S1: Welcome to the Parker Edison Project. I'm Parker Edison. For episode three. I get to sit with a very unique fashion house located in Barrio Logan.
S2: So now I basically design and make everything in the studio , right ? Like , so I do all the showing , all that kind of stuff. But we utilize recycled , repurposed and reclaimed fabrics.
S1: Plus we hear from the creator of Art Rap. Open Mic , Eagle. There's some different happening. We need a different thing to call this stuff. And so I started calling my music Art. Rap is just an attempt to distinguish what me and some other people were doing from what was going on in the mainstream. I really felt like that was necessary at the time. That's next on the Park or Edison Project.
S2: It's just so crazy to , like , have all this stuff. And it's like , you know , like human nature where we're just kind of like , always , like , you know , that comparison thing of like , have we not done enough ? And like , you know , and.
S3: Or should we be further along after putting in so many years and stuff like that ? You start thinking like that , but then you really have to get to be like , look at all the stuff that we have that we do have , that we do have as opposed to what we don't.
S4: You are now tuned to the Parker Edison Project Project.
S1: Good morning and welcome to season three of the Parker Edison Project. A noun is a person , place or thing. In my opinion , culture is a noun. Each one of our seasons so far has been a version of it. Season one was about people. We featured stories that were so riveting we could just press play and let the magic shine. Season two was things unique topics ideas that the guests unwrapped or expounded on Season three places. GOP critics the way environments , people and power work in a continuum. The topic of this episode is art , which Webster's defines as the application of human skill and imagination. Plants are grown by the soil. They're in an arts no different. It grows feeding on the elements that surrounded Detroit made cars , so its Motown record label made music drivers could drive to. Art is the human manifestation of whatever that city produces. In the 90s , my first guest was the artist in residence for the neighborhood of Sherman Heights. Her name is Jean Cornwall Wheat. And if you've ever been to San Diego's Malcolm X Library , you've seen her handiwork. Let's get a professional's definition on art.
S5: I'm a volunteer grandparent to foster kids. For the last 20 years , and I've been an illustrator. I've been a professor at San Diego City College. Basically , I'm an artist , kooky and crazy.
S6: What is art.
S5: I think when you become an artist or interested in art and any of the arts , and not just visual art , but dance , theater , poetry , literature , your eyes open a little bit bigger , a little bit wider , and you take in a little bit more every time you look out and reach for it. So everything inspires. Me.
S5: I've been trying to get away from that for a long time and not get stuck into just painting Harriet Tubman and Frederick Douglass and , you know , Mohammed Ali or whatever , you know , just not all African American history and central , although that's part of my heart. I also want to express how I feel and how I see the world and other people and other things I want to play , especially at this time in my life. I want to be the freedom and have the freedom to play. So that's where I'm where I am right.
S6: Now is paint.
S1: Your primary medium right now.
S5: I'll try spaghetti if you put it in front of me. No , I love. I love sculpture. I love clay , I love bronze , I love metal , I like wood. I've worked in wood and mahogany and I'm curious person. And when if I see something done , I want to know how it was done and how they do it and I want to try it. So that's what I've been doing for a long time.
S1: One of the reasons that I asked the question is while I was researching you , I found that you have quite a reputation as a skilled photographer in addition to according to the Internet , you're a well respected youth mentor in places like the San Pasqual Academy. This got me to wonder is. Art.
S5: I see and feel through art. The philanthropy part. Okay , it's out there , but it's not. It's not a big part. It's not the main dish. It's it's the desert.
S6: I like that.
S1: I read this quote and it was attributed to you and it really , really interested me. It said , There are moments in time when art artists and that invisible primal urge merge and become one.
S5: And it's not just art , but there's a lot there's a lot of things in life where you you find yourself in the zone and that zone becomes spiritual. It becomes part of you. You become part of it. It's a very exclusive spot to be at that time. When you're working on something , you know you're dancing. You can get into that zone , you know , even , you know , vocalists can get. Into that zone and know they got it perfectly and wonder where did that come from ? It's not them. So a lot of times I'll finish painting and I'll stand back and look at it for years , really , and wonder who did that painting ? I didn't do it. It may have come through me , but somehow I managed to get into that zone. I can't explain it much more than that. It's a combination of spirituality and passion and art and and being a human being.
S1: Gene just touched on an important thing Work flow , that magic momentum that yields an artist's best work. Not far from Sherman Heights , a pair of entrepreneurs in Barrio Logan are utilizing that same energy to express themselves on fabric and film.
