Oakulture

Documenting the Oakland cultural renaissance


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2014: The Year in Oakulture

Town Representer: Kev Choice

Town Representer: Kev Choice

2014 started out with a bang, with the release of Kev Choice’s Oakland Riviera album last January. The album, released independently through Choice’s own label, received little national attention. But it was easily one of the best releases of the year in any genre, and one which not only proved that Choice’s progression from sideman to bandleader was complete, but also galvanized Oakland’s urban music scene in the direction of conscious messages and aesthetic quality. Oakland Riviera established a local benchmark for virtuosity and musical intersectionality, as Choice fluidly alchemized hip-hop, R&B, soul, and jazz grooves with a hint of electronic finesse, in the process showcasing not only his own prowess as an emcee/producer/arranger/maestro, but also the considerable talents of a long list of local collaborators, which included Jennifer Johns, Lalin St. Juste, Erk Da Jerk, Viveca Hawkins, Mr. FAB, Phesto Dee, Zumbi Zoom, Howard Wiley, Marcus Shelby and many more. Yet for all the album’s collaborative nature, it was Choice’s solo material which heralded the most praise, from the moody and melodic urban instrumentals named after Oakland streets (“Int’l Blvd,” “MacArthur’s Mood,” “Foothill Dip”) to the uber-socially-conscious, Gil Scott Heron-esque “Crazy Illusions,” which closed the album.

The album’s title, Choice said in an interview, isn’t an actual place, but rather a reflection of his life experiences: “There’s no specific place called Oakland Riviera, but it kind of grew as a concept in my mind and I started thinking how could I express that. With me being a musician from Oakland and traveling around the world and also, me being an emcee and being a pianist and a composer, it’s almost like bringing different elements together to make one world.”

Choice proved to be a ubiquitous presence throughout the year, dominating the live music scene and even weighing in from social media-land on town business and international runnings while touring Europe with The Coup. Some other Oakland music artists who built up strong momentum this year include Jahi, the veteran conscious hip-hopper who is now a part of the Public Enemy family and its next-generation outfit PE2.0, and The Seshen, the retro-futuristic band headed by St. Juste, who signed to the Tru Thoughts label and won Best In Show at the Oakland Indie Mayhem Awards on the strength of their trip-hoppy single “Unravel.”

©Eric K. Arnold 2014

The Shadowbox opens

Speaking of The Coup, not only did they firm up their international credentials, touring France, Germany, Italy, and England, but their frontman Boots Riley also proved fairly ubiquitous, expanding his artistic repertoire with “The Coup’s Shadowbox”—a  performance art piece at the Yerba Buena Center For the Arts featuring installations by Jon-Paul Bail, surprise guest performers, and dancing puppets—and “Sorry to Bother You”—a darkly ironic, infinitely humorous screenplay published in McSweeney’s Quarterly, a segment of which was performed during SF’s Litquake festival.

Boots Riley holds up a copy of his screenplay

Boots Riley holds up a copy of his screenplay

February saw the 51Oakland folks team with the Elevate Foundation and the tsarina of the timbales, Sheila E., for the “Elevate Oakland” all-star benefit at the Fox Theater – one of the few shows at the renovated, iconic venue to prominently feature local artists.

The concert, a benefit for music programs in Oakland schools, emphasized the community-oriented nature of the city’s musician contingent, which sometimes seems to be more weighted toward social awareness and activism than outright commerciality. Not saying that’s a bad thing, but it is a thing you’ll find here.

Sheila E. at the Elevate Oakland fund-raise

Sheila E. at the Elevate Oakland fund-raiser

In addition to Ms. E—fabulous as always—featured artists included Choice (who took the stage with a group of young musicians he’d been mentoring, the Future Shock Quartet), Goapele, Michael Franti, and the Castlemont Choir.

