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Fat, Fly, Salvadoran Poet Brings Body Positivity And Brown Girl Love To The Stage

Introducing a new generation of Latinxs to poetry and body positivity.

An eight-year veteran of Da Poetry Lounge (DPL), the mecca of L.A. slam poetry and spoken word, Yesika Salgado regularly performs her work in front of packed audiences, followers and die-hard fans taking in the artist’s carefully crafted, often bilingual, words, humor, and unfuckwittable self-expression. In addition to being a wordsmith, Salgado is wildly charming and funny as sh*t. With a relatable history involving f*ckboys and all things Drake, this fat, fly, Salvadoreña brings body positivity and brown girl love to the forefront of her work as a poet, speaker, writer and activist. Now a seasoned performer and slam poet, Salgado has honed her craft by way of nonstop creating, practicing, performing and competing.

The first time Salgado competed in a poetry slam was six years ago at Inkslam, a Los Angeles poetry festival produced by DPL and Greenway Theatre. Back then, Salgado was still learning her way around her poetry: “I had no idea what I was doing, but I was invited to slam on a team that was thrown together last minute. I don’t remember my score. It wasn’t great.” Yesika would eventually leap ahead of that learning curve when she represented Hollywood and DPL at the National Poetry Slam—this time, with four more years of experience and growth as a poet tucked beneath her tongue. “My first real slam team was in 2014. I represented Hollywood/DPL at the National Poetry Slam,” she says, “with some of my favorite poets and people in the world.”

Rancheras make me think of you

A photo posted by Yesika Salgado (@yesikastarr) on

Two years later, Salgado would learn that nothing is certain in the slam world. Qualifying for a spot on the 2016 Da Poetry Lounge Slam Team proved to be much more competitive than it had been in past years. “Our Slam Master Shihan decided to take eight poets to finals. As a competitor this is more complicated. You’re no longer trying to beat out at least one poet. You have to beat out 3,” Salgado explains. After competing in six rounds of qualifying slams, Yesika placed sixth, and did not make the original 2016 DPL Slam Team. “I was disappointed and upset with myself,” she confesses, “I felt I hadn’t given finals my all. In semi-finals I took first place and dominated my bout. In finals I didn’t.” This disappointment would be short lived. Two months after losing that final bout, DPL Slam Master Shihan pulled Salgado aside and informed her that the poet who beat her out for the fifth place slot on the slam team had dropped out. The spot was hers if she wanted it: “The team held a vote to bring me in. They unanimously said yes and I am now on my second DPL slam team and ready to put in work.”

This summer, Salgado competed on the 2016 Da Poetry Lounge National Poetry Slam Team alongside all star team Alyesha Wise, Aman Batra, Lem Saint Gonzalves and Kito Fortune guided by coaches Javon Johnson and Shihan Van Clief, a former HBO def poet and Salgado’s mentor. For her, competing at the national level is meaningful for a multitude of reasons. The opportunity to represent Los Angeles and other fat, fly chingonxs like herself is not lost on the poet. “I’m all about creating visibility for brown fat women in poetry and the world in general,” the scribe says emphatically. “The fact that I’m on a team means a lot to young chingonas that follow me.”

Creating visibility for fat women of color in the arts is a core factor in Salgado’s work and activism. While this visibility is incredibly important to Salgado, the journey here has been a long one. There was a time when the L.A.-based artist felt very invisible, hiding herself and her work behind a computer screen before coming into her own as an artist. Before Salgado was performing on stages and competing nationally, she was posting her poetry on an online forum called This was the place where she first shared her poetry, and people were responding to her words. During this period of her life, the poet was catfishing online, something that she now discusses openly as an important chapter in her identity development. Her online alter egos and catfish personalities were usually hyper feminine. At the time, Salgado was not yet openly feminine in her looks, and she was not performing her poetry publicly. Until, that is, the founder of the HipHopPoetry forum encouraged Salgado to take her poetry and perform it live at Da Poetry Lounge. Salgado took the founder’s advice, and her world changed. It wasn’t until just four years ago that she put her online alter egos to rest, allowing the poet we know as Yesika to come to life. “The universe checked me,” she says. Now you can catch Salgado performing on stages, in front of hundreds of people, delivering poems about love and sex in crop tops, hoop earrings, and bright lipstick.

