Keith Baker stopped by to talk to Carbon Sound’s host Sanni about 

’s work of transitioning the Rondo neighborhood’s history of pain into new possibilities for the community.

Hey y'all, we are back with another interview. You know how we say "around the way?” Well, I'm sitting with someone who actually helps design "around the way." 

 is a St. Paul-based organization dedicated to repairing the generational harm caused by the construction of I-94 through the historic Rondo neighborhood. Now, through storytelling, advocacy, and community-centered development, ReConnect Rondo works to restore connectivity, preserve culture, and build economic opportunity for the Black community in Rondo and beyond. And here with me, Carbon Sound family, is Executive Director of ReConnect Rondo, Keith Baker. Welcome, welcome, welcome.

I'm a fan of all you guys around the way. My mom taught me the butcher, the baker, the candlestick maker, so to see y'all come in here and tell us y'all ingredients is super dope. But first of all, just for me personally, I've been hearing about ReConnect Rondo and the project to make peace with what's happened with the Rondo community. So I'm really a fan of this, and I've been following it. So first of all, I want to thank you for what you're doing. And then second of all, for those who don't know you, can you introduce yourself and your role at ReConnect Rondo?

Well, I'm excited to be here with you. I'm the executive director for ReConnect Rondo, and I have a bit of a transportation background, kind of an eclectic background, but I was saying to a few folks a little bit earlier, I started in the music business. So I don't know how you make a straight line from music to now leading an effort to restore a community.

Well, I'm a believer of curiosity, imagination, and knowledge. And I think the pursuit over time just introduced to a wide range of things over the course of my personal life and my professional life, certainly working in the nonprofit field, working in the public sector field, working along private sector as well. I acquired just a curiosity about how things function and how things work. And so I find my way to this project with an understanding of how knobs, tools, systems, processes, those things function in all of these various arenas. I just happen to be in a place where an opportunity surfaces to reconnect a community.

I guess it makes sense the way a musical mind is, you do question the world around you. So I can see how you found yourself in this space. For listeners who may not be familiar with Rondo's history, can you explain to us why the neighborhood remains such an important component to Black history in Minnesota, and can you help it paint the picture of what was actually lost in the Rondo community when it was divided?

I mean it's a heavy subject. No doubt about it. But there's also a possibility. So when we think about 150 years, the Rondo community, the African American community, has emerged from as early as the mid 1800s, establishing their social, cultural, economic, civic, spiritual fabric, then the freeway comes through, clearly, and devastates that cohesiveness, that sense of community. Rondo's story is like 950 communities across the country, quite frankly. And when we think about the loss, what we really wanted to do is make sure we quantified the loss, so even though more than 1,000 structures — and when we say homes, 700 homes, 300 businesses were devastated along the corridor of Rondo, after again, that social, cultural, economic, civic fabric had already began to form, and to really be a full expression of what the Rondo community is. It also has an incredible history, too, because a lot of the thought leaders in the early 1800s met in Rondo, and really conceived civil rights activities, advocacy activities, and so it has a long history of contributing nationally to a larger movement. And that's why it's so significant that we pay attention to Rondo's history today.

And I'm glad you're here today, because I feel like I've only gotten a surface level understanding of, "Oh, this was a Black neighborhood, and construction went through it." To know that the early minds of the 1800s were coming up with ideas, to link up that would affect us nationally. That's why that's important. We don't want to lose that. When people hear ReConnect Rondo, what do you hope they understand about the mission right away?

It's a very complicated project, but when I think about it right off the bat, is the transition from pain to possibility. When we think about reflecting on history, certainly it's an emotional lived experience that community members have been a part of. But how do we set conditions for possibilities into the future? How do we see those things happening? And so for me, it really is that transition from pain to possibility.

That's so powerful. I don't want to move past that too fast, because I think in our own lives when we look back, it's hard to get caught up in the pain, but when you look forward, it's like, "Well, how can I possibly navigate around this again?" The proposed 

, this is the project that I've heard about. It's become a major part of the conversation. Can you tell us about this, and what makes the project so significant, beyond it just being infrastructure?

Let me establish this idea of connecting past, present, and future. When we talk about the past, certainly the African American community in the Rondo community today is about 30%. It's a very diverse community today.

30% population of African Americans. 80% of the population historically in Rondo were African Americans. And so you can see a great shift, but it's important for us to be fundamentally grounded in the current state of things, but also you have a lot of new immigrants moving into the community, establishing their own sense of place, but while those things often happen, the African American experience begins to disappear, because new experiences begin to surface. So we think about establishing 21 acres of brand-new land over the freeway to connect both sides and use that as the platform for making sure that the African American experience doesn't disappear, because it reflects an African American cultural enterprise district, which was Rondo before the freeway went through.

That's so bold and so courageous, to go be like, "Nope, we're gonna put this right back." What role does music, art, and community events play in healing and reconnecting communities?

As a musician myself, and you did reference art — I see this as an art project, because it's fundamentally about creating something new from something that was. So it's acknowledging what was, but it's also visualizing, again, the possibility into the future, and that's really essentially what art is. So I see this, and I've always seen this as an arts movement, but we've got to get through some of the technical pieces in order to realize what might this built environment on top of this newly created structure reflect. How does it smell? How does it look? Are all very, very important, and arts are fundamentally important to that.

Wow, so dream chasers, listen. I told you the voices from the community are coming in, and they're telling us the secrets. It just seems like such a big project, and to say it like, "It's art" or like, "It's an album," I love how the interconnectedness of process, regardless of the practice, that's dope, that's huge. I don't want to skip past that.

I often think about systems, processes, tools, and resources. When people think about an art project, they've got tools, they've got a flow, they understand how they create. I think this is the same, except again, there are a lot of levers that are oftentimes invisible to community, and what we're trying to do is make sure, "No, these are the levers that actually move a creative project like a land bridge." Because you're dealing with architects, you're dealing with engineers, you're dealing with all kinds of folks who contribute to it, but you've got to set the right tone for it.

What gives you hope when you think about the future of Rondo and Black communities across the Twin Cities?

Wow, that's a deep question. I think about it fundamentally — cultural preservation, economic benefits, and ultimately a way of creating this sense of cohesiveness in our common aspiration and benefit.

You just did this interview so smooth, just so smooth. I appreciate you coming in. And if we wanted to find out more about your work with ReConnect Rondo, how can we connect with you? How can we research you? How can we stan?