Jennifer Johns performs live at Oakstop

Jennifer Johns performs live at Oakstop

The intersection of tech and culture—played out against a backdrop of encroaching gentrification, reports of displacement, and the influx of silicon-coated dollars into the city’s coffers as well as the dubious new “techbro” demographic—was a definite undercurrent of Oakland in 2014. Two new co-working spaces, Oakstop and Impact Hub, opened within a half-mile of each other and immediately established themselves as Uptown destinations; both went out of their way to emphasize arts  and culture as part of their mission, hosting book release parties by painter James Gayles and vegan soul food chef Bryant Terry, as well as various film screenings, panel discussions, and live performances.

Author and chef Bryant Terry at Impact Hub

Author and chef Bryant Terry at Impact Hub

After taking a month off, First Fridays returned in style in March. While the monthly street party may have jumped the shark in late 2012, when it topped out at 15,000 attendees, it remains an important part of the city’s cultural arts fabric.

First Fridays jam session with Kev Choice, Hassan Hurd, Uriah Duffy, and King Theo Sambafunkquarian

First Fridays jam session with Kev Choice, Hassan Hurd, Uriah Duffy, and King Theo Sambafunkquarian

While many locals may be over First Fridays as a must-be-at happening, the Uptown street crawl is still an important draw for non-residents, and the distillation of all that energy has resulted in more micro-scenes and curation/activation of venues both on and off the Telegraph/Broadway strip. In short, we’re seeing more events, more parties, and more action around FF, which helps to further the notion of Oakland as an arts-friendly town that is starting to overtake San Francisco as a cultural incubator, if it hasn’t already.

One example of a socially-aware happening you probably wouldn’t have seen in SF was the Betti Ono Gallery’s “Stop Telling Women to Smile” exhibition, which combined performance and visual art, documentary and social commentary to address the issue of catcalling.

"Stop telling Women to Smile" at Betti Ono

“Stop Telling Women to Smile” at Betti Ono

As Oakulture wrote at the time, “Envisioned by Tatyana Fazlalizadeh, “STWTS” includes both gallery exhibitions and a street art campaign… Fazlalizadeh’s striking large drawings of local women with captions imparting their responses to unwanted attention.” The campaign not only garnered international recognition, but made the front page of the culture section of the New York Times; the fact that Fazlalizadeh debuted the work at an Oakland gallery speaks to the city’s growing cultural gravitas.

Crow twists like a pretzel at Art & Soul.

Crow twists like a pretzel at Art & Soul.

Fast-forwarding to this past August, we saw the first-ever exhibition of turf dancing—the Oakland-originated dance craze which has gone international, thanks to the efforts of the supremely talented Turf Feinz—at the Art & Soul Festival. It’s always interesting to see how an underground-born art form does when exposed to a wider audience, and turf dancing came through with shining colors.

©Eric K. Arnold 2014

Dream tribute

Street art was also huge in 2014. Significant public murals were painted around town by the Attitudinal Health Collective, Community Rejuvenation Project, Vogue TDK, and a collaborative effort in solidarity with Palestine which included Spie, Deadeyes and Emory Douglas.

Dream Day, the annual event celebrating the legacy of Mike “Dream” Francisco, brought out several generations of graffiti artists and their friends and families to a West Oakland location which was then blessed with on-the-spot pieces, as well as live performances from rappers Richie Rich and Equipto. One of the defining characteristics of Oakland’s urban art scene is the crossover between street and gallery mediums, and the intersectionality between art and activism – which revealed itself at galleries like Warehouse 416, Betti Ono, Oakstop, SoMar, and SoleSpace. If you weren’t being exposed to mind-blowing art, much of it aerosol-oriented, this year, chances are you didn’t get out much.

Umoja Festival

Umoja Festival

Speaking of getting out, 2014 was a great year to be out and about in Oakland, thanks in large part to the many festivals around town which built community, offered peeks into cultural windows, and otherwise allowed large crowds to get their groove on simultaneously. In addition to old favorites like Art & Soul, Life Is Living, and the Malcolm X Jazz Arts Festival, relative newcomers like the Ethiopian culture celebration Home Away From Home and the Umoja Festival spotlighted diversity and Pan-African unity, while the Oakland Music Festival transformed the downtown into a large concert venue, complete with massive stage. We can’t forget the Oakland Indie Awards, either, held at the beautiful Kaiser Rooftop Gardens, which again featured an impressive promenade and performance by the SambaFunk Funkquarians, in full carnival attire.