S2: I'm the owner , designer and creator of So Loca.
S1: We're So Loca located.
S2: We're located in Barrio Logan.
S6: Oh , yeah. Okay. Okay.
S2: My dad was a denim distributor. And so , you know , kind of like seeing him , like , you know , just kind of figure it out and like , hustle it. Like , I feel like that's where I got a lot of , like , my skill set.
S1: If that's where you started from. Yeah. Tell me what you do now , but only in a hundred words.
S2: So now I basically design and make everything in the studio , right ? Like , so I do all the showing , all that kind of stuff. But we utilize recycled , repurposed and reclaimed fabrics. So everything that we use is like recycled. So we're not going out to like buy any kind of fabrics or anything like that unless it's at an estate sale or it's a blanket at like a thrift store. So we're very , very mindful of like where our fabrics come from. Like we really want to make sure that as a clothing company , we're not creating more waste. If you walk around in the studio , they'll be like bins that are like labeled like this is denim scraps. This is like t shirt scraps. This is sweater scraps. And so everything is like a scrap. It's basically organized. And then we create something out of that.
S2: Like I've always like , enjoyed color. Like , I feel like even when you walk into the studio , like there's so much color like in the ceiling and all that. And I feel like the psychology behind like color. How does it make you feel ? And I've always been kind of like that person where it's like they don't belong together , so let's kind of force them together. So I feel like I'm really good at like putting like pattern pieces together that traditionally wouldn't go together. And I feel like that was like more out of necessity as a kid where it's like , you know , we're on a budget , all that. So I do like pushing the envelope with that where it's like they're not supposed to be together. So it's like , how do we like , put them to where it looks good ? And so I find a lot of like inspiration with like a lot of patterns that shouldn't go together. So yeah. Okay. Okay.
S2: I like a lot of stuff from like the 60s and 70s fabrics that are from that time frame too. So it just depends on like how rare a patch is , how much time we put into something like some of the stuff is like bleached , some of it is like dyed. And so it really just depends. We're really working on like , you know , creating things that still hold a lot of value at like a really affordable price point because we really want for anyone to be able to like buy like an original solo piece. And that's where we're kind of at right now.
S6: We say an original piece. Yeah.
S2: And so we're more like streetwear where we want for you to kind of like , like my whole thing , like my whole style is like , I want to be comfortable , but I also want to look presentable and like , I want to look cute and I want people to like basically saying a statement with clothes that you don't have to open your mouth to be able to be like , This is how I feel about it. You know , I get a lot of inspo and all that kind of stuff with like mainly like comfort and then like adding like , style to it.
S6: That sounds.
S1: Like art. Yeah. If it's not mass produced , it sounds like art. Yes.
S2: Yes. And you know what ? It's been really difficult because it's like I originally told my parents , I was like , I want to be an artist when I grow up. And like , it was not , you know , they were like , you should do something where it's like , you know , where you could be able to , like , make money and do all that kind of stuff. And for me , like , I've always been like a creative kid , you know , like I've been creative since I was like really , really small. Being able to be labeled as an artist , like , obviously , like means a lot because it's like , I feel like I did so much time to be able to , like , figure myself out as like , who am I ? Like , what is my value to this world and all that kind of stuff. And I feel like sewing has always been like very disregarded. It's like an art form , you know ? It's very rare when we make like five of the same one. And so we really want people to feel that like that clothing piece that they're wearing , it was made for them because we're not matching. Producing them were not mass produced humans. Anyone like comparing each other to like , someone else is like so toxic. And it's like , I don't want to make you feel like that in my clothes. I want you to be like , this was made for me , you know , And like that pride of like , I only have this. And so I think that that's when I realized I was like , like I want to create stuff that is like , for everyone.
S6: That's crazy because it makes me think that it is art.
S1: And then when people put it on , they become a different type of art. Or.
S1: An evolution of that and extension of that art. Yeah.
S2: So I could like spend more time with like my family , you know , all that. But I think like genuinely , like dressing like performers , artists like people that , like want to , like , make a statement , like getting to that point of like creating like these really , like , intricate , like pieces for people where , you know , they could wear it and feel some kind of way. So I think that that's where I would want for solo to like , basically like move to the next level.
S3: I'm the creative director and filmmaker at.
S6: Do you do the promotion for salsa ? Yes.