To share her art, Salgado utilizes a variety of platforms to make herself and her work not only visible, but accessible across mediums, spaces and places. Like many millennial artists and creators, Instagram has been Salgado’s primary platform for sharing her poetry and interacting with followers. On Instagram, she is able to connect with chingonxs across the nation and on an international level.

This summer, the fat, fly poet engaged fellow chingonxs with an IG Lipstick Selfie challenge, encouraging women and femmes of color to share the selfies that show off their favorite lippies. Historically, black and brown people have been told that bright, bold lipsticks don’t suit our facial features or skin tones. Dark skinned people still struggle to find makeup options that are varied enough to accommodate a wide spectrum of skin tones. An act of resistance against eurocentric beauty standards and white supremacy in the cosmetics industry, Salgado’s Lipstick Selfie challenge created a space where women and femmes of color could share with each other the lipsticks that pop best on melanin rich skin, and celebrate themselves in the process. Taking a page out of Frida Kahlo’s book, Salgado honors the importance of selfies as counter-narratives, vehicles for self-love and empowerment. “Self love is powerful,” she says. “The more faces you see that look like you, you feel empowered.” A selfie is a way for folks with marginalized identities and bodies to claim their space in a world that would rather see them shrink, disappear and apologize for existing and loving outside of white cis-heteronormativity.

This black hair makes me bruja and princess all at once

A photo posted by Yesika Salgado (@yesikastarr) on

For Salgado, learning to love her body in spite of racism, sexism, and fatphobia has been a practice in loving her full self, including her sexuality as a fat brown Latinx. While sex has always been a major theme in Salgado’s work, her words around sex and desire once mirrored her feelings of apology for her own sexuality and sexual expression: “At the beginning, these poems were apologetic.” It wasn’t long before Salgado would grow into her confidence as a whole, sexual being, rejecting fatphobic apologies and fetishization feigning as attraction. Salgado’s breakthrough poem, “How Not to Make Love to a Fat Girl,” is not so much a guide, but a declaration of her sexual and emotional wants, needs, desires and boundaries, without apology or compromise. It is a statement of purpose for all romantic partners and the message is clear: you will love and honor every inch of fat brown girl body in its entirety. Period. “How Not to Make Love to a Fat Girl” opened doors for the Salvadoreña, making room for humor in her body of work.

After the poem was recorded at Da Poetry Lounge and posted on YouTube, outlets like Everyday Feminism and The Huffington Post shared the poem online, expanding Salgado’s reach. When NPR reached out to Yesika about the poem, however, she found that their interest was not in celebrating an unapologetic fat muxer—“they were looking for a sad fat girl story, not an empowered fat girl.” With questions like “do you want to lose weight?” and “how has your weight affected your health?” littering the interview, Salgado knew that the piece with NPR was not the representation she was fighting so hard to achieve.

Rather than rely on mainstream outlets for representation, Salgado and fellow Chingonx poet Angela Aguirre co-founded their own feminist poetry collective known as chingona Fire. The partners in poetry define Chingona Fire as “the Alchemy that occurs when badass women of color come together, and set sh*t aflame.” One of the only poetry collectives specifically created for women of color in Los Angeles, Chingona Fire hosts regular open mic and performance nights for women and femme artists and creators of color to share their work. Chingona Fire events are usually hosted in community spaces in predominantly Latinx hoods and barrios, making room for visual, musical and spoken word artists to experiment in a place of safety, surrounded by community.