. Certainly want you to go there. We've got all of our studies that we've done from a technical approach, but also you'll get a feel for who we are. Also, our social media is really a marvelous way of clipping in.

Okay, and we could probably find that information on the website, right?

Thank you so much, Keith Baker, for coming in, and thank you for what you're doing to preserve the Black community, Black culture, and that connectiveness, that connective tissue that keeps us together and helps our image. So, thank you again so much for pulling up.

Keith Baker stopped by to talk to Carbon Sound’s host Sanni about ReConnect Rondo’s work of transitioning the Rondo neighborhood’s history of pain into new possibilities for the community.


The Message - Keith Baker from ReConnect Rondo

John Kueppers | MPR

Renderings of a road project connecting neighborhoods

Courtesy of ReConnect Rondo

a woman and a man posing for a photo in the carbon sound studio

Interview: Keith Baker from ReConnect Rondo

 stopped by to talk to Carbon Sound’s host Sanni about her most recent project 

All right, class, settle down, settle down. We got a new community voice in the studio. Based in Minneapolis, a rapper, songwriter, and creative, whose work explores healing, identity, sensuality, spirituality, and Black womanhood through storytelling — Carbon Sound family, let's welcome Nakara Forjé. Welcome!

I'm so happy to have you in here; I have so many questions about your projects. But we gonna keep it concise. So, you have a project called 

, and it's like a series, and you just released [

 Sacred Pack; that's the latest in your series. I remember when you dropped the 

 series, and now you're touring it. So, first of all, congratulations; that's super dope. And in this project, you've brought other Black artists into the fold, and you are gonna have your final show at the 

. I'm fanned out, so I know you, but for the folks that don't know you, can you introduce yourself and talk a bit about who Nakara Forjé is, for the people who may be discovering you for the first time?

Yes, my name is Nakara Forjé. I am a hip-hop artist, God MC, visionary, event curator, workshop facilitator. I'm a mother, I'm a sister, I'm a community leader, and I take pride in that.

How has Minneapolis shaped you as a person, artist, and storyteller?

Man, Minneapolis is home. I've gone a lot of places, but the older and wiser I get, I just appreciate Minneapolis, the Twin Cities, really, more and more. The Twin Cities is so diverse; it's so cultured, the nonprofit sector here and the grants that we have and just all the things that kind of make this place great — I think when we're from here, when we're experiencing it, we take it for granted, and so I'm just so grateful to be from here. I think the diversity of this place, the community that we have here, it's so fire. It's grounded me, it's molded me, it's made me the leader I am.

I love that. I love your commentary. I'm from Chicago, and so I'm an outsider, and I'm constantly talking about how the creative scene here is insane.

It is elite level, and so it's really nice to hear. I think I feel like I hear negativity about Minnesota, so I love when y'all come in and y'all like, "Nah, y'all need to —"

Be grateful. I feel like I'm more like, "Y'all need to put some respect on y'all own name." Because the talent here is insane. So, again, you released 

 in February. What does this project and the phrase "Healed Hoochie" mean to you, and especially to Black women?

Healed Hoochie is about the duality of working on yourself and becoming the highest version of yourself, while still navigating the lowest version of yourself. I think we're constantly living in that tension, and so healed hoochie is about embracing that tension and understanding that I'm perfectly imperfect. I'm a constant work in progress, and that deserves to be celebrated.

Sheesh, I gotta pause. You said embracing the tension — ma'am, when did you get that enlightenment for that?

I think I've always been working towards that enlightenment. So often I fought it, or I've been fearful of it, or I've been made to feel that I want too much, or I am too much. And it's like, no, actually, I deserve the most.

My daughter, shout out to Eshay, she's taught me so much about reframing, and now I'm just like, the queen of the reframe.

I do appreciate that about younger people. I think the older you get, you get more stuck in your ways, and I think when you're younger, you're like, "You know what, let me look at it this way."

I love that. What was the creative process behind this project? I remember the first time you dropped it, I was just like, I've never heard anything like this before, 

. Because you see healed and you think, you know, evolved, and then you like hoochie, and you're like, woah.

And you know what, it's like I'm actively healing, I'm constantly healing. There are some things that I've healed, that I've grown from, that I've outgrown, but there are still some ways that I'm raggedy. And you might not see it, but I know it, and I own it. So it's about being accountable to the parts of me that are not yet healed.

Nakara, you coming in here spitting — I'm sorry. What kind of emotional, spiritual, or artistic space were you in while creating this project?

So it's a series of projects, like you said, and they all kind of have their own flavor. And so the first one is the 

, and that's me leaning into "I'm really her." I'm owning that, and that was also the transition period of me moving to Atlanta, getting away from Minnesota, healing from some things that really tried to set out to break me. And it's like, no, I'm gonna use those things, and I'm going to let them propel me. And so the 

 is just kind of owning that bravado. The 

I was gonna say, why Jada, ma'am? Why Jada?

Because they was on Jada head, and I think they forgot that when Jayda entered the game, Jada was that girl. Jayda didn't look like nobody, she didn't sound like nobody, her acting was elite, her aura was sought after. And when somebody makes a mistake or you don't like the way that they're moving, you forget all that they've brought to the table. And so, just being a person who's been deeply misunderstood, I felt like I wanted to present an ode to Jada Pinkett.

Your success and your growth from this series, I can tell, it's just the way that you're approaching this. You are touching on topics that I feel like are taboo, or that I feel like maybe the manosphere kind of runs with, without having a deep understanding of womanhood. And so, oh my God, thank you.

, because obviously the girls need to hear this. I notice that you're intentionally bringing Black artists into the fold. Why is that important for this tour?

I'm a Black woman; I take that with me everywhere that I go. That's the first thing people see; that's who God made me to be. I got to take pride in that, and so centering that in everything, but more importantly, centering God in everything. So all of the artists that I chose all have a spiritual element; they know God, and you hear it in their music. Their music is touching; it makes you feel something, and so that was really important in curating this tour.

It seems so dangerous in that you intentionally are putting that — I tell my listeners I'm a believer, but it's such a dangerous territory, with religion and politics intersecting. How did you feel about adding that in?

I don't feel no way about it. It's just what it is. It has to be intentional. It has to be done. That's part of the call on my life. God gave me this gift. He's the reason I rap. The Sacred Pack is about my spiritual journey, and so I'm centering that message, and that vision, and that mission with this tour.

