul of Oakland, he succeeded. This was a mini ethnic dance and drumming festival, in a public space, which engaged community in interactive, inclusive activities and championed an inspired cause. All one needed to participate were a percussion instrument and/or your two feet.

Well-played, Sambafunk. Well-played.

Dancers at the SoulOfOakland rally at the lake

Dancers at the SoulOfOakland rally at the lake

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The Born Supremacy: Lyrics Born’s Galactic Funk Mafia Revue

Lyrics Born

Lyrics Born

Live music review/ Lyrics Born/October 9, 2015/ New Parish

When it comes to live rap performers, audience expectations tend to be on the low side. One can probably count the list of stellar live emcees with both hands. That number might drop in half if you throw in the caveat: must be able to rock with live musicians. It may come as no surprise to diligent Bay Area hip-hop fans that Lyrics Born’s recent blowout show at the New Parish exceeded expectations. What’s eye-opening, though, is just by how much.

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LB, as he’s often abbreviated, has always followed the beat of his own drummer.  (Read the Oakulture Q&A here and here.) Emerging way back in the early 90s as an original member of the Solesides (later Quannum) collective, the Berkeley High/Skyline alum went from alternative hip-hop pioneer to eccentric experimentalist to funky radio hitmaker to international sensation to cagey OG veteran status in the course of, oh, almost 25 years. Mixing tongue-twisting colloquialisms and an appreciation for both quirky individuality and funky, phat grooves, he’s ripped more guest appearances and collabs than you can shake a rhythm stick at, in addition to producing a solid catalog which includes four studio albums, two Latyrx full-lengths (with Lateef the Truthspeaker), a couple of remix albums and EPs, several mix tapes, a live album, and a few compilation albums. But as deep as his recorded history is, he’s straight-up supreme when it comes to live shows with live musicians, with whom he’s been working with since the early 2000s.

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LB released his latest album, Real People, a few months back, but hadn’t done an East Bay date until his rendezvous at the Parish last Friday night.  Wait, it gets better. Not only had LB never previously appeared at the venue, but his special guests included members of New Orleans funksters Galactic and Bay area jazzbeaux Jazz Mafia, along with musical director (and former Whitesnake bassist) Uriah Duffy, and his Latyrx spar Lateef. If that’s not a recipe for an amazing musical evening, we don’t know what is, and the show was even better in practice than it sounds on paper, er, computer monitor or mobile screen.

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Let’s just get this out front: the new album has some bangers on it, and benefits from the collaborative association with Galactic, with whom LB recorded with in New Orleans. But songs that just sounded ok on the studio disc were absolute monsters in a live context.  That’s all LB, right there: if you like his studio recordings, you’ll absolutely love his live stuff.

Oct 10 2015 136The set list contained a blend of old and new, but newer stuff like “Chest Wide Open,” “$ir Racha,” “Rockaway” and “All Hail the Queen” never struggled to keep pace with more familiar material like “Do That There,” “Top Shelf,” or “Hott 2 Deff”, and in many instances accelerated the evening’s intensity.  Another major factor in the live goodness is LB’s wife and background vocalist, Joyo Velarde. They’re just so comfortable together on stage there were no real moments of uncertainty during the 24-song set. It was more like, ‘we got this,’ throughout the entire evening. Thankfully, Joyo not only took a solo turn on “Unwind Yourself,” but also supplied the “hoo-hoo-hoo-hoo” backgrounds which take 2003’s “Bad Dreams” –one of LB’s signature tracks–into the ethereal.

Joyo Velarde

Joyo Velarde

LB’s confidence was such that his biggest hit, “Callin’ Out,” was rather casually tossed off during the last quarter of his set; the five-song encore included a James Brown cover, two new songs, and two fairly obscure yet sublime tunes: the 2013 Latryx single “Exclamation Point” and “Coulda Shoulda Woulda,” from 2010’s As U Were. It’s a given that the ‘Message’-esque bassline of “Lady Don’t Tekno” still causes convulsions after more than 20 years, but then the idea to lay the James Brown/Fred Wesley classic “The Payback” under the naughty yet urbane “I’m a Phreak” was unforeseen yet very welcomed.