S3: Yes. So basically , Claudia does all the sewing , everything like that. And then basically I just try to film all the content , take the pictures of everything , maintain the website and just edit and produce the videos. Wow.
S3: You know , I use the phone for everything. We use the phone to shoot everything. We use the phone to edit. And , you know , for a while I was very hesitant with it , you know , just thinking about what what other people think that are in the same field. But I've within these last few years , I've kind of leaned into it a little bit more and kind of owned it , you know , and just mainly because I've seen other people that are highly , highly skilled , you know , create beautiful , beautiful work on the cell phone. So it's inspired me , you know , and it's just a way for us to be creative every single day and do it efficiently. You know , we could make a video. I have a thought. You know , Claudia usually has , like , a cool thought. We run in here , we film it. I go by my little room by myself. I edit it on the phone , so I'm not disturbing anyone with all the editing noise.
S3: You know , I would say the surrealism of David Lynch. You know , the independent thinking of Spike Lee growing up in New York. Definitely a huge influence. And then also more recently , there's a filmmaker called Sean Baker. He's not as well known , but he created this beautiful film called Tangerine and he shot it all on iPhone fives , you know , And he has just such an authenticity to his films and everything like that. And the fact that he was just able to create such a masterpiece using nothing but the phones. I mean , not only spark something in me , but I know it sparks something in a bunch of other people too. And he influenced the whole generation. And yeah , I'm just waiting for that first Oscar nominated film or whatever.
S6: Fair , fair and shout out iPhone five. I got. I got two of those joints. Right. Exactly. I do the five s. Yeah. That's what he started off. Five S Hey , Faithfully. Faithfully. Manny , what's.
S3: Documentary called Skills Pay Bills. I know we do little clips and everything like that , but just like a full documentary of us , you know , trying to break through to that next level , trying to work on a project , trying to do something like that. Just something where we just really take what we're doing here in these small clips and just make it into something bigger that we could show. What a film. Festival.
S8: Festival. Sheesh. Okay.
S6: Okay. Okay. Um. How well you're married.
S3: Yeah. You know , and we've , we've ran on that for so many years and you know , it's helped us in some ways , but we'll see that eventually you run out of fuel. So it's not a very sustainable mindset. We want to keep it growing. We want to keep always thinking about the business and putting an effort. But then what are we doing this for ? Yeah , we want to have a good relationship , a good family. We want to raise a good daughter. We want to have all these things. And you can't do that if everything is just solely focused on the work. Yeah , it's work to actually figure out how to maintain that balance. And we have to say to ourselves like , Hey , the shop closes at five , you know , But we've had to really be actively holding each other accountable and making that happen. It's not something that just happens naturally for us because if we had to our own , we would be in the sewing studio all the time and never leave. But we do get burnt out and we don't want to get burnt out.
S6: Right , Right. Yeah. Gets a high price to pay for success. Yeah , yeah , yeah.
S1: What's the , what's your least favorite.
S3: Yeah. The admin stuff , the balance sheet , all that stuff. It is. It's stuff that we would put off and procrastinate with , you know ? But it has to be done. It's part of like we can't have a business without it , but it's , yeah. Anything that's non creative , we just , it just takes a lot to do to do it , you know , out of us , you know. But we have to realize that not everything can be totally creative with it. Like in the business part of it , you know , it has to. We have to sell everything that we make. Yeah. You know , we have to and it has to be a profitable and we have to make sure that we can have stuff for our daughter , you know , because this is both of our lives. So I don't there's no extra income coming from anywhere else but the shop. Yeah. So we have to really do have to treat it like a business , even though it , it makes us hurt inside a little bit. Yeah.
S6: You have ten year old daughter. Yeah. Do you think you're raising an artist ? Yeah.
S2: Yes , for sure. For sure. She's an amazing writer , you know , which I'm really proud of because she gets that from Manny. But she's just a very , like , you know , super compassionate , like , very loving , like , you know , girl that , like , you know , she. She's just like , going through , like , the phase of , like , being ten and like , all the gossip and class and like , you know , all that kind of stuff. And she's a great artist. She's , like , really good at drawing , like anything creative. She loves doing. So we definitely know that she's headed into that path.
S3: I remember I would be afraid to even tell my mom I wanted to be an artist or whatever , you know ? But I don't want her to to feel afraid to say that we want to embrace that , you know , as a as a viable career path. Yeah.
S1: So Loca is an art. House.