Why is it important for this tour to feel so community-centered?

You don't get to be a large artist without community. And so community is at the core of everything, and some of us, we have smaller or larger communities, but it's a community, nonetheless. And so I just really want to do something that makes all of us feel good, and feel seen, and feel heard. Community is at the heart of a fanbase. We want to be big artists, but you got to build community.

. What can we expect from the final show? Without giving away too much, obviously.

Oh my gosh, you can expect to not leave the way you came, you can expect worship, you can expect elite lyricism, you can expect to feel God in a space. Feel God and feel community.

It's stretching me, it's edifying me. I'm finna cry.

Because you have a very peaceful vibe in here, and that's why I want to know, because again, I've been fanned out about you since a long time ago, and to watch you drop this project, and to see people respond to it, it speaks to the magic that I talk about in music all the time. You have a very strong aura about you, and it's pleasant, and it's strong, and it's healing, and I just want to thank you for doing this, for you dropping this series, for you embracing the tension that you obviously have felt to get to this space, because you don't get to this space without the bumps and the lumps. And so I just want to thank you for being who you are, for allowing yourself to evolve in front of us the way you have, and then for providing us a product. Because you could have just twirled away into 

 heaven, and you would have still had this vibe and this peace about you, but the fact that you was like, "Nah, let me come back and tell y'all what I learned."

Yeah, you don't get to this peace without the turmoil, and so part of my assignment is to share the journey of how you get there. I still wrestle with it. I had a hell of a morning. I got a six-year-old who think he know everything, and so I'm in constant tension and turmoil. But I choose to be well, and that's just me using my free will in the best way I know how by making that choice to be well. So, thank you, because my aura has always been strong, but it hasn't always been peaceful.

Nakara Forjé stopped by to talk to Carbon Sound’s host Sanni about her most recent project Healed Hoochie: Sacred Pack, her Sacred Advisory tour, and more.


Nakara Forjé for stopped by to talk to Carbon Sound’s host Sanni about her most recent project ‘Healed Hoochie: Sacred Pack,’ her Sacred Advisory tour, and more.

The Message - Nakara Forjé

2 women posing for a photo in the carbon sound themed studio

Interview: Nakara Forjé

Jamar Diggs stopped by to talk to Carbon Sound’s host Sanni about community building through basketball and what to expect at this summer’s 

Woo, dream chasers! I got somebody here for you today. The 

 is a Minnesota summer hoops destination. It brings together professional athletes, locals, college players, and the community through competition. The Pro-Am has grown into a gathering space that celebrates community through basketball. And here to talk about the program is Jamar Diggs. Welcome, yay!

First of all, thank you for what you do in the community. I love highlighting anybody who is building up the community, inspiring the next generation. So, first of all, thank you.

Can you introduce yourself to the audience that doesn't know about you and talk a little bit about your role with the Twin Cities Pro-Am?

My name is Jamar Diggs. Grew up here in Minneapolis, Minnesota. Went to high school right in downtown Minneapolis, DeLaSalle High School. With school and basketball, my career took off, went to go play Division I college basketball, ended up playing professionally in Europe. So I've been playing professional basketball in Europe for the last 15 years. That's a little story about me, just grew up here, always wanted to find a way to make an impact in what I knew, and sports was kind of my thing. So, when I would come back home in the summers, I wanted to create something — selfishly for me and my friends, a place to play. And then when I started to do that — there's a track record of similar leagues and similar Pro-Ams in other cities, and there's also one here that I played in when I was younger, so I wanted to recreate that, because it was gone. I have somewhat of a business acumen, and I wanted to use some of my skill set and some of my relationships, and I said, "Well, let me start there." So I just kind of wanted to start small and just have a place for people to play basketball, but then I realized it could be a lot bigger than that, so I wanted to just involve people in the community and find a way I can tie it all together and kind of take what my predecessors, what their leagues have done, and take it to my version of it or a different level. And that's kind of what I did with that.

What makes your vision for your version of Pro-Am different from the other Pro-Ams?

I think first I want to give a shout out to the guy who kind of took me under his wing, his name was Rene Pulley, he was kind of a basketball legend here in the Twin Cities, St. Paul area, and he had something called the Howard Pulley Pro-Am, and I played in that, participated in that as a player, as a high school guy, and for multiple reasons that fell out, and I just said, "Well, pass the torch to me, and I can take that on." I feel like the basketball community is extremely strong in Minnesota, as you see a lot of people, younger guys making it to the NBA and all that, and sometimes we don't get the national recognition from around other places, and I kind of wanted to create our space for us to highlight ourself. And within that I was like, well, since our community is so strong, we need to take the people that love basketball and the people that are here in the cities and just bring them all together in a safe, fun environment, and that's kind of what I wanted the vision to be. And then from that, step by step, I just started thinking of other things: how to implement camps or implement mentorship programs and things of that nature within the basketball event; we're now highlighting local artists or DJs, or things of that nature. Just little things — or local businesses, let's say — just finding small ways to continue to make it a community-based thing, not just a basketball event.

Before we go any further, what does Pro-Am mean?

Pro, like professional, and amateur. So, there's professional basketball players and amateur basketball players. There's high school players, there's some guys, the local kid that may go to Tartan or may go to Johnson or may go to Minneapolis. Some high school players, which are amateurs because they don't get paid to play basketball, and now that college basketball has changed, and they start making money as well, they're still considered amateurs, but that's what it is. Guys that play in the NBA, or guys that play internationally, who play basketball for a job, those are professionals. So it's a mix of professionals and amateurs. Or the guy who may not have had the career, let's say with a resume, but can play, he's considered an amateur basketball player. So it's a mix of those players.

That's so welcoming. Why do you think the Pro-Am has resonated so strongly with the Twin Cities community?