A writer for The Huffington Post Latino Voices, Salgado recently published a poem on the HuffPost blog in remembrance of Jesse Romero, a 14-year-old Latinx boy who was senselessly and needlessly murdered by LAPD officers in Boyle Heights this summer. The piece, written in Jesse’s memory, digs deep into the collective mourning that black and brown communities have suffered through for generations, with no true end in sight. Salgado’s poem for Jesse was read at his funeral, where he was laid to rest surrounded by loved ones. Although much of Salgado’s work and activism centers mujeres, she is a poet of the people, who honors the lives and memories of young boys and men of color, especially those that have been killed or abused by law enforcement, system wide racism and immigration. In her Father’s Day poem, Salgado spoke to the absent fathers of color, who are not always absent by choice, but who are often criminalized, pushed out, detained and disappeared by various oppressions including police violence, deportation, and the prison industrial complex.

Needless to say, Yesika Salgado is a force. She has catapulted into national recognition on the strength of her words and personality. She is inspiring fat women of color to love their full selves while creating incredible multi-dimensional art which speaks to human experiences that are often hidden or silenced. The writer has created a much needed rupture in the Los Angeles poetry scene, and she is introducing poetry to young Latinx who need her as much as she needed the likes of Sandra Cisneros and Gloria Anzaldua. If you would like to keep up with Yesika’s work and adventures, follow her on IG: @yesikastarr and read her work with The Huffington Post.

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Saba's Rhymes Mean A Lot But John Walt Day Means More

“Act like ya’ll know, man. This a holiday,” boasted Frsh Waters, the co-founder of Chicago collective Pivot Gang and the opener of the second annual John Walt Day concert. It's Thanksgiving weekend and while families are gathered around the dinner table, lovers and supporters of Pivot Gang–comprised of Saba, MFn Melo, Waters, SqueakPIVO and a few more–filled the spaces of the city's Concord Music Hall to keep up a holiday tradition of their own.

With a newly-grown fro, Waters enters the stage with no introduction, a contrast from initial mic stand-clasping nervousness during the inaugural John Walt Day, launched at House of Blues Chicago in 2017. Walt Jr., the cousin of Saba, was killed last year and is the sole inspiration for the rapper's John Walt Foundation that brings the arts to children in the city.

The concert is a resounding tradition that his Pivot Gang brothers don’t plan to break anytime soon, with anticipation flooding the city each Thanksgiving weekend and a simultaneous celebration of Walt’s birthday on November 25th. The concert is just a piece of the loving puzzle Saba, Waters and the rest of the group created to keep his legacy alive.

With repeated crouching and soulful backing by Chicago band, The Oh’My’s, Waters regained balance after kneeling on an uneven speaker, referring to the crowd as "Church,” a christening that he echoes on the ending of "GPS" a feature from Saba’s well-received debut album Bucket List Project.


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Happy 26th @dinnerwithjohn Long Live my niqqa Johnny 📷

A post shared by Westside Cat (@frshwaters) on Nov 25, 2018 at 11:37am PST

Saba may have dropped the stellar sophomore project, Care For Me this year, but the continuation of John Walt Day means more. Sold out for its second year in a row with 1,400 in attendance, Pivot Gang house-DJ Squeak Pivot blares "Scenario" by A Tribe Called Quest as the crowd multiplies before his booth. Avid fans gather in all creases of Concord Music Hall, especially on the second floor, where a merch stand resides exclusively for John Walt items. A haloed painting of Walt (or DinnerWithJohn as listeners knew him best), sits next to an assortment of buttons and t-shirts, as a guest brings a newly finished painting of Walt to the show.

Between sets, the crowd roared for cuts by Chicagoans Ravyn Lenae and Noname, who’s Room 25 track "Ace" is cut abruptly before MfnMelo takes the stage. With orchestration by Care For Me co-producer Dae Dae and harpist Yomi, Melo flowed through "Can’t Even Do It" and briefly spoke to the crowd about Thanksgiving, inviting attendees with leftover pies to meet him after the show.

Strutting to Ariana Grande's kiss-off anthem "thank u, next," The Plastics EP rapper Joseph Chilliams poses freely, cloaked in a light pink teddy bear coat. “I made this song because there aren’t a lot of black people [in Mean Girls]. I realized that the fourth time,” Chilliams joked before performing "Unfriendly Black Hotties."

Joined by four-year-old Snacks Pivot, John Walt’s mother Nachelle Pugh pinpoints her nephew’s curiosity of joining his older cousins Saba and Joseph Chilliams as their miniature hype-man.


