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"title": "Musicians to Know: Jada Imani on Vibing with Hawaiian Frogs and Riffing Off Mac Dre",
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"content": "\u003cfigure id=\"attachment_13892201\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13892201\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/0-1-800x1199.jpg\" alt=\"Jada Imani sits in front of a couple of palm trees as she poses for a photo.\" width=\"800\" height=\"1199\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/0-1-800x1199.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/0-1-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/0-1-768x1151.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/0-1.jpg 862w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jada Imani sits in front of a couple of palm trees as she poses for a photo. \u003ccite>(13thElement)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci data-stringify-type=\"italic\">Over 4 weeks, \u003c/i>\u003ci data-stringify-type=\"italic\">\u003ca class=\"c-link\" href=\"https://www.kqed.org/arts/13891641/four-bay-area-musicians-to-know-right-nowish\" target=\"_blank\" rel=\"noopener noreferrer\" data-stringify-link=\"https://www.kqed.org/arts/13891641/four-bay-area-musicians-to-know-right-nowish\" data-sk=\"tooltip_parent\">Rightnowish is featuring artists with local roots\u003c/a>\u003c/i>\u003ci data-stringify-type=\"italic\"> who are taking the sounds of the Bay to a national stage.\u003c/i>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC2592114794\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Neo-soul and hip-hop artist \u003ca href=\"https://www.jadaimani.info/\" target=\"_blank\" rel=\"noopener noreferrer\">Jada Imani\u003c/a> gets her inspiration from a range of lived experiences: parking tickets, lessons from her parents, and Mac Dre lyrics.\u003c/p>\n\u003cp>Despite the pandemic, Jada has been dropping three-track EPs every first Friday since October, and plans to continue to do so until March. It’s a legacy of the collaborations and vibe she cultivated while organizing and hosting First Friday events at the \u003ca href=\"https://www.facebook.com/ABC4JUSTICE/\" target=\"_blank\" rel=\"noopener noreferrer\">Alan Blueford Center\u003c/a> in Oakland for over 3 years.\u003c/p>\n\u003cp>While honoring her origins, she’s also incorporating inspiration from her new surroundings — like Hawaiian tree frogs.\u003c/p>\n\u003cp>This week on Rightnowish we talk to Jada Imani about astrology, ‘high vibration clapbacks’ and how music was her access to culture when she was a small girl in a small town.\u003c/p>\n\u003cfigure id=\"attachment_13892214\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13892214\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/0-2-800x1199.jpg\" alt=\"Jada Imani wears a mustard yellow jacket and poses holding a multicolored umbrella. \" width=\"800\" height=\"1199\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/0-2-800x1199.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/0-2-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/0-2-768x1151.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/0-2.jpg 862w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jada Imani wears a mustard yellow jacket and poses holding a multicolored umbrella. \u003ccite>(13thElement)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/playlist/6ok3fmGwvwmuyGvuWxlv3Q\" width=\"100%\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Below are lightly edited excerpts of my conversation with Jada Imani.\u003c/strong>\u003c/p>\n\u003cp>\u003cem>PEN: Where did you start learning about hip hop culture?\u003c/em>\u003c/p>\n\u003cp>JADA: I was born into it because my parents were both very young hip hop heads when they had us. And music was the only thing that we really had to grasp on to when it came to culture… We moved to the Bay when I was about 10 years old. But before that, we were in kind of the rural Midwest, in this little town called Belleville, right outside of east St. Louis. There wasn’t much happening, it was kind of desolate in a way. So it was hip hop and music that gave me life.\u003c/p>\n\u003cp>JADA: I think both of my parents have always been very conscious of the world they live in… And my dad especially was always very radical and very pro Black. And just like ‘you need to understand the world is not set up for us.’ And the music was the medium that he taught me through…\u003c/p>\n\u003cp>\u003cem>PEN: How has the Bay influenced your art?\u003c/em>\u003c/p>\n\u003cp>JADA: Oh, my gosh, in so many ways! The Bay taught me how to dance! The Bay has also influenced a lot of my style and the ability to rock thrift shops, not because that’s all you can afford growing up, but because you can make that fly.\u003c/p>\n\u003cp>JADA: One thing that I really admire about the Bay is that there is a strong activist history and there’s also a strong hyphy history. And when we’re talking about bringing those sounds together, like, what does it mean to talk about identity and power over a Bay slap rap? But, yeah, it’s hard to say what the Bay hasn’t done for me. I owe so much to the Bay [laughs] Especially with the first project we sampled Mac Dre, and it was like an ode to the Bay and that was like part of the tone.\u003c/p>\n\u003cp>\u003cem>PEN: You mentioned the Mac Dre line… That’s what inspired me to ask that question. You sampled the line “sometimes I’m not myself, sometimes I’m another man.”\u003c/em>\u003c/p>\n\u003cp>JADA: I really enjoyed that line in particular because he was like, you don’t know who I am. Or I can recreate who I am, or like, you might see me one way because of the body I live in, but, you know, what else is there? Also it’s just like some like sassy clapping back against misogyny. I was like sixteen feeling myself. Because so much of the reason why I feel like I couldn’t talk is because I was born into a girl’s body, and so much of what inspires me to write is clapping back at the patriarchy.\u003c/p>\n\u003cp>\u003cem>PEN: It’s a high vibration clapback, if you will.\u003c/em>\u003c/p>\n\u003cp>JADA: HA! Let’s go! High vibration clap back. I love it.\u003c/p>\n\u003cp>PEN: But another line that stands out to me correct me if I butcher it… “reading looks reading books, reading minds, reading charts.” Did I say that right?