I think I would just have to highlight again, like basketball — it is a hockey state, Minnesota, they say, but in our neighborhoods and people that we know, we love basketball. So from that standpoint, I just think it's special, because again, people want to come out and see a guy that they may have not seen in a few years, or their stories of somebody's son, a father and son playing together, like Khalid El-Amin and his son Ishmael El-Amin, these are legendary — you would never really get that opportunity to see these guys play. Or you can see brothers playing, or somebody who graduated from your local high school playing against a professional NBA guy, a Timberwolf might come in town, so all of this is just like unique format, which I think it brings a level of excitement, and you know, level of fun, and again, the stakes aren't high, it's not your college team, have to win for a championship, but also it's pride. It's pride in the city, like I get a bunch of my friends together, and we're gonna beat a bunch of your friends — competition. It's nothing serious, but just a competition, and I think that's why I think it's resonated, in my opinion. Selfishly, as a basketball player, one thing I've learned that resonates with basketball is you can see people's emotions and face when you play basketball. Like football, people wear helmets, you may know of a player, but you don't see their face. In basketball, you can really resonate emotionally with them, even from excitement or frustration. I think that is one thing with the sport of basketball, in particular, it's special. And then also, Minnesota, again, it's not that big, so if you don't know somebody, you know one person who knows that person, especially in the sporting world. And I think the combination of those things, coming together and friendships, and again, little small banters, maybe a little St. Paul Minneapolis rivalry, little things like that. It's not intense, but little things like that play a role.

I've heard you mention safe space. It's just so interesting to hear basketball and safe space in the same sentence. But again, I'm an outsider. Is that what makes it so special to you? Is that it's providing that safe space?

I just think that's something that I want to have happen, you know? A majority of the year through work, I'm out of the country; I'm not home. And when I come home, I want to enjoy myself. Growing up as a kid, there were spaces in the community for me that I felt safe, and being from the community, outsiders may have not felt that it was safe, but that's where I grew up, I was like, "Oh no, this is not a problem." So I wanted to make sure that whatever we created, to outsiders and people involved, felt safe. I don't want to keep highlighting safe, but it's just more like fun, healthy competition. I want to re-shift it to there's a level of mentorship, there's a level of networking, there's a level of community. There's a level of I come here, and I have a clothing brand, and maybe not a lot of people know about my clothing brand, but they know this athlete. Well, if I come here and support this athlete, and this athlete supports my clothing brand, and this fan that comes to see this athlete sees my clothing brand, there's a healthy space and environment for those interactions to happen naturally. Obviously, there's a social media aspect; there's obviously marketing, but just, "Oh, this is here at this event? Oh, let me check that out, I never heard about that. And little things like "Oh, I sell healthy juice," "I'm a financial advisor," or "I'm a content creator." It's just bringing all these into one location on top of, "Oh, there's a game happening." It's just one thing to go see a game, but it's another thing to have a network and a community and opportunity, and that's where some of these symposiums that we have and some of these camps, just try to have these things happen at the same time.

What can people expect from this year's Twin Cities Pro-Am?

If you've never been, you never know who's gonna be there. So you come there on a Tuesday night, you show up, you don't know who's gonna play, and it might shock you, it might surprise you. It might be a guy that flew in from the Lakers, end up playing. It's a good place to just enjoy basketball, enjoy your neighbor, meet some new people, maybe see somebody you haven't seen in a long time. And again, it's free, so that's what I've always prioritized. I will never charge anything, because it's not about making a dollar; it's about how can we give back, how can we show, how can we create a space that everybody's intertwined and having a good time. This is summertime; you can go to the lake, you can go to the park, but it's like, hey, I want to go check a game out on a Thursday night, I go check a game out. I could come in for an hour, or I could stay and watch both games and be there three hours, and I'll be there next week.

For someone who's never been to the Pro-Am, what makes that experience different from experiencing a traditional basketball game?

Multiple things. One thing I would say is the access to the athletes. So you go to a Timberwolves game, unless you have a special relationship, there's no way that you're going to be able to see Anthony Edwards, or there's no way you're going to be able to touch a player or be around. My gym, or our gym, the Pro-Am kids are sitting on the baseline within arm’s reach of the players with photographs, autographs, things like that. Chet Holmgren or Jalen Suggs, they may not be playing, but they'll be in the crowd, and they're right there. We tried to create that space so everybody understand, we're all here for a good time, and also to meet and connect and go from there. And it's not a "brand" or anything that's highlighted; it's like, this is us, this is Minnesota, this is Minneapolis, this is St. Paul, this is the community, this is who we are. So we try to highlight that part of it, and I think that's what's different than you go to a Timberwolves game, it's like, "I'm going to see LeBron James." But you're in the nosebleeds — there's barriers, and you're spending $20 to have a meal; it's just a lot. That's a part of the entertainment; that's not what we want to do. It's healthy competition, access —

Exactly, see you putting the words — I should be interviewing you, you should be speaking for me.

What excites you about where the Twin Cities Pro-Am is going?

I love it. I love the growth that it's had. Me and my staff, me and the team, we're so excited about how we've been intentional about the little incremental growth that we've had; we didn't want to go too big too fast. But the things that we're doing, like in August 5, we're doing a free camp for kids; we want to bring in some players and guest speakers, and things are finalized from that, but just little things like that. We have a shoe drive; we have a book bag drive that we're doing, like charitable events that we're tying in. Some of our sponsors are doing things within the community that we're funneling. The growth that we have from just five guys or five girls playing basketball together, we're beyond that. It’s just those little things, and I may not be the best at articulating it all, but that's why I try to tell people, just experience it.

So, for those who want to experience the Twin Cities Pro-Am, how do we contact you? How do we find out information about that?

, and most of that information is there, and on there we have a schedule, and we keep up to date. Social media as well, we have a 

 account as well, @twincitiesproam, is on all our social media. I think that would be the best way, because again, this is rare for us, because we don't market our league. There's a reason we don't market our league.

It's kind of like, if you know, you know.

I appreciate you so much, Jamar Diggs from Twin Cities Pro-Am. Thank you. I'm always excited when you guys come in and tell us about summer stuff. So, thank you so much for coming in.

Jamar Diggs stopped by to talk to Carbon Sound’s host Sanni about community building through basketball and what to expect at this summer’s Twin Cities Pro-Am.


The Message - Jamar Diggs from Twin Cities Pro-Am

a man and woman posing for a photo in the carbon sound themed studio

Interview: Jamar Diggs from Twin Cities Pro-Am

Nicole Nfonoyim-Hara stopped by to talk to Carbon Sound’s host Sanni about 

Oh, baby, we got a colorful one in here today. Carbon Sound Community Voices would like to welcome the owner and founder of 

, which is a Black-owned community arts and resistance space in Rochester, dedicated to uplifting Black artists, culture, storytelling, and creative expression through its bookstore, exhibitions, events, workshops, and community programming. Griot Arts has become an important gathering space for artists and creatives in Southeast Minnesota. And here to talk about Griot Arts is the founder and owner, 

. Welcome, you're so colorful. Welcome, thank you for coming in today.