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John Walt Day It didn’t even feel real, so much love in the room. For the encore they usually yell the artist name or one more song or something like that. But on this night they yelled “LONG LIVE JOHN WALT”. I wish this could be everyday. I wish I could play you this new shit we just did. I wish you were here. Love you @dinnerwithjohn look at this coat” lmao 💗💗💗💗 📸 by my shooter @notryan_gosling

A post shared by Joseph Chilliams (@josephchilliams) on Nov 26, 2018 at 3:29pm PST

“It’s like Walter jumped into his body and he’s coming back through this kid," she said of the toddler's enthusiasm. "He’s studied Saba, he’s studied Joseph, and he’ll say 'Auntie, can I use your phone?' So he’d use my phone and watch the boys’ videos on YouTube. Joseph is a person that the kids look at and say ‘He’s so fun,’ and [Snacks] wants to be like him. Everything that they do, [Snacks] is studying them.”

Pugh credits Young Chicago Authors for sparking her son’s musical pursuits, with guidance by poet Kevin Coval. “Kevin mentored him until the day he passed. I really love and respect someone that can just work with kids and give them a place to express themselves creatively,” Pugh said. “Working towards a goal of creating something that I know [Walt] wanted to do, and to help others in the same token, that gives me a sense of accomplishment.”

The stage then transformed into a resting kitchen with illuminating lights on the bottom of side-by-side counters, with Care for Me co-producers Dae Dae and Daoud behind their respective keyboards. Once settled, Saba rushed the stage to perform "Busy," with a special appearance by singer theMIND. The pulse of the venue throbbed as Saba took brief pauses to talk intimately to the crowd. “I lost a lot of people close to me,” he said. “A song like "Stoney" is such a celebration of life. It’s crazy to think how long ago that sh*t was. John was still alive.”

As Saba diverted into memories of Walt’s life, Nachelle recalled the album listening event for Care For Me. “Saba wouldn’t let me listen to it. He didn’t even tell me that he was working on it until it got really close [to the album’s release]," she said. "Then, he warned me about "Prom/King." I think he was thinking about letting me listen to it by myself at first, but then he thought about it like ‘Nah, I’m not gonna do that while she’s by herself, let me just let her listen to it while she’s with everybody else.’ That was an easier way to break it to me, so I wouldn’t really break down.”

Saba capered into "Prom/King," but performing the heart-tugging ode to Walt was a first, even after embarking on his 2018 Care For Me tour.

“I didn’t know he was gonna do that. I didn’t think that he’d ever be able to do that. I don’t think he thought he’d be able to do that,” Pugh explained. “I don’t know if anybody captured the expressions, but I think he was in tears and he was just fighting through it. We went through this fight together on the day we found out what happened with Walt. When he got finished, he sat down, turned around and he looked at me and I’m like 'We did it.'”

Even with "Prom/King" being the most grief-stricken track on Care For Me, Nachelle revealed that the most poignant song about her son was "Heaven All Around Me," realizing the message just months after the album’s release. “I was like, 'Walter wrote that song through Saba,' she said. "That’s the song that gets me the most off Care For Me. I don’t think [Saba] intentionally did so, but it just put so much power behind "Prom/King" because you see what happened. He told a story.”

The storytelling of Walt’s legacy was fulfilled throughout John Walt Day, from Joseph Chilliams doing a comedic, warbled rendition of "Ordinary People," Walt’s favorite song to play on the aux cord, to the entire Pivot Gang reuniting to perform their ensemble track "Blood" for the first time. Walt’s presence was unwavering, with remaining Pivot Gang members continuing to carry his eternal flame.

“This year’s show, the passion was a little bit stronger, because at the time we did last year’s show, I think we were all still in denial, like 'We’re gonna wake up from this dream’ type of thing.' Pugh said. “I think we accepted the fact that [Walt’s] not coming back. They wanted to go as hard as possible because they were doing this for him.”