Funkquarians at the Oakland Undie Awards

Funkquarians at the Oakland Indie Awards

©Eric K. Arnold 2014

Hiero Day: 20,000+ strong — and growing

The third annual installment of homegrown hip-hop heroes Hieroglyphics’ free event Hiero Day swelled to more than 20,000 folks this year, representing a triumph for the non-mainstream, underground hip-hop culture Hieroglyphics has helped to cultivate for more than two decades. Highlights included Los Rakas’ simmering performance and a surprise Deltron 3030 set.

ESAA mural in the San Antonio district

ESAA mural in the San Antonio district

It was also nice to see East Side Arts Alliance’s first-ever block party in the San Antonio district, one of the most culturally-diverse neighborhoods in the entire country.

Live performances were part of the fuel which kept Oakland percolating in 2014. Some of the memorable ones Oakulture witnessed in 2014 included:  Queendom, an all-female hip-hop throwdown which established an alternative narrative to hoodrat hip-hop and rachet rap; the Town Futurist Sessions, a progressive, Afrofuturist space where creativity and experimentality freely mingled; Bang Data’s en fuego record release party at SF’s Independent; Jose James’ wonderfully sinuous rendition of Al Green’s “Simply Beautiful” at the New Parish; and the Funky Meters’ ear-pleasing extended jam session, also at the New Parish.

Fantastic Negrito at Town futurist Sessions

Fantastic Negrito at Town Futurist Sessions

Melissa Cruz at Birdland's Oakland Flamenco Sessions

Melissa Cruz at Birdland’s Oakland Flamenco Sessions

Two new music venues, Leo’s Music Club in Temescal, and Birdland Jazzista Social Club in North Oakland, expanded the music scene past the Uptown/downtown nexus, offering everything from legendary New Orleans drummers to up-and-coming jazz acts to international hip-hop and intimate flamenco gatherings.

Quite possibly the best live performance Oakulture saw in 2014, though, also took place at YBCA, whose “Clas/Sick Hip Hop: 1993 Edition” revisited the much-storied Golden Era of hip-hop with a mostly Oakland-based group of emcees performing classic by 2Pac, Souls of Mischief, Saafir, Black Moon, Queen Latifah, and others.

U.N.I.T.Y.: the women of Oakland hip-hop

U.N.I.T.Y.: the women of Oakland hip-hop

Choice, unsurprisingly, was all up in the mix as bandleader, arranger, and occasional rapper, and the emotional crescendo was a mindblowing rendition of the female empowerment anthem “U.N.I.T.Y.,” featuring Zakiya Harris, Aima the Dreamer, Ryan Nicole, Viveca Hawkins, and Coco Peila. As Oakulture wrote at the time,  the performance “evoked a sea of epiphanies, none greater than the notion that Harris and Co. had tapped into hip-hop’s elemental womb and stuck a chord of long-overdue gender balance, releasing a flood of amniotic lyrical fluid which coated the audience’s ears with sticky bliss. Hip-hop may be a mostly male-dominated art form, but in keeping with YBCA’s Left Coast ideology, the Bay Area’s female emcees reigned like queens.

©Eric K. Arnold 2014

Kufu paints for #Ferguson

There was a lot of positivity within Oakland’s cultural arts community, but everything wasn’t all good nationally. Simmering tensions over race, injustice, and the ongoing deaths of young black males at the hands of the police boiled over in 2014, resulting in coast to coast protests and the beginning of a long-overdue conversation which threatened to overshadow every other topic worth discussing. The national reverberations of the Mike Brown and Eric Garner incidents resonated strongly with a community which had already been in activist mode, ever since the death of Oscar Grant on New Year’s Day 2009, and which had also taken last year’s Trayvon Martin situation to heart.