Yay! Ok, so right off the bat, I have heard a lot about Griot Arts, and that's just from around the way, just hearing people talk about it, so that's good, they talk about it. So, for the people who may not be familiar, maybe new to town, or just want to know, what is Griot Arts, and how would you describe the space?

Griot Arts is a community art space and a bookstore that celebrates Black voices, and it's located in downtown Rochester, Minnesota. I actually feel like to really understand the ethos and the soul of Griot Arts, you also need to understand what the Griot is, and what I named it after. And so I always tell people the Griot was a storyteller in the West African tradition, and not only that, but they were artists, right? They were part of keeping the memory alive and the history of the people through poetry and art objects and dance and music, and so I always like to connect to that historical part of it, and that living tradition, but then also be like, "This is a call for all of us to think about what the arts can do in the community." And then the actual space of Griot Arts was really inspired, I think, by these intimate living rooms, like bell hooks has this thing where she talks about how the first museums and galleries in Black communities were in our homes. And so I thought a lot about, like, ok, in a predominantly white space like Rochester, Minnesota, what does a Black space actually look like? And I wanted to kind of create this living room, so it's kind of giving like, your abolitionist auntie who kind of likes to read romance, it's giving Black intellectual, it's giving Black joy, it's super colorful, you see me dressed here, it's very colorful, it's like candy colored homes from the South and the Caribbean. It's got the wax print and Ankara from West Africa. It's got like the rattan and the wicker from the stoops. So I'm just trying to bring all of that in.

What does it mean to you to operate as a Black-owned community and resistance space? Heavy on the resistance space, because how is the living room resistance?

The living room is resistance because it holds us, right? It holds who we are, and the fullness of who we are, with the history steeped in the tradition of Black bookstores and art spaces and third spaces, and all those spaces were resistant, because they were centering certain narratives and stories that weren't part of the mainstream culture, and so that was already resistant. And at the same time, though, I'm always trying to think about, like, ok, how do we think about how these spaces can also be incubators for a radical imagination? How can we continue to think about what's possible in these spaces? And we already know that that's part of the work that those spaces did, as classrooms, as political mobilization centers, as knowledge centers, as art spaces.

Just by you describing the living room, there's a comfort there. Black comfort, I feel like that's a resistance.

What has it been like to help build and support the creative community in Rochester?

It's been really beautiful. Full disclosure, not from Rochester originally, didn't grow up in Minnesota, I'm from New York. I made Rochester my home 10 years ago, and one of the first things I went in there was like, "Ok, I do see Black people here, but where is the cultural infrastructure to hold us?" And that's what I was looking for, and that's what I wanted to build within our wider arts and cultural ecosystem. There is arts and culture in Rochester, but the question is who's getting represented, who's being held in those spaces? And Griot Arts was kind of my invitation to be like, ok, how do we build that cultural infrastructure to hold who we are as Black people in that city?

Aside from what I just said about Black comfort, why do you think spaces that intentionally center Black creativity, culture, and community are especially important right now?

It is so urgent, it's always been important, but it's super urgent. I think about the ways in which Black art and culture have been some of our most powerful archives of possibility, right? They really have shown us, the blueprints — I like to call them the Blackprints — for how we thrive, how we survive, and how we move forward. And right now, we're being conditioned to not be able to think outside the box, and I'm like, we can think outside the box, and we could work toward our collective liberation and freedom, and we have the blueprints and the Blackprints for that, not just for us as Black people, for everybody. So like, let's get to it.

I mean, everybody like Black culture. On June 27, Carbon Sound will be hosting a networking event at Griot Arts for local artists and creatives. What can we expect?

We can expect a time to come together as community to connect with one another to share resources. We need these resources. So, what are the resources out there in our region, in our community, and statewide for artists and creatives? And just a place to be. I'm really excited that it's being hosted at Griot Arts, because it's really part of what I built it for, for that connection and that sharing of resources.

What do you hope artists and community members take away from this event?

I hope that they recognize that there are resources; we're not alone. We out here, and that we can support each other, and that there's ways and opportunities for us to lift each other up and be lifted up and continue to do the work we want to do as creatives.

I love that you're from New York, and you came here and you did this. I love this, because I talk to young dream chasers, my show specifically, I talk to dream chasers. This is a great example for young people who need to know that the resources are around them and where to tap in. So, how can we find out more about Griot Arts? How can the young kids tap in?

Well, we out here on the social media, so you can follow us 

. Come visit us, Rochester is not that far away. Get a group, come down and see what it's all about.

Especially on June 27. All you local artists and creatives, I be talking to you every day to chase your dreams. So make sure you're out at Griot Arts in Rochester, and go say hello to Nicole, or Cole, that's what she said off the mic, we can call her Cole. Thank you for coming in.

Nicole Nfonoyim-Hara stopped by to talk to Carbon Sound’s host Sanni about Griot Arts and collaborating with Carbon Sound.


The Message - Nicole Nfonoyim-Hara from Griot Arts

Andre Griffin | MPR

two women posing for a photo in the carbon sound studio

Interview: Nicole Nfonoyim-Hara from Griot Arts

 stopped by to talk to Carbon Sound’s host Sanni about 

 and what the vibrant, historic, all-ages venue brings to Minneapolis.

Yeah, baby! We in Music Class for another Carbon Sound Community Voices Interview. And in studio today, we have a representative from 

, which is a non-profit all-ages music venue located in the heart of Cedar Riverside, and has been presenting the world's music since 1989. And here to talk about it today, because we need to know, because y'all chasing y'all dreams, 

Well hello Sanni, thank you for having me.

Thank you for pulling up. So, before we get into The Cedar and what you do with The Cedar, can you give us a pitch about who you are?

My name is Jared Hemming, I am a musician, and I work at The Cedar Cultural Center, so I'm a big-time music guy, love live music. I've been working at The Cedar for about 10 years, and in my spare time, I play drums in various bands in the Twin Cities. I just try to live, sleep, eat, breathe music, all the time.

I feel like people who chose drums to play, y'all got a little wild child in you. Is that true?

Yeah, kind of think Animal from the Muppets. I feel like that's representation for me when I see him on screen.