S1: And wears of their garments are the canvases. One of the things that fascinates me about Claudia and Manny is how they multitask. They juggle store owning art , parenting , and it all calls for this compartmentalization that functions as as a type of organization. It's sort of how they keep things in order. I think that thing that would be considered an obstacle in another field helps the businesses to maintain their work flow. That's nuts. I got one more guest on this topic of art. We've had sculpting and paint photography with Jean Cornwall , wheat , fashion and film with the cats from So Loca. When we come back from this break , let's talk about rap.
S4: Stay tuned for more of the Pepe Pepe.
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S6: And now back to the Pepe.
S1: The Pepe. My next guest wears a dozen hats , each one answer than the last.
S11: I make things. Those things. Sometimes that thing is music. Sometimes that thing is podcasts. Sometimes that thing is television shows. And that's writing. Being on camera. Yeah , those are the three main things in terms of what I do for a living. Like the things that pay me.
S1: Have you on this.
S6: Particular episode because I'm on the topic of art , these different genres.
S1: And mediums of art , and you coined the phrase.
S6: Of art rap.
S1: And I want to know why.
S11: So I started using that term in like 2009. I was driving to one of my fraternity brothers weddings , and it was a drive from LA to Vegas. I did a solo. So , you know , it was just I was thinking about how in rock music there's all of these sub labels , there's all of these distinguishing traits , there's all these bins at the record store , all these different types of rock music. Um , you can have bluegrass , you could have punk , you could have heavy metal and you could have art rock. And I was like , Damn , it would be really cool if rap had that , especially at the time , because I think that was a particularly bad time for mainstream rap. It was very homogenous. It was about to get weird , but it hadn't yet , so it was just super boring. I felt like and there was music that people or me and people who I would consider peers Serengeti , Shabazz Palaces , Danny Brown was coming around that time. I was like , There's something different happening. We need a different thing to call this stuff. And so I started calling my music Art Rap is just an attempt to distinguish what me and some other people were doing from what was going on in the mainstream. I really felt like that was necessary at the time. Like mostly for consumers , like not really for us , but just so people could know that when they stumbled into this corner of rap that they should expect to be hearing something different.
S1: That makes a lot of sense , man.
S6: Especially even with those names you just mentioned , like Shabazz Palaces is a perfect example of that. Makes total sense. What's what's the criteria ? If I want to be if I want to be a qualifier , see what I did there. I want to be a qualifier.
S11: You know , that's been the funny thing over the years that's been hard to define. I think one of the reasons that maybe art rap was not the best label is because something in that implies that there's going to be some aesthetic similarities between acts in that subgenre. And that's not true. If you look at the modern day people who get labeled art rap , it would be like myself , Billy Woods , Kweli , Chris , Rap Ferreira. But we all make very different music from each other. Like we all complement each other well , I think because we all kind of come from the same home planet , but like we don't do the same thing. So what I'm really starting to understand is the actual list of character traits that I'm trying to say we are this. It's really mostly about being like fiercely independent and making a lot happen without a lot of resources. It's about not having a machine and it's about like making music with an urgency of like survival and continuing to put all of your chips on yourself. And whatever you decide , your sound is like that. Freedom is really like what makes me feel kin to other rappers.
S1: It's almost the.
S6: The tools that you're using are almost like a defining factor.
S11: And the tools that we don't have access to and how we make it happen without any of that.
S1: That's almost the core.
S6: Of rap itself , though , right ? Like that's the lack of instruments. Okay. Which makes me wonder if that's part of the criteria then.
S11: Just define the era because nobody knew what rap was going to be like. There were no resources to command them , like all any of them had was whether or not people liked what they were doing. That's all they had. And now there's resources. So now there's choices. Now you can choose to make a product that you want everybody in the world to like. And then if and if you succeed at that sort of thing , then you you can get a lot of resources behind you because a lot of there's a lot of entities that would like to make money with you. But if you're making something unique , if you're making something that it's meaningful to you and that's the chief factor , then that's a choice I don't think schoolI was making. He wasn't making thinking only a handful. All the people are going to like this. I don't think that that's what was in his mind. Maybe it was , but I don't think it was. I think that all of them were trying to do what they thought would appeal to the most people. You know , and I've talked to some of my peers about it like it's a conscious choice , like we're making what we want to make. We're making what ? And that I guess in that sense it feels more like the traditional definition of art , you know , because it's meaningful. It's because it's what I want to hear. It's because this is what this is the music that I want to contribute to the world. As a creator , there's no sense that 10 billion people are going to like it , even though I'd love if that was the case. Right.