Author Jeff Chang at SoleSpace Gallery

Author Jeff Chang at SoleSpace Gallery

So when the Ferguson decision came down, Oakland’s artivists were ready. Oree Original, Favianna Rodriguez, Refa One, the Dignidad Rebelde collective, and the Trust Your Struggle collective were among those who helped spread the #Blacklivesmatter meme through political art. During the protests, the Solespace Gallery held down much-needed space in what seemed like the eye of the hurricane for a moment, offering a safe place for art and community gathering, and refusing to board up its windows. It also hosted a book release party for Jeff Chang, the Berkeley-based author of “Who We Be” – a timely, ultra-relevant look at the intersectionality between the politics of race and the cultural debate over multiculturalism.

©Eric K. Arnold 2014

Palestine Solidarity mural by Spie TDK

Where national politics are concerned, Oakland represents a bit of a bubble – it’s both more diverse and more progressive than most of the rest of the country, and that progressive diversity informs its culture in many ways, both overt and subtle. The creative arts, it seems, are never too far from what’s happening on the streets, the blocks, and the boulevards. Count Oakulture as among those who wouldn’t have it any other way.

 

 


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Oakulture NYE Picks 2015

It’s been a fantastic year for Oakland, which is one of the most vibrant cities, culturally speaking, in the world!!!  If you’re still wondering what to do for NYE (your last chance to go out this year!), scroll down for our curated list.

There’s something for every taste and age group happening at a diverse range of venues: a world music-themed boat cruise on the bay; a free admission option with art and black roots music at Blackball Universe; bass and electronic sounds at The New Parish; Top Ten Social’s annual NYE extravaganza happening at three different venues; and funk heroes Con Funk Shun at Yoshi’s.

We’re excited to announce that in the new year, Oakulture will bring you our weekly list of hand-picked, music, arts and cultural events, starting January 6th. From the Oakulture crew, we wish you a happy new year!

“Destino: Nuevo” New Year’s Eve 2015 Boat Party

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“Destino: Nuevo” New Year’s Eve 2015 Boat Party featuring music by DJs Jose Marquez, Cecil, Emancipacion and special guests, 12/31, 8:30 p.m. – 1:00 a.m. (Boarding begins at 8:30 p.m., boat departs at 9:30 p.m., and returns at 1 a.m.), $70.00, 21+, “Bay Celebrations” (Vessel), Jack London Square’s Webster St. Pier (base of Webster St.), near Il Pescatore Restaurant, Oakland. www.skinworldwide.net. » Buy Tickets.

Blackball Universe “YouTag” New Years Party 

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Blackball Universe “YouTag” New Years Party with Fantastic Negrito, food, drinks, and art, 12/31, 7 p.m. – 3 a.m., Free Admission (donations encouraged), All Ages, Blackball Universe, 230 Madison St., Jack London Square, Oakland. www.blackballuniverse.com.

Top Ten Social’s OAK NYE 2015

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Lungomare party with DJs Hector, Manny Black, Nina Sol, and Platurn, hosted by Kev Choice, Kola & Sayre Piotrkowski, 12/31, 7:30 p.m. – 10:30 p.m. (dinner), 9:00 p.m. – 2:00 a.m. (party), $30.00, $66.00 with dinner, 21+, Lungomare, 1 Broadway, Oakland. www.oaknye.com. » Buy Tickets.

Ozumo party with DJs heyLove* and Sake One, hosted by Bryant Terry, Sterling James and Tyranny, 12/31, 9 p.m. – 2 a.m., $20.00, 21+, Ozumo, 2251 Broadway, Oakland. www.oaknye.com. » Buy Tickets.

Parliament party with DJs Davey D, Dion Decibels, and Lady Ryan, hosted by Chaney, 12/31, 8 p.m. – 2 a.m., $20.00, 21+, Parliament, 811 Washington St., Oakland. www.oaknye.com. » Buy Tickets.

Con Funk Shun NYE Throwdown

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Con Funk Shun NYE Throwdown, 12/31, 8:00 p.m., 11:00 p.m., $69-$99, All Ages, Yoshi’s Oakland, 510 Embarcadero West, Jack London Square, Oakland. www.yoshis.com. » Buy Tickets.