For those like myself who may not be familiar with everything that The Cedar does, what role do you feel like it serves in the Twin Cities?

You know, what really sets us apart, I would say — actually, it's a few things. First of all, we are a global music venue, so we love to present music from all across the world. We really try to emphasize bringing international artists into the Twin Cities, especially if it's an artist who might be touring North America for the first time, The Cedar is gonna be one of their first stops. We really try to host a lot of different artists, sort of national debuts here at the Cedar, and stuff like that, but I think obviously just with the way things are in the economy and politically, it has become harder for international artists to tour, so we do obviously supplement our calendar with a healthy amount of national touring artists and local shows as well. But what sets us apart from other venues in the Twin Cities, who we love, our venue is not designed simply just to make money; that's not the only business we're in. We're also a nonprofit, which means that we are able to take more of a risk presenting international artists who might not have a foothold in the Twin Cities market yet, debuting them live on The Cedar stage. We also do more than just host shows. We have a huge focus on support for emerging artists locally and internationally, and we also just love to present live music and dance from all different cultures, and we do a lot of different fun community outreach events as well, so we try to present free music as much as we can.

I heard you talk about the local scene. I'm always for the local scene. First of all, I think it's super dope that you create a platform for global artists, and I do think that feeds into the amazingness that is the music scene here. But what are you doing for the local artists? What's happening in Minneapolis?

In addition to hiring local artists pretty regularly to open up for headliners at The Cedar, that's often a spot that we reserve for different local artists across the board. Sometimes artists bring their own support acts, but for the most part, we try to hire local artists to be openers at our headlining shows. Honestly, for me, the biggest thing that we do to support local artists that I love is a project we have called 

. It's this really amazing thing we do every year in partnership with the Jerome Foundation, where we give six different Minnesota-based musicians a grant, and then they have about six months to work on an original piece of music that they debut live on The Cedar stage.

Well, dang! That's for the local? I know y'all heard that, y'all better tap in! Music has a unique ability to bring people together across different backgrounds and experiences. How have you seen that happen through The Cedar's work?

One way I've seen people from different backgrounds and communities come together is the Cedar Commissions event. One thing that's kind of cool about it is, like I said, it's six different Minnesota musicians who each get this grant.

It's yearly, yep. And actually, it's just about to open up again. So make sure to check out thecedar.org if you're a Minnesota-based musician and you're looking to level up in your live music career or make something new, come work with us. But it's cool because we try to give it to a diverse set of artists, so it's a show that happens every February, it's like a weekend of shows, so we do three artists on Friday night, three artists on Saturday night, and we add two rappers, two different sort of folk-adjacent artists of very different disciplines, and then two sort of wild indie rock, weird art pop kind of experimental artists, as well. And each one of them brought a totally different vibe, totally different sound to The Cedar. So if one of them wasn't your vibe, there were two other artists performing who had a completely different style for you to listen to. One other thing, this is just kind of my go-to little snapshot of what The Cedar is like. We have a program called Global Roots, which is a series that goes on all year long, where we present different shows for free at The Cedar that are being performed by international artists. So that used to take form in something called the Global Roots Fest that we did a few years ago, and in 2022 we had a co-headlining set from two different artists, this folk, quirky, sort of They Might Be Giants-esque folk duo from Estonia called Puuluup, and this Ethiopian, sort of dance party band called QWANQWA. So they each performed at The Cedar on the same night and for the same audience, two totally different sounds. And I remember walking into the green room before we opened up doors, just to let the artists know, like, "Hey, we're gonna open up doors to the public and get the show started pretty soon." And when I walked in, I saw the two guys from Puuluup with their instruments, you know, they have just kind of handmade acoustic weird folk instruments, and they were jamming with members of QWANQWA. These are artists from Estonia, artists from Ethiopia, they don't necessarily speak the same language —

But the music speaks the same language. That's fabulous.

Yeah, that's the kind of connection you can only see at The Cedar.

How do you pick the artists? Somebody got they ear to the streets? How do you select the artists?

Artists come to us through all kinds of different ways. We have a lot of different series that we try to book regularly, so for a while, we were doing something called Minneapolis Afrobeats with this artist named Fanaka Nation, who's amazing. We love Fanaka Nation. And that was a really cool series that we did for a while. Currently, we're doing a sort of drone-adjacent series called Noise Party. It's fun, I highly recommend Noise Party. We just did Volume 14 this last week, and Volume 15 is coming up soon. But basically, it's seven or so different local artists, each doing a set, and the kind of hook of it is that we try not to have any break time between acts, so as one act is sort of winding down, the next act will set up and start up right away, so just trying to eliminate transitions between artists, so we can fit more music into our regularly scheduled programming. And that's actually kind of reminiscent of my single favorite show we do every year, called Drone Not Drones. It's kind of one of the things that makes Minneapolis and Minnesota unique, in my opinion. We love Drone Not Drones. It's a 28-hour nonstop drone music festival on The Cedar Stage. So, we start music at 7 pm on a Friday night, usually in January or February, and then the music goes all night long. You can come in and out anytime you want, and we wrap things up at 11 pm the next Saturday night.

Yeah, and with the post-pandemic society that we live in, there's not a lot of special events like that anymore, where you can be in a space after hours. People bring their sleeping bags and sleep at the Cedar and spend all 28 hours there. It's incredible.

Yeah, and it's a benefit for Doctors Without Borders, and it's a celebration of both local music and national music. Some past headliners include Nels Cline of Wilco, Lee Ranaldo of Sonic Youth, Haley Fohr of Circuit des Yeux. They've all done amazing sets at the Drone Not Drones, and often we have between like 30 to 60 different local drone artists just making noise on stage. And like I was mentioning with Noise Party, what kind of makes Drone Not Drones unique is that the drone never stops, so once that first artist gets the music started at 7 pm we have two stage setups, and you know, as one person's sort of winding down their set, the next person will start making a little bit of noise, and the music truly never stops for 28 hours.

Wow. Ok, so Juneteenth, word on the street is 

. And first of all, for those of us who may not be well-versed in music language, what's a Hot 8 Brass Band?

I feel like what kind of makes a good brass band a good brass band is if they have brass in their name, you know what I mean? Like, I almost feel like the plainer the name, the better the band is gonna be. They just call themselves Hot 8 Brass Band; you know exactly what that is. It's gonna be hot players, hot brass, eight of them on stage, blowing the roof off the sucker, I'm pretty sure.