Oct 10 2015 159What makes Lyrics Born so good? As was the case with the Blackalicious show at the Fillmore awhile back, he just puts on a master class in emceeing. His flows are beyond stupid fresh, and his refusal to embrace stereotypical rap cliches is always refreshing. But more to the point, besides displaying incredible technical prowess on the vocals, he adds the charismatic stage presence of a seasoned performer who is impeccable when in his element, as well as an enviable rapport with his band members which lends itself to seamless musical communication. On this evening, they appeared to be one of the best bands on the planet, locked tight into seemingly endless grooves which somehow didn’t lack for elasticity.

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Bay Area Vibez Makes the Most of Oakland’s Glow [Review/Photoset]

Nas performs at Bay Area Vibez

Nas performs at Bay Area Vibez

Concert Review/ Bay Area Vibez, Sept. 26-27, @ Middle Harbor Shoreline Park

Location, location, location. For a very long time, Middle Harbor Shoreline Park has been one of Oakland’s best-kept secrets. But after this past weekend’s inaugural Bay Area Vibez festival, that’s no longer the case: word is out about the spot, which offers stunning views of the bay and the San Francisco skyline, similar to Treasure Island, except it’s less windy. Both days, the location was a constant source of chatter. “How come no one ever held a music festival here before?” was a frequently-repeated refrain.

Picturesque views added much to the festival's user experience

Picturesque views added much to the festival’s user experience

In retrospect, the location proved perfect for such an event, and went a long way toward a user experience which was much more amenable to comfort than many music festivals we’ve covered over the years. There was plenty of room for people to lay out picnic stuffs and chairs for a day of music in the sun, and just beyond the concert grounds, plank walkways led directly to even more chill-worthy spots on the shoreline. Such stunning natural surroundings made some of the inevitable production glitches associated with a first-time festival less of a big deal than they could have been, although the overlapping of sets between the two concert stages occasionally subtracted from the artists playing on the smaller, less-loud stage.

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The music was fairly well-curated, with more than 40 artists and DJs overall, with a heavy concentration of reggae, electronic music, and hip-hop, with the occasional funk and jazz band. That made for an interesting demographic mix of millennials as well as perennials.

The audience feeling the "Vibez"

The audience feeling the “Vibez”

The unquestioned highlight was Sunday’s flawless one-hour set by Nas, who appeared to have been auditioning for a spot in the hip-hop Hall of Fame. The Queensbridge emcee, one of the last artists to emerge from hip-hop’s 90s Golden Age, delighted the crowd with a strong concentration of material from his classic 1994 debut album Illmatic, which he peppered with songs from later albums like God’s Son, Hip Hop Is Dead, It Was Written, and I Am… . Honestly, it was one of the best live rap performances Oakulture has ever seen, driven mainly by the strength of Nas’ personality and his puissant lyrics. At one point, Nas shared an anecdote about Michael Jackson allowing a then-unknown rapper to sample “Human Nature” on the remix of “It Ain’t Hard to Tell,” then went into the song:

My mic check is life or death, breathing a sniper’s death
I exhale the yellow smoke of buddha through righteous steps
Deep like The Shinin’, sparkle like a diamond
Sneak a uzi on the island in my army jacket lining
Hit the Earth like a comet, invasion
Nas is like the Afrocentric Asian, half-man, half-amazing

It ain't hard to tell.

It ain’t hard to tell.

The show felt big, even though Nas was only accompanied by DJ Green Lantern. The location also contributed, as did the fact that he hit the stage right as the sun was going down, and thus had the benefit of a picturesque sunset with iridescent colors, known to locals as the “Oakland Glow.” Watching Nas perform, SF native and rap artist Sellassie Blackwell offered his own assessment of what made him so great: “he’s saying something.” Indeed, the content of his rhymes, as well as his delivery, is a big reason Nas is considered one of the best rappers ever to come out of New York.