Wormhole NYE with Haywyre, Freddy Todd and Kool A.D. & More

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Haywyre, Freddy Todd and Kool A.D. and more, 12/31, 9:00 p.m.-4:00 a.m., $27.00-$35.00 (limited $20.00 family discount tickets are available here), 21 and over, The New Parish, 1743 San Pablo Ave., Oakland. www.thenewparish.com. » Buy Tickets.

Oakulture’s Event List is compiled by Zsa-Zsa Rensch. Connect with her on Twitter at @zsazsa.

Subscribe to receive Oakulture blog posts directly in your inbox (click “Follow” to subscribe), and stay in touch on Twitter, Facebook, and Instagram.  Thank you for reading!


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“Clas/sick Hip-Hop”: Female Emcees Show “U.N.I.T.Y” In Landmark Live Performance

Live review/ “Clas/sick Hip-Hop: 1993 Edition,” Nov. 7 & 8, Yerba Buena Center for the Arts

The "Clas/Sick" Crew chilling after the show

The “Clas/Sick” Crew chilling after the show

In a two-night run filled with memorable moments, “Clas/sick Hip-Hop: 1993 Edition”’s biggest flashpoint came about halfway through the second night. A remarkable set of canonical hip-hop, played live by the Kev Choice Ensemble, segued from Digable Planets’ “Rebirth of Slick (Cool Like Dat),” to the Conscious Daughters’ “Fonky Expedition,” to Queen Latifah’s “U.N.I.T.Y.” The first song, performed by Aima the Dreamer and Sayknowledge, sent shivers through the sold-out crowd, as Aima channeled Ladybug Mecca’s cool breeziness over an acoustic bassline originally played by Art Blakey’s Jazz Messengers. The second, performed by Coco Peila and Ryan Nicole, brought back memories of a time when good local rap regularly earned rotation on commercial stations. And the third, which featured a strident, commanding Zakiya Harris, flanked by Aima, Peila, Nicole and vocalist Viveca Hawkins, evoked a sea of epiphanies, none greater than the notion that Harris and Co. had tapped into hip-hop’s elemental womb and stuck a chord of long-overdue gender balance, releasing a flood of amniotic lyrical fluid which coated the audience’s ears with sticky bliss. Hip-hop may be a mostly male-dominated art form, but in keeping with YBCA’s Left Coast ideology, the Bay Area’s female emcees reigned like queens.

Do the ladies run this mother____er?

Do the ladies run this mother____er?

As if to underline the point, Coco Peila followed with a jaw-dropping cover of 2Pac’s “Keep Ya Head Up.” The song—one of the rap icon’s most positive and uplifting—took on an even deeper meaning with a woman rapping its words: And since we all came from a woman/ Got our name from a woman and our game from a woman/ I wonder why we take from our women/ Why we rape our women, do we hate our women?/ I think it’s time to kill for our women/ Time to heal our women, be real to our women/ And if we don’t we’ll have a race of babies/ That will hate the ladies, that make the babies/ And since a man can’t make one/ He has no right to tell a woman when and where to create one/So will the real men get up/ I know you’re fed up ladies, but you gotta keep your head up.

It Ain't Hard to Tell: Musical Director Kev Choice

It Ain’t Hard to Tell: Musical Director Kev Choice

Hawkins killed it on the hook— an interpolation of the Five Heartbeats’ “Ooh Child”—then, after 1-O.A.K. responded with a dead-on Mayfield-esque falsetto during HNRL’s take on Outkast’s “Player’s Ball,” she returned to tackle SWV’s underrated yet seminal R&B hit “Right Here,” completely nailing the high notes of the hook. As if that wasn’t enough, bandleader Kev Choice crept out from behind his array of keyboards to rap a verse from Nas’ “It Ain’t Hard to Tell” – whose remix sampled the same Michael Jackson “Human Nature” melody as the SWV song. It was that kind of night.