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JOHN WALT DAY was so beautiful. We gotta find a bigger venue for next year. I made so many new friends. Pivot tape up next 💪🏽🔥

A post shared by Joseph Chilliams (@josephchilliams) on Dec 1, 2018 at 5:15pm PST

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15 R&B Songs We Obsessed Over Most In 2018

Hip-hop may have become the Nielsen Music-declared most dominant music genre, but let's not overlook the strides R&B (including all its many sub-genres and cousin genres) have taken on the airwaves and within the culture in this year alone.

While persistent naysayers keep peddling the tired argument that "R&B is dead," the most recent news cycle has proven the exact opposite, as talks of a supposed King of R&B dominated discussions both on- and offline. Jacquees' lofty declaration notwithstanding, there's no denying that there are ample songs swimming around the 'Net from talented vocalists killing it within the genre.

For those looking to satiate rhythm and blues earworms—and in no particular order—VIBE compiled a list of the 15 bonafide R&B songs of 2018 (or at least ones that fall within the genre's orbit) that pulled us into our feelings each and every time we pressed play.

READ MORE: Let Jacquees Tell It, He’s The Jodeci Of This R&B Game

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Ian Reid

Let Jacquees Tell It, He’s The Jodeci Of This R&B Game

Rodriquez Jacquees Broadnax doesn’t want to be the bad guy of R&B. He says this with a sinister, yet warm smile. With year-end debates taking over social circles, Jacquees wants all the flowers for his glowing debut, 4275. “I ain't never had a year like this, I got one of those careers and lives that keep going like this,” he says, as he raises his iced out wrist to draw his progression. “It keeps going up, my sh*t just keeps going up.”

At 24 years old, the singer knows a thing or two about the ever-changing genre. Nearly half of his life has been dedicated to music, specifically to quiet storm-like sounds that now take on new meaning in our adult love lives. He’s hibernated under the radar for some time with his 2014 debut EP 19 and released gentle falsettos and big name features with Chris Brown, Ty Dolla $ign and Trey Songz along the way.

But between his accolades, he’s been condemned for his favorable “Quemix” of Ella Mai’s “Trip” and now, his self-proclaimed status of “The King of R&B” for his generation.

"I just wanna let everybody know that I'm the king of R&B right now," Jacquees said in an Instagram post on Sunday (Dec. 9). "For this generation, I understand who done came and who done did that and that and that, but now it's my time. Jacquees, the king of R&B.”

R&B artists like J. Holiday and Pleasure P shared their two cents on the matter while the game’s most elite like Tank, Tyrese and Eric Bellinger dropping stacks of knowledge on the gift of consistency, respect, and talent. But Jacquees has these things and then some with legends like Jon B., Donell Jones and Jermaine Dupri in his corner. Despite quick reactions from his peers, Jacquees is confident in nature and proud of his space in the game.

“I think I'm the leader though, as far as males go, I think I'm the number one,” he tells VIBE, just days before his “King of R&B” comments went viral. “You're talking about R&B young dudes who understand who goin’ [at] it, [but] who are they going to put in the front? I believe everyone will say Jacquees.”

Jacquees’ music is just a branch of what R&B has evolved into. Over the years, artists like SZA, H.E.R., Daniel Caesar, The Internet, Miguel and many more have flipped the genre on its head by churning out music that not only speaks to the soul, but to their vocal abilities. Successful R&B records aren’t confined to rap guest verses and traditional instruments now take center stage. But Jacquees sits in an interesting space seeing as his style caters to a grey area of folks who just heard their first Monica album yesterday and now appreciate a good nayhoo like the rest of us.

With hopes to release his sophomore album in February 2019, Jacquees chats with VIBE about his confidence, making 7275 and why he’s the perfect leader for R&B today.


What have you learned about yourself as a human and an artist in 2018?


quees: This was my biggest year. I made the most money I’ve ever made. I dropped my album and was able to take care of my family. I ain’t never had a year like this and I thank God for that. I got one of those careers and lives that keep going like this, (slowly raises a hand to the ceiling) It keeps going up, my sh*t just keeps going up.

I think I learned about my whole self in 2018. Being that it was my biggest year, I went through a lot of stuff personally, but I think the biggest thing for me was listening to other people but also trusting myself. I have a strong mind so more of listening to myself helped.