Magical dancehall unicorn: Supercat

Magical dancehall unicorn: Supercat

The second-best highlight was unquestionably the return of an artist one observer called a “magical dancehall unicorn”: Supercat, a late 80s-early 90s hitmaker who reportedly hasn’t performed in the Bay Area since 1992. For longterm dancehall aficionados, this was a dream come true, and to top that off, Supercat still had the quick-tongued lyrical finesse  which made him a favorite in the first place. While he didn’t perform any new material, it didn’t really matter because tunes like “Vineyard Style,” “Dem No Care” and “Ghetto Red Hot” fired up the crowd with enthusiasm.

Stephen "Ragga" Marley

Stephen “Ragga” Marley

Supercat kicked off a top-ranking block of reggae programming Saturday night furthered by roots revivalists Morgan Heritage and two members of the Marley clan, Stephen and Damian, who kept the vibes simmering and the ganja clouds lifting.

Damian "Jr. Gong" Marley

Damian “Jr. Gong” Marley

Other highlights from earlier in the day included a super-tight set by the criminally-underrated Fishbone which dug deep into their catalog for songs like “Everyday Sunshine,” “Junkie’s Prayer,” and “Party At Ground Zero.” The manic energy of frontman Angelo Moore was complemented by excellent musicianship and particularly-compelling horn arrangements.

Angelo Moore of Fishbone

Angelo Moore of Fishbone

There was also an energetic main stage turn by The Grouch and Eligh, two members of the Living Legends crew (who got their start in a San Leandro St. warehouse and have grown into their moniker two decades later). Although both are veteran solo artists, they worked well as a duo on songs like “The Bay to LA.” Mid-day sets by Taurrus Riley, Cut Chemist and Aloe Blacc were pleasant but mostly unremarkable.

The Bay to LA: The Grouch and Eligh

The Bay to LA: The Grouch and Eligh

Oakulture arrived a bit later on the second day, just in time to catch a fantastic outing by the Kev Choice Ensemble which became an impromptu Bay Area Hip Hop All-Stars performance, as Choice’s already-tight band—featuring bassist Uriah Duffy, guitarist B’nai Rebelfront, and vocalist Viveca Hawkins—was accentuated by Zumbi Zoom of Zion-I, Deuce Eclipse of Bang Data, vocalist Jennifer Johns, Young Fyah and Sellassie. Their collar-popping performance, which included a blazing freestyle cipher, was almost enough to make up for the relative lack of other local artists on the celebrity-heavy bill. Almost.

Kev Choice Ensemble

Kev Choice Ensemble

It was also great to see the sublime set by Meshell Ndegeocello, a bassist and vocalist who is a bit of a musical chameleon and can play everything from abstract jazz to funky soul and R&B. Ndegeocello began her set with an amazing cover version of Ready For the World’s “Love You Down,” and also brought new life to the Whodini classic “Friends.” Her band was in perfect synch, too, but it was a little disappointing that Nas’ set started before hers was done. Unfortunately, the same thing happened to Kev Choice, whose set overlapped with a louder and much less musically-interesting set by DJ Z-Trip — whose biggest bright point was a freestyle by emcee Supernatural who was handed objects by the audience, including a baby, and worked them into his flow.

Meshell Ndegeocello

Meshell Ndegeocello

Overall, though, the experience was a positive one, and feedback from attendees were that they would not only return next year, but were looking forward to it.


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Matatu 2015 Packs A Year’s Worth of Culture Into a Week

Still from "Asni"

Still from “Asni”

Ever wonder what youth in Richmond, CA and youth in Johannesburg, South Africa have in common, as well as what separates them? Or what Ethiopian Afro-futurist sci-fi looks like? How about a Senegalese political uprising which received scant media coverage in the US? What about an underground NY hip-hop radio show which became a cultural institution?