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If social media chatter is to be believed, “Clas/sick Hip-Hop: 1993 Edition” is already being talked about as being legendary. It’s difficult to disagree with that assessment, although the word “epic” might work equally as well. The brainchild of YBCA’s Marc Bamuthi Joseph, the impetus for the production was simple but brilliant: revisit 1993, a particularly great year for hip-hop albums, with not one but two live bands and a gaggle of local emcees – all doing music which came out that year. Into that mix, add an a cappella youth chorus, some of the best local deejays and hip-hop dancers, montages of music videos of the songs performed by artists, and interviews with local culturati explaining the significance of ’93 in a cultural, social, political, and personal sense.

DJ Fuze on the 1 and 2's

DJ Fuze on the 1 and 2’s

Both nights started out with a DJ set – Kevvy Kev on Friday; DJ Fuze on Saturday – which was punctuated by a flash mob consisting of the YGB Gold a cappella singers, who performed a medley of KRS-One’s “Black Cop” and “Sound of Da Police.” The medley underscored the relevance and timelessness of the ‘93 hip-hop canon (though it’s somewhat dubious to note both songs address police misconduct, of which the latest flashpoint is #Ferguson).

Howard Wiley and Geechi Taylor

Howard Wiley and Geechi Taylor

The set list flowed like a mix tape; Calafia Zulu member K-Swift followed with Black Moon’s “How Many Emcees,” a song based around a KRS sample, then jumped into “I Got Cha Opin,” which afforded the musicians the opportunity to wrap their instruments around the Barry White sample which informs the song. Hornsmen Geechi Taylor and Howard Wiley were up to the challenge.

Coco Peila and Ryan Nicole

Coco Peila and Ryan Nicole

Two braggadoccious epochs of masculine bravado, Masta Ace’s “Born to Roll” and Dr. Dre’s “Ain’t Nothing But a G Thing” were sandwiched around Del’s lyrical sucker punch, “Catch a Bad One” (performed by Wonway Posibul of the Latin Soul Brothers). Not that the Del track lacks for boastfulness, but it’s decidedly less commercial and contrived, and built around a sublime Eric Dolphy sample – replayed with aplomb by the KCE, who had the daunting task of having to learn 20 songs in a short period.

Zakiya Harris

Zakiya Harris

The other live band performing was Ensemble Mik Nawooj. The hip-hop/classical fusion outfit performed songs by Wu-Tang and Snoop Dogg, and emcees Do D.A.T. and Sandman were energetic and animated. However, an opera singer notwithstanding, the static nature of their set (and, perhaps, the absence of a bass player) couldn’t compare to the vibrant dynamic laid down by Choice, his band, and their guests at the other stage. By the second night, the differences were painfully apparent; some people walked out during Mik Nawooj’s second set. Which was unfortunate, because they missed the Tribe Called Quest medley which vamped around the bassline from Freddie Hubbard’s “Red Clay” and brought the show to a groovy simmer, as well as the closing free-for-all freestyle rhyme cipher. Which was ridiculous on both nights.

Conscious curation: Marc Bamuthi Joseph

Conscious curation: Marc Bamuthi Joseph

The female emcees brought the spark which ignited the show’s flame. But credit must be given to Choice as a musical director for the way things turned out. The KCE flipped samples inside-out, returning breakbeats to their jazzy essence and reminding folks that the ‘93 flavor was as musical as it was lyrical. Choice himself spent most of the night behind the keyboards, paying tribute to the Bay Area’s contribution to the year by rapping on Saafir’s “Light Sleeper” and Souls of Mischief’s “93 til Infinity.” There were other subtle nods to the Bay, like the melodies from Mac Mall’s “Sick Wit Tis” and Too $hort’s “Getting It” the band played during the freestyle cipher.