Do you think you're the good guy or the bad guy in R&B?

Who do you think I am?

I think you’re a sweetie.

I don’t wanna be the bad guy, I’m a good guy. I’m easy to deal with. I’m a sweetie, but ain’t sh*t sweet though. (Laughs)

You have a lot of ‘90s and 2000s influence in your music. Do you ever feel you might sound dated, or do you think you’re bringing new sounds into the genre?

I just think I'm bringing a whole new sound. When I was younger, someone told me if you switch up what you’re doing, someone else is going to do it and you’re going to be pissed off. Just stick with it. When I was 14, everyone was telling me I needed to make club records but I didn’t want to do it. I remember CEOs saying, “Just let Jacquees do that [what he wants,]” because it’s a clock.

I figured out how to get my records at the club without changing who I was. I remember making “B.E.D.” and finding my flow on my project 19, you know? That’s when I got my swag.

What does love look like to you right now?

I think about a family. I think about me, a girl, a kid or something, like a whole family. One day I’m going to have it. I’ll still be in the game but I’ll say, “Yeah, that’s my wife over there with our son and daughter.” I'm getting older, too. I’ve been in the game for 10 years for real, but I’ll be 25 next year and soon they’ll be a little Jacquees.

There are a lot of layers in today’s R&B, especially in the mainstream resurgence it’s had. In that, there aren’t as many young male black vocalists being pushed to the forefront. I want to know your thoughts on where you exist in the genre today.

I think there's a big wave coming back right now because even if R&B didn't die down they weren’t promoting it that heavy. Artists were making songs, they just weren’t being acknowledged on a mainstream level. I think the game is really putting R&B back on top. You know, you’ve got artists like me, Tory [Lanez], Ella Mai, H.E.R., so many people, you know what I’m saying? Of course, you had Chris [Brown], Trey [Songz], all of them but that’s when we were in school. It’s a new time, ain’t no big male R&B singers.

I think I'm the leader though, as far as males go, I think I'm the number one. You're talking about R&B young dudes who understand who goin’ [at] it, [but] who are they going to put in the front? I believe everyone will say Jacquees. They’re not rugged like me. You’ve got Jodeci and Boyz II Men. I’m Jodeci, they’re all Boyz II Men. I’m street, they’re not street like me. You can hear it in their voice. There’s a difference.

It’s no disrespect to nobody because they’re all my friends, but I still wanna be number one. If we’re playing the game and I lose, I’ll be mad as hell but I’m still a good person. I just want to win.

As you should. Everyone wants to make the best music they can–

But I ain’t no hater either. The game is like a sport. The game is like high school. I remember being at this year’s BET Awards and seeing certain singers and thinking, ‘Oh, they’re seniors.’ I knew I was a freshman, but I saw Meek and all of them thought, “He’s a senior.’ You know how it is when you walk through school in the first year. Then the second you’re like, “I’m the ni**a now.”

When I did the Soul Train Awards in November, I felt like a sophomore that everybody knew. They knew me from my freshman year, but this time I’m playing varsity.

You’ve said before you want to do this for a long time–

Yeah, I want to make music forever and it’s my choice. I want to make enough money for me to turn down shows because now, I have to take everything I get. I always tell artists, you got this much time to make this much money. Because after that, sh*t’s closed. I've seen it happen.

For me, I know I got longevity in this game because I'm an R&B singer and a lot of R&B singers have longevity if you take care of yourself, you know what I'm saying? Even rappers, you know what I'm saying? You keep that flow going, don't do no lame sh*t, you know you’re stick around.

How do you take care of yourself?

You gotta take care of your health. That's number one. Your mind and your health is your biggest thing. Keeping good people around you...stay in good spirits with me. I like to keep good people around me. I like people around me [who] make me laugh. Smile, I don't really like people around me that I got to be like, “What's going on?” I just like people who are themselves.

Stream 4275 below.

READ MORE: Tyrese, Usher And Others Reacts To Jacquees' Claim That He's The King Of R&B

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