Aside from some hot brass, what else can we expect from this Juneteenth celebration?

I think it'll just be joy. If you enjoy music on any level, The Cedar's Juneteenth celebration with Hot 8 Brass Band will probably be the most joyous event in the cities. I mean, really, who doesn't love a hot brass band?

I love that. So, Juneteenth is both a celebration of freedom and an opportunity to reflect on Black history and culture. What does it mean for The Cedar to host events that intentionally center Black artistic expression?

Well, as music fans and Americans, I think we know how important it is to shine a light on different cultures and how representation matters, especially when it comes to live performance, media, etc. Minnesota is a much more diverse place than people give us credit for, and you can really look no further than The Cedar's calendar to see that mixing pot in action, in my opinion. Black Americans have basically been at the center of every single American musical art form's birth, right? Jazz, rock, country, folk, funk, punk, and these are all genres that we love hosting at The Cedar. None of these genres exist without the Black community in America, and we're proud of that. That's just something we want to highlight.

In case we just pulled up, and we like, "I want some hot brass!" How do we locate you? How do we find out and keep up with the events that you guys are putting on at The Cedar?

. We're named after our home on Cedar Avenue and Riverside Avenue, right on the corner there in West Bank, Minneapolis. Come on by, we've got hundreds of shows every year. We're a volunteer-run organization, so I didn't mention that. So part of my role at the Cedar is that I'm the volunteer coordinator, and literally every single show we've done at The Cedar since 1989 has been run by volunteers. People who are just like you, just normal folks who are based in the Twin Cities or greater Minnesota, who just maybe want to experience live music, maybe they want to volunteer a little bit, maybe they just want to skip paying for a ticket and just serve a few drinks instead and then come enjoy the live music. I think a lot of people don't necessarily know about The Cedar, or maybe they've been to The Cedar once, but if you are craving live music and you don't necessarily — you're not sure, you're genre agnostic, you're like, "I want to try something new," The Cedar is really the best place for it. We love venues like First Avenue and, obviously, Live Nation; they've got your famous people covered, right? We try to shine a light on the more middle-class scene within the musical community, so try something new. Even if it's an artist you've never heard of, just come by, see a show at The Cedar, you're going to be pleasantly surprised.

. Jared, thank you so much for coming in and putting me on, because I got some questions, we might have to link up after the fact.

Jared Hemming stopped by to talk to Carbon Sound’s host Sanni about The Cedar Cultural Center and what the vibrant, historic, all-ages venue brings to Minneapolis.


The Message - Jared Hemming from The Cedar

Interview: Jared Hemming from The Cedar

Mike Bishop stopped by to talk to Carbon Sound’s host Sanni about all things 

 — including its free event, The Function “Block Party” on June 13.

Hey y'all, we back with another community voice. This person is the director of operations and a lead producer at 

. But before I get into this, Public Functionary is an artist-led space in Northeast Minneapolis to dream and live in a world where multifaceted identities are celebrated and centered. Young people, I'm talking about this all the time. Their mission is to support the expression of art and culture through studios, galleries, and performance space, and here to talk about that is Mike Bishop. Yay, welcome!

For those of us who don't know about you, because I've heard of your name before, and I've heard of Public Functionary, but just give us an elevator pitch about who you are and what you do around town.

Yeah, absolutely. With many small organizations, you wear a lot of hats. So what I do would probably, at a larger organization, be like three or four people's jobs. So I am the director of operations at Public Functionary, which on that side of my work, is really kind of like behind the scenes, admin, making sure that things run smoothly, financial management, planning strategy. The stuff you gotta do to make it work, but you know, the things that I used to honestly procrastinate a lot on, but now over the years have gotten better at putting those things first on my to-do list to get out of the way, so that I can then get to the things that feed me a little bit more in the creative work with Public Functionary. But also with the Director of Operations position, I'm really kind of managing how we do things on a day-to-day basis in the space, and also making sure that that aligns with our vision and our mission as an organization. And then the other part of my job, which is really kind of what I consider to be more of my artistic practice, is the lead production role, which is working in space with artists of all disciplines, so from musicians to performers, dancers, visual artists, to help them take their ideas and their visions and materialize them and turn them into something that can happen, and to help them kind of think those things through.

Specifically in the Twin Cities, what gap do you feel like the Public Functionary is filling?

Yeah, so we started Public Functionary in 2012, that is just crazy to go back to. But prior to starting Public Functionary, my co-director, co-founder, and myself, Tricia Heuring, who I've been working with for that entire time, were working in two other art spaces, XY&Z Gallery, which was leaning more of like a commercial gallery space, and CO exhibitions, which was a little bit more of like a project-oriented space. And so between the work that we were doing in those spaces, we were both still relatively young and kind of figuring out where we fit into the ecosystem in Minneapolis, and it was bringing up more questions than really answers or necessarily us being able to say like, "Let's fill this hole," but it was kind of like, "Why are we not seeing particular artists shown more, particularly artists of color? Why are we not seeing more young people in spaces? Why are people not feeling comfortable in art spaces?" Like, all of these things were kind of percolating for us in our work, and Tricia, who is Thai, was kind of also like, "Where do I fit in as a curator of color in this scene, and where is the space for me?" We kind of created this space, but then I would say the community really kind of started to fill in the holes and help us understand what was really needed, and the more we saw the overlap between these different creatives working together, we started to see what ultimately would become Public Functionary in terms of this multidisciplinary production space, where we really support artists in whatever their visions may be. I've been reading a book recently called ‘The Land Knows the Way' by Ricardo Levins Morales, who is an artist, educator, activist, organizer in the Twin Cities, has been all over the place; he just published this book recently. He's like a gem to the city, the work that he does. You've probably actually seen a poster of his or something somewhere, if you look it up, you're like, "Oh, I've seen that" or heard that quote, you know. And so the book is kind of connecting ecological systems to organizing, and how the two kind of inform each other. One of the chapters is about the importance of soil, and as I was reading this, I had to go back and reread it, actually, because it started to bring up feelings for me and thoughts around what is Public Functionary in this creative ecosystem, and I feel like our role is kind of like being the soil. So, if you have a seed, healthy seed, and you plant it in bad soil, you're not going to yield the results that you're looking for. But if you have healthy soil and you plant that seed, all of a sudden it becomes something that is nourished and becomes something that then evolves and grows out of that. But the cycle of that, then, which I think is so beautiful, and where I think we really fit in, too, is that then what is nourished in that soil becomes something that then nourishes community. So if you're growing food, you're literally nourishing your body. If you're growing flowers, you're providing something that's aesthetically beautiful and something for bees to pollinate. And so I really think of what we do is like being the healthy soil. So part of the goal then is how do we create healthy soil? What does that mean in terms of our values, our beliefs, the culture that we create to foster these artists to help them nourish and grow?