S6: Right. Right. That's not the center goal.
S11: It can't be. I'm personally not equipped to operate that way.
S6: We'll come back to that because that's that's an interesting point.
S11: Prince Paul three and me. Oh , those are. That's. That's my Rushmore.
S6: I'm not mad at that. Got a big up yourself. I'm always , like , really amazed at the variety of things that show up on your radar and that you you mentioned even that you reference in your work.
S11: In that I feel like it's easy to stay somewhat in tune just because I like watching TV. I like watching movies , I like reading comics. I like I used to like reading real books a lot. I've done that so much lately. So , I mean , I think there's just an essential curiosity that I've always had. And and I've often said that curiosity with media , you know , and for me , like , rap is always a cool opportunity to , like , point out the things that have stuck with me that my brain won't let go of. And I feel like rap's a good place to put that stuff. You know , that.
S6: That comes out. And it's really endearing because it'll you're often mentioning these things that are like ubiquitous , like they're not everywhere. So it makes it real personal , like , Oh shit , yo , He said , da dah.
S11: It's just a fact of life , you know , Like I'm about to be 42 years old. You know , I grew up in Chicago in the 80 seconds , and I went to Southern Illinois University in the late 90 seconds and early 2000. And I've lived in LA ever since then. I mean , I don't want to say it's like a unique life , but every person's life is very unique. And in that sense , like , I can only really discuss things that I know about or have experienced and just mathematically , right ? Not everybody's going to have experienced the things that I've experienced , but since I value very much staying true to that , that means I'm going to say things and not everybody understands. And I just kind of have to have an awareness of that unless I want to do my thing in some new way. The things that I'm referencing , even if , like you said , they're not ubiquitous , they are real to me. They meant something to me. And that alone is enough of a reason for me to invoke anything.
S6: I love that.
S1: And I love the way it manifests.
S6: Not just in in your lyrics , but in your actions. You know , you're you jump into these different.
S1: These different genres just like you.
S6: Were you were mentioning it might be.
S1: The space of.
S6: TV or podcast or battle rap. It's in , it's in a comedy. And I'm just kind of curious. You have a favorite medium.
S11: I think I think it is still rap music. I think that's still my favorite thing to make. Started cooking in a pandemic. I like I like cooking too. I've grown an affinity for that. Um , and it's nice to have something that I can enjoy making. It's not tied into my income. You know , I started building computers in the pandemic too , and I found that very satisfying. But again , it's like just a personal sort of satisfaction , not like I'm building the best.
S13: Computers in the world.
S11: You know , saying it's just like , this is a nice way for me to , like , put a puzzle together that's going to increase my capacity. But it's also like a very Zen activity. Like you can put something on in the background , music , whatever , and you're just tinkering with this thing , putting it together and. At the end of a couple of hours , you press this power button and then there's a computer saying , like , I just found it very soothing.
S6: Fair enough. I'll take your word for it , man. Did you work for it ? And actually speaking speaking of weird stuff , I need to settle an argument. Your your newest project is called a tape called Component System with the auto reverse. And me and my homeboy have been arguing for a little while now on whether or not that's a nod to A Tribe Called Quest with that title.
S11: It is certainly an invocation. It is not completely a nod because all of my album titles in My Heart are these long sentences , but certainly calling something a tape called Components. It's certainly using the grammar of A Tribe Called Quest. I'm not necessarily trying to say this album relates to A Tribe Called Quest , but certainly the grammar of a thing called thing , you know , right. Is is informed by a tribe.
S6: And , you know , the vibe throws me back into that that seasoned as well. Man if I.
S11: Look at where I was aiming , the colors that I was attempting to paint with , that is certainly the goal. It's just that I would never like I wouldn't even know how to really like Midnight Marauders is my favorite rap album of all time. It might be my favorite album of all time , but like , it's certainly my favorite rap out of all time. And so in my mind , at my heart , that level of painting with those colors is untouchable. So I wouldn't call that what I was attempting to do , but certainly I , I hope to move in the honor of that , you know , like in the grace of that sort of expression , with those colors.
S6: Yes , sir. That's honorable. So this is a two part question , and I actually got a chance to interview you , and it was real impromptu. You're playing a show here in San Diego. Was a sleep better. It's very unorthodox. Oh , yeah. And I was able to get a quick interview with you , and I got a recording of the performance you told me Then he was like , You can use whatever you want from this performance before I do jump into that.