These questions and more will be answered by the 2015 Matatu Festival of Stories, the third installment in founder and director Michael Orange’s mission to bring easily-overlooked independent films and documentaries, many of them addressing Afrocentric themes or relating to black culture. This time out, the Matatu—an East African Swahili slang word meaning passenger taxi or minibus, similar to the jeepneys of the Philippines—makes its rounds through the Diaspora, touching the West and East Coast of America, the Netherlands and its former colony Suriname, as well as East, West, and Southern Africa. The ride is rife with adventure and rich in cultural capital, and this year, the festival’s cinematic selections are enhanced by live performances, meet-ups, special guest performers, and a Matatu-inspired art show.

The Opening Night selection, “Necktie Youth,” examines a fast-emerging post-apartheid South Africa, as seen through the eyes of wealthy, suburban, Jo’Burg youth who struggle to find themselves within a newly-open society which still grapples with issues of race and class. “Necktie Youth” is a coming-of-age story which sometimes plays like the African version of “Kids” – there are graphic descriptions of sex and of drug and alcohol consumption. Viewing contemporary Johannesburg through the lens of privileged yet haunted young adults, the film has a semi-documentary feel—nearly all of it is shot in black and white. It is in some ways a perfect bookend to “Dear Mandela,” a 2013 Matatu selection, which examined the bittersweet legacy of Nelson Mandela through the eyes of the poor and politically-unfortunate.

Still from "Necktie Youth"

Still from “Necktie Youth”

But this is a South Africa we haven’t seen before. In “Necktie Youth,” there are no overt politics at play, and interracialism has become a natural course of events, yet the grip of the past hasn’t completely loosened. Promiscuous white women from Pretoria fetishize their black lovers while drawing boundaries between their lustful trysts and their conservative Afrikaaner parents. It’s interesting to see African youth adopt black American slang to their own, and observe their mannerisms, which speaks to the universality of youth culture as well as its regional variations.

“Romeo is Bleeding” also focuses on youth, in this case the young black people of Richmond, CA, who struggle with their own issues—a multi-generational turf war from which there seems to be no escape, the inevitable reality of violence which has become recidivist, and their abandonment by an older generation who fell prey to incarceration and/or substance abuse. The documentary ‘s narrative arc tells the story of Donte Clark, a product of Richmond’s streets whose family members are feared soldiers in the conflict between North and Central Richmond. Clark turns to spoken word poetry as a way of expressing emotions threatened with permanent numbing by losing friends to jail or bullets. He becomes a teacher and mentor to young adults, even though he’s not much older himself in calendar years. When a white friend starts a theater company, they decide to adapt Shakespeare’s “Romeo & Juliet” into a Richmond-centered tale, with the town’s two warring factions substituting for the Capulets and the Montagues.

The movie reveals the oft-held belief that the black community is unconcerned with stopping intra-hood violence to be a glaring misconception. Clark’s commitment to being a positive, shining example in the face of adversity is tested by the cyclic nature of violence itself; still he pushes forward, on a mission to prove that “love in Richmond is possible.”

Speaking of love, it’s the central theme of “Crumbs,” a wonderfully-realized story set in a post-apocalyptic future which employs elements of magical realism, like Octavia Butler and Guillermo Del Toro’s progeny. A scavenging dwarf, his love interest, Santa Claus, a shifty pawn shop owner, plastic children’s toys and Michael Jackson album covers highly valued as mystical artifacts, second-generation Nazis, and a mysterious UFO populate this madcap tale, shot in Ethiopia. The film has much to say, even if some of it is cryptic. Like most heroes, the dwarf takes a journey. But instead of achieving the stated goal of his quest, in the end, he finds something far more precious was in his possession all along. A surreal comedy, “Crumbs” is ultimately an affirmation of human compassion and emotion which posits that the future is only as bleak as we allow it to be.