What makes the creative ecosystem where music is and where visual art is, and fashion, what makes all of that special to you, in particular, not necessarily Public Functionary, but to you?

I mean, I don't know what I would do with my life without that, right? It's what's kept me in the Twin Cities for my life, it's what's gonna keep me here, and it's also something that I feel an obligation to, because of the way that it has nourished and fed me, to continue to nourish and feed it, so that it continues to grow and build into something for the next generation. I think a lot about that within my personal position in the work that I do. The space that is Public Functionary, I don't feel like really existed when I was a kid, so I didn't have that space to go to, and I think about that a lot, about how do we create the space for someone. When I see a young person walk into our space and their eyes light up, and something just clicked for them, of like, "Oh, this is a thing. This is real. I can develop a space, or work in a space like this, or I can just be part of community in a space like this." That's the value to me of what this is, and so I continue to keep trying to just push that further and further and further through the work that I do, and that, again, nourishes community, but that nourishes me as well.

Public Functionary got a function going on. It's called 

 it's happening on June 13, and it is being described as a "Celebration of what makes our city so special, the resolve and creativity of our neighbors." Hear, hear to that. What inspired the vision?

It's particularly potent right now, and I think the reason why it tells you, and why you feel that when you hear it, is because of what the Twin Cities has been through to start this year. And so this is now the third year that we've done The Function. The first two years that we did it, it was definitely still celebration of creative community, bringing the people together that make Public Functionary happen, and just also an introduction to people who have never been to Public Functionary to learn more about what it is that we do. We've done it as a ticketed event in the past, as a way to fundraise for the organization, which is obviously still important, and I don't want to make it seem like we have the funds to just disregard that, because we don't — we're always like, every day trying to figure out where is it coming from, and that's just part of the process of doing this. But after the beginning of this year, it felt inauthentic to us to be pushing a ticket, when everything that was happening in the Twin Cities. And you didn't know what was going to be posted or seen on your feed next, so we just didn't feel okay about that as a team. So, as a team, we really sat with that and thought about, "Ok, we still want to hold The Function. The Function is still important. Joy, pushing back as a form of resistance is still very much needed. How do we do that?" My teammate and co-director, Tricia, had the idea of applying for some grants to look for funding to be able to offset what usually would be covered by the ticket cost. We applied for a grant through the City of Minneapolis; we were lucky enough to get that. Thank you so much to the City of Minneapolis, that, like, I think fulfills some grant requirements. Just use that as a sound bite. But that allowed us to then rethink how do we frame the function this year, and instead of it being just a way to support Public Functionary and a celebration of the work that we do, this year it felt like what we need is really a celebration of the community that showed up to fight back for their neighbors, to push back against what was happening here, and also we want to expand the footprint of the function, we want our neighbors, like our immediate neighbors in Northeast Minneapolis, who maybe don't always come to our events, or know much about what we do, to feel comfortable coming to this and just enjoying and having fun. So that was really where the kind of impetus of the conversation around what the function this year was going to be.

So we know the inspiration for why you're doing it. What can we expect the day of?

You can expect food, music, art, games. And I'll tell you a little bit more about each of those things. So food, we have an amazing food truck, the Angry Line Cook, coming. We have Beignet Queen coming, they're fantastic, amazing food, both of those. So you can get your food there. We'll have some beverages and other things as well to make sure that you're nourished and feeling good. And then, as far as music, which is kind of what The Function really is for us in the past, we really develop a lot around the musical programming. The artists this year are MMYYKK, so super excited to have him on the stage this year. M. Ada Jamison, who is a producer, does a lot of work behind the scenes, but M. is incredibly talented. She has been making music for film scores and doing production work with Kamilla Love and a lot of local artists, and so very excited to see what she brings to the stage. That's gonna be an incredible set. And then papa mbye, who you had in a couple weeks ago.

He is a personality, absolutely. papa coming back is actually kind of a full circle moment. papa is a visual artist as well, very talented visual artist. And when papa was like 17 or 18, him and a group of friends pitched this idea of doing an overnight weekend kind of like residency at the old Public Functionary space, so they like slept in the gallery, and created work, and then turned that into an art show, and so now as papa steps into music and really pushes that medium forward, it's exciting to kind of have him come back into the fold to make things with us, and then a couple of DJs, Alexis Rose and Awa Mally, aka the Mayor, and then our hosts for the day are Lenora Magee and Fanaka Nation.

How can we find out more about this? Because you know, we might just be listening to this in passing. Where do we need to find out about Public Functionary, as well as The Function Block Party.

, our website has a lot of the information about The Function Block Party, how to register, it is free with registration, but we are asking for registrations just so we have an idea of what to expect, so we know who's coming. Also our Instagram is always a great place to keep up with us too, 

, information about the block party as well, and then also future programming, we have a lot of other amazing things coming up. We do The Function, and then we give our team a little break, but then coming back, like July, August, we've got some great programs as well.

Awesome. Well, thank you, Mike Bishop, and thank you, Public Functionary, for what y'all doing.

Mike Bishop stopped by to talk to Carbon Sound’s host Sanni about all things Public Functionary — including its free event, The Function “Block Party” on June 13.


Mike Bishop stopped by to talk to Carbon Sound’s host Sanni about all things Public Functionary — including their free event The Function “Block Party” on June 13th.

The Message - Mike Bishop from Public Functionary

Interview: Mike Bishop from Public Functionary

Andre Shoals, also known as DJ Afro, is a resident DJ for the queer party series Daddy Issues Minneapolis. In addition to his work as a DJ, which began in the early ‘90s in New York, Andre has a robust background in visual art, dance, acting, and musical theater. He joined us ahead of a busy month of Pride events, including the 

Daddy Issues Pride Block Party featuring Josh Steers on June 27

Pride Disco Block Party with Rebecca Black on June 28

House, Disco, and more from a Daddy Issues resident. 


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