S11: We'll see how that goes. Uh , yeah , I'm at Mike Underscore Eagle on there until it all burns down. Hey.
S6: With that , could you please do me the favor of introducing the song ? This is the.
S11: First song that I ever wrote that in my mind. Right after I recorded the demo. I was like , This is a hit. It was from my 2014 album , Dark Comedy. It's produced by PG 13 songs called Qualifiers. Oh.
UU: Hey , guys. Hey , I see the deepest greens. I hear the darkest blues Might not be synesthesia.
S15: Might be your apartment.
UU: You good ? Good. Get up and dance. Could you get up and dance ? All right. My son's dancing and shit on my hands. He can do my cover. You like that ? He plays the bus driver five to get. To do a one liner and why you take.
S15: Three beats to do a two.
UU: Step , six days. I got two left to I take five. They boot back and make that so someone flat broke. My dad lost in that black smoke.
S15: If you if.
UU: You're a bike man that was people black. Excuse me if you're right man think I can't speak for black folks that that's open your rap folks to your hand hurt the yo back broke the map crack smoke and have black so I can mention it's an imperfect plan. Hold up. It's my turn again. I'm playing 13 games on words with friends. And lift your hands.
S15: Lift your head if don't close and clean the yo kids bed. My body drains literally beneath the beds and they can tell I beat. It's like infrared. Yeah. We the best mostly. Sometimes the freshest breakfast we decide it's time to respect my qualifiers , respect.
UU: My qualifiers , respect my qualifiers , respect my qualifiers , respect my respect , my be the best. Mostly. Sometimes the freshest right Was we the tightest kind of respect my qualifiers , respect my qualifiers , respect my qualifier skills , respect my qualifiers , respect my respect mine. They say they looking for me , but I don't want to hear. You can find a good support district. Balance it with my head disheveled and my sneakers got a thing itself , Sadly , beaches up. I went to Africa. They played me on the radio and then I weird the people out. Yeah , maybe so. Because all they knew was jab and all I do was vibe and the bright green light. Make the program director lose his mind. He said what type of rap ? That ain't no business holes and I ain't even being funny , Homie didn't know that. He said , It's whimsical. Like , say I get you , talk me. My thoughts are very lofty. Response time is very faulty. I'm far too young to leave and way too old to die. I ain't play call to duty Smoke you in golden eyes roll to die. They beat Kobe to PG 13. Cobra Kai beat Luke Roberts. I feel the best most. Not too precious , because if we decide it's time to respect my qualifiers , respect my qualifiers , respect my qualifiers , respect my qualifiers. Respect my. Suspect my weed the best. Mostly sometime the freshest rifles. We the this kind of respect my qualified this. Qualify cause respect my qualify girls respect my qualify girls respect my I. Hear me say singing. I haven't seen the light before. This one. And you were not the one I was addressing. She took a train. Back in simultaneous. And so now. You're isolated. Believe. And the plot is never called the whole thing. So what bothers us going over So.
S1: Thanks for stopping in. Parker Edison Project is produced and hosted by yours truly , Parker Edison and the Good People at Platform Collection. Be sure to subscribe and catch the next episode on Apple , Spotify or wherever you get your podcasts. If you have any comments or questions , visit the Parker Edison Project. And please , please leave a review so people can see what you think of the show. My guy , Chris Reyes , is our head editor. Adrian Villalobos is media production specialist. Lisa Jane Morris said his director of audio programming and operations and John Decker is senior director of content development. This programming is made possible in part by the KPBS Explore Content Fund. I love saying that because it reminds me of Sesame Street. Seriously , y'all stay safe out there.
The theme of episode 3 is art. We get a definition from painter/sculptor Jean Cornwell Wheat (https://jeanwheat.wordpress.com/about/) then I visit a fashion house in Barrio Logan (https://sewloka.com/) and L.A.’s Open Mike Eagle (https://open.spotify.com/artist/5CuU6SRJjbbZL926nSGGxX?si=SKcnMIVBRGSQkbHPW705yA) gives us the history of art rap.
Episode artwork: https://www.liquidsketchstudio.com/
Show credits: Parker Edison (Host), Chris Reyes (Head Editor), Angela Rogan (Writer), Prof Robert A. Saunders (Geo-Political Consultant), Adrian Villalobos (Media Production Specialist), Lisa Jane Morrisette (Director of Audio Programming and Operations) and John Decker (Senior Director of Content Development)