A young hip-hop dancer at YBCA

A young hip-hop dancer at YBCA

The night was billed as one which gave long overdue props to the poets of one of the most remarkable years in hip-hop’s Golden Era. But it ended up being much more than that. True, ’93 was a year when hip-hop’s creative expression was at its peak and the music industry hadn’t yet figured out what parts of the culture it wanted to emphasize and what parts it wanted to suppress. Yet in retrospect, the beats emcees rapped on back then were at least as much a part of the era’s greatness as the rhymes. We’ll never see those days again, not just because rap has changed, but also because the sampling aesthetic no longer plays such a central part in hip-hop.

Trackademics in the cipher

Trackademics in the cipher

“Clas/sick Hip-Hop: 1993 Edition” reveled in nostalgia for a bygone era, but that’s not all it did. It brought an appreciation of hip-hop culture to an institutional space without killing the jazzy, funky, lyrical vibe of that culture. And it did so through live instrumentation, in effect going above and beyond how the music was presented at the time of its emergence. By raising the musical bar, the production ushered in another refutation of space and time, to paraphrase Digable Planets, which shone a bright spotlight on the current generation of Bay Area hip-hop artists (most of whom hailed from Oakland). But the brightest lights blazed on the local female emcee contingent. So often an afterthought on hip-hop bills, or consigned to a segregated performance space, in “Clas/sick Hip-Hop’s” re-envisioning of ‘93’s cultural legacy, the women of hip-hop not only played a central role, but manifested a sisterhood of solidarity while showing that they indeed had the props.


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Life is Living 2014: Keeping it Beautiful

Live review: Life is Living Festival, Oct. 11, DeFremery Park.

Trying to describe Oakland’s Life is Living Festival is like trying to describe life itself. On a sunny, warm day, with every part of West Oakland’s DeFremery park activated—with people everywhere, listening to live hip-hop music well past dusk, sitting on the grass in front of Brett Cook’s large paintings of inspirational Oakland folks, skating or BMXing at Town Park, participating in kids’ activities with the little ones, perusing the wares of local artisans and artists, standing in line for a plate of yummy jollof rice and ndole from A Taste of Africa, or just having a parkside picnic with family members or loved ones—it seems absolutely perfect.

Candice Antique Davis and Kev Choice get open at the Soul Sessions

Candice Antique Davis and Kev Choice get open at the Soul Sessions

To call Life is Living a much-anticipated event would be an understatement. Every year since its inception, the Youth Speaks-produced festival is something to look forward to, a day of being surrounded by community, friends old and new, of being outside on what usually amounts to the last days of Indian Summer, just before the weather shifts and Fall begins in earnest. It’s also no exaggeration to call Life is Living a cultural institution, one which honors and celebrates local artists, musicians, and the community itself, in a completely sincere, open, and non-elitist way. Along with Oakland’s other open-air, music-filled community gatherings (among them Art & Soul, Malcolm X Jazz Arts Festival, Umoja Festival and Hiero Day), Life is Living has become part of the cultural fabric which holds the Town together, an event where the intersectionality of the city’s fabled diversity is on full display.

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There’s always spoken word poetry, music and plenty of art at Life is Living, and this year was more of the same. Each year the lineup is a little different—last year, headliners dead prez rocked the main stage with revolutionary rap; the year before that, Pete Escovedo, Los Rakas and DJ Questlove threw down—but it always showcases and spotlights the cream of local talent.

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Netta Brielle

New this year was a reggae sound system stage, with yard-style exposed speaker grills and a succession of dancehall-inclined emcees chanting down Babylon all afternoon. Progressive hip-hop collective Town Futurists also held down a main stage slot, offering up conscious, lyrical beats and rhymes and forward-looking soul grooves. The “Front Porch” stage hosted spoken word, an “MC Olympics” freestyle rhyme cipher, and various local emcees—including the Beats Rhymes and Life crew, Madlines and the Queen Emcees, former Lunar Heights mic-slanger Spear of the Nation, and longstanding socio-politically-aware rhymer Jahi, who recently joined the Public Enemy family as PE2.0.  Meanwhile, the kids’ stage featured performers Emily Butterfly, Theobekile “Thobs” Mbanda, and Young, Gifted & Black, along with gymnastics, tumbling and Zumba. While the absence of female performers from this year’s Hiero Day was a valid gripe among the artist community, no such complaint could be made about Life is Living: there was hardly any gender imbalance, if at all, at any of the stages.