Meanwhile in Senegal, reverberations from the Egyptian uprising which saw the overthrow of President Hosni Mubarak echo throughout “Incorruptible,” a documentary tracing the 2012 election which toppled the government of Abdoulaye Wade. The conditions are similar; Wade’s administration, once revered by the Senegalese people, has become a hotbed of corruption and nepotism, falling out of touch with the demands of the long-suffering underclass for better living conditions. After Wade changes the constitution to run for a third term, a protest movement begins to gather steam. Efforts by the government to quell the insurgency using tear gas and even live bullets backfire as the Senegalese take to the streets to demand regime change. Even as mosques are targeted and tanks brought in, the opposition insists it is not seeking violent confrontation with the government, but a democratic election process. After a field of candidates, including singer Youssou N’Dour, whittles down to a run-off between Wade and challenger Malky Sall, state-backed militias engage in political violence as the government tries to tighten its grip on power – “the truth is under attack,” N’Dour says. A Wade speech where he insists the dissent is unimportant is effectively contrasted by footage of protesters throwing rocks at a billboard of the President. Y’en a Marre, a youth activism group which uses rap music as a consciousness-raising tool, helps propel Sall to victory, but warns him that their loyalty is to Senegal, not to any one politician.

Still from "Marga Weinans"

Still from “Marga Weinans”

“Incorruptible” offers an eye-opening view into an African Muslim population which is more interested in dialogue than terrorism – a revelation to an American mindset inundated with Islamophobic propaganda. It effectively captures a historical moment in time which may be seen as a turning point for African democracy. A sense of urgency is conveyed through handheld footage of protesters being tear-gassed; there are many poignant looks at of the faces of the Senegalese people, while a beautiful score by Akon (who also executive-produced the film) and Mark Batson captures the emotion, idealism and dignity of a revolutionary movement all but unknown to the West.

Other highlights of the festival include “Stretch and Bobbito,” a documentary about the long-running hip-hop radio show notable for breaking major hip-hop artists like Nas, Notorious B.I.G., Jay-Z, Eminem, and Wu-Tang Clan; “Fashion House: Marga Weimans,” a black designer who makes waves in both the Netherlands and Suriname; “Asni: Courage, Passion and Glamor in Ethiopia,” a documentary about Asnaketch Worku, a trailblazing female vocalist who became an East African pop culture icon; and “Red Leaves,” an Ethiopian/Israeli film which addresses immigration and cultural assimilation and retention, as seen through the eyes of a 74-year old falasha, Meseganio Tadela.

As if a whole program of inspired films wasn’t enough, the Matatu concept also manifests through an equally-rich schedule of festival-related events to engage your brain, your mouth, and your body. These include a dinner at Miss Ollie’s featuring a book reading by Saul Williams, artist talks with Mahader Tesfai and Donte Clark,  and jazz records spun by chef Bryant Terry; a happy hour hosted by Souls of Society, followed by performances by Williams and avant-garde outfit Black Spirituals; an evening of experimental music with Shafiq Husayn and Mark de Clive-Lowe; an excursion into “four-part communication” with Afro-jazz group Democratics; kora music by Zéna ft. Amaranth String Quartet;  a live set by emerging Eritrean-American artist Eden Hagos; and a dance performance by Alonzo King Lines Ballet.

Shafiq Husayn

Shafiq Husayn

Not only is this the most action-packed Matatu to date, but the level of programming is beyond ambitious, and borders on the insane: a full week’s worth of visceral, intellectual and visual stimuli which may test your stamina. It’s almost as if Orange and festival producer Maria Judice tried to make up for the relative lack of access to Afro-futuristic culture the other 51 weeks of the year, by overstuffing the Matatu to an extreme capacity. Fasten your seat belts, Oakland, and enjoy the ride.

The Matatu Festival runs September 22-26 at various locations, including Miss Ollie’s, Flight Deck, and Starline Social Club.

A complete list of Matatu 2015 films is here

A complete guide to Matatu events is here

For more information about Matatu, visit here