Jennifer Johns

Jennifer Johns

The highlight of this years’ event, hands-down, was the “Soul Sessions” all-star revue assembled by pianist/composer/emcee Kev Choice.  Choice and his band remained on stage while a succession of uber-talented singers and rappers passed through to swap spit and channel soulful emotions. These included Candice Antique Davis of Antique Naked Soul, who murdered a rendition of Stevie Wonder’s “For You,” which had the crowd singing along to the “na na na na na na na” chorus; Erk tha Jerk, who dueted with Choice on “Forever Again” (one of the favorites from Choice’s latest solo release, Oakland Riviera); Netta Brielle, a homegrown contemporary R&B songstress who’s been living in Atlanta after signing to Atlantic Records; soul powerhouse Jennifer Johns (who brought up Ryan Nicole of Nu Dekades for a spirited run-through of “Town’d Out,” a song from Johns’ long-rumored,yet-to-materialize, third album; surprise cameos from Phesto Dee of Souls of Mischief/Hieroglyphics, and 1-O.A.K.; and a set-closing posse jam with Johns, Nicole, Kev Omoaghe Akhidenor, and Jahi which left the stage smoking. Credit must be given to Choice’s band— drummer John Omayga Adams, guitarist Bnai Rebelfront, keyboardist Doug Jones, bassist Drew, and sax players Ranzell Merritt and Roger Cox, who made the wide-ranging stylistic shifts seem easy and effortless—something they couldn’t possibly have actually been. While it’s great to see such talent play locally—especially in a space which holds as much memory as DeFremery (the onetime stomping ground of the Black Panthers)—the onstage energy was so combustible, it would be a shame for Choice not to take this revue on the road, so folks living outside of Oakland can see how it really goes down here.

Shock G

Shock G

Another first this year was the extension of the live performances past the daylight hours. This portion of the event featured Digital Underground frontman and hip-hop legend Shock G—yes, the one who put the satin on your panties—who seemed to be trying his best to channel his fallen friend and onetime bandmate Tupac Shakur. Shock switched between microphone and piano during his set, assisted by just a bassist and a DJ, and alternated between telling ‘Pac anecdotes, segueing into ‘Pac songs like “So Many Tears” and “I Get Around,” and lyrically referencing the formerly Oakland-based rap icon on “Keep It Beautiful”: His special special gift was his love side/ So many try’na be Pac but only cop the thug side/ How come yall don’t wanna be Shock? I survived/ And I ride for everyone/ It’s what you make it, so I made mine fun/ Yeah it’s bad now, don’t make it worse/ You wanna be happy? set that energy in motion and offer a smile first/ They don’t get it? try it again, breathe baby, breathe/ You really wanna be like Pac? read shorty, read.

There’s a lot which could be said about how the commercial rap industry has gone straight downhill since Tupac’s death 18 years ago. And to be honest, there’s little that’s appealing about commercial rap nowadays to those who identify as hip-hop generationers. But if Life is Living is anything, it’s a testament to the fact that good hip-hop is still being made, and that some of the best hip-hop being made is being made by community-oriented artists on a grassroots level who welcome the chance to take their show to the people in the park.

Marc Bamuthi Joeseph and Chinaka Hodge

Marc Bamuthi Joseph and Chinaka Hodge

It’s no mistake that the organizers of Life is Living include Hodari Davis and Marc Bamuthi Joseph, both of whom are card-carrying members of the hip-hop generation who present this festival like an offering to the orishas, with ritualistic purpose and complete integrity. These past few years, they’ve not only put on an enthralling annual event, but created a cultural legacy which uplifts community. Life is Living not only gives hope to future generations that hip-hop—and other urban genres—can stay positive and inspirational, but just might keep old heads who witnessed hip-hop’s evolution back in the day from becoming jaded and bitter about where the artform is at these days.