\u003c/p>\n\u003cp>JADA: “Reading books, reading charts, read myself, it’s a work of art, way more work than to fall apart…”\u003c/p>\n\u003cp>JADA: I was really– and I still am– an astrology nerd. So reading birth charts was part of my hustle when I didn’t want to get a nine to five and I wanted to only do things I genuinely enjoyed. I read birth charts for people. And then reading myself, you know, introspection is hard work, but you can’t let yourself fall apart. You got to keep reading into it.\u003c/p>\n\u003cp>\u003cem>PEN: … So, you’re calling us from Hawaii right now, where you’ve been for months, is it influencing the music that you’re producing?\u003c/em>\u003c/p>\n\u003cp>JADA: That’s such a big question because I’m constantly processing it… how few black folks are here. I see more white folks than brown folks, indigenous folks out here. And I’m like, who gets to be here, who doesn’t and why? I’m really grateful to have the access to the kind of retreat that I need to grow and heal from my own, like, hurts and things. And I’m hella grateful for that… And in terms of the overarching narrative that’s going on here with the history of colonization and how it shows up in the present day. I think about it all the time. There’s colonization all over, in the Bay, like there’s gentrification, all these things. But it hits different here. You know, it really does.\u003c/p>\n\u003cp>JADA: … The coqui frogs are really loud at night. They sound like birds. And so when I’m recording at night, they get into the recordings of the songs. And so it ended up being the whole soundscape of an EP… Literally sounds of rainforest entering the music now [laughs]\u003c/p>\n\u003cp>\u003cem>PEN: So being that your parents put a seed in you in terms of like hip hop history, culture, the importance of the art. What role do you play?\u003c/em>\u003c/p>\n\u003cp>JADA: I think I’m a weaver of community, like to hold space and open space whether it be the community center or a cafe where folks can cipher, for poets or hip hop artists to come together and see each other’s craft and like, love on each other…\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13892201\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13892201\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/0-1-800x1199.jpg\" alt=\"Jada Imani sits in front of a couple of palm trees as she poses for a photo.\" width=\"800\" height=\"1199\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/0-1-800x1199.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/0-1-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/0-1-768x1151.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/0-1.jpg 862w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jada Imani sits in front of a couple of palm trees as she poses for a photo. \u003ccite>(13thElement)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci data-stringify-type=\"italic\">Over 4 weeks, \u003c/i>\u003ci data-stringify-type=\"italic\">\u003ca class=\"c-link\" href=\"https://www.kqed.org/arts/13891641/four-bay-area-musicians-to-know-right-nowish\" target=\"_blank\" rel=\"noopener noreferrer\" data-stringify-link=\"https://www.kqed.org/arts/13891641/four-bay-area-musicians-to-know-right-nowish\" data-sk=\"tooltip_parent\">Rightnowish is featuring artists with local roots\u003c/a>\u003c/i>\u003ci data-stringify-type=\"italic\"> who are taking the sounds of the Bay to a national stage.\u003c/i>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC2592114794\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Neo-soul and hip-hop artist \u003ca href=\"https://www.jadaimani.info/\" target=\"_blank\" rel=\"noopener noreferrer\">Jada Imani\u003c/a> gets her inspiration from a range of lived experiences: parking tickets, lessons from her parents, and Mac Dre lyrics.\u003c/p>\n\u003cp>Despite the pandemic, Jada has been dropping three-track EPs every first Friday since October, and plans to continue to do so until March. It’s a legacy of the collaborations and vibe she cultivated while organizing and hosting First Friday events at the \u003ca href=\"https://www.facebook.com/ABC4JUSTICE/\" target=\"_blank\" rel=\"noopener noreferrer\">Alan Blueford Center\u003c/a> in Oakland for over 3 years.\u003c/p>\n\u003cp>While honoring her origins, she’s also incorporating inspiration from her new surroundings — like Hawaiian tree frogs.\u003c/p>\n\u003cp>This week on Rightnowish we talk to Jada Imani about astrology, ‘high vibration clapbacks’ and how music was her access to culture when she was a small girl in a small town.\u003c/p>\n\u003cfigure id=\"attachment_13892214\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13892214\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/0-2-800x1199.jpg\" alt=\"Jada Imani wears a mustard yellow jacket and poses holding a multicolored umbrella. \" width=\"800\" height=\"1199\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/0-2-800x1199.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/0-2-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/0-2-768x1151.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/0-2.jpg 862w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jada Imani wears a mustard yellow jacket and poses holding a multicolored umbrella. \u003ccite>(13thElement)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/playlist/6ok3fmGwvwmuyGvuWxlv3Q\" width=\"100%\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Below are lightly edited excerpts of my conversation with Jada Imani.\u003c/strong>\u003c/p>\n\u003cp>\u003cem>PEN: Where did you start learning about hip hop culture?\u003c/em>\u003c/p>\n\u003cp>JADA: I was born into it because my parents were both very young hip hop heads when they had us. And music was the only thing that we really had to grasp on to when it came to culture… We moved to the Bay when I was about 10 years old. But before that, we were in kind of the rural Midwest, in this little town called Belleville, right outside of east St. Louis. There wasn’t much happening, it was kind of desolate in a way. So it was hip hop and music that gave me life.\u003c/p>\n\u003cp>JADA: I think both of my parents have always been very conscious of the world they live in… And my dad especially was always very radical and very pro Black. And just like ‘you need to understand the world is not set up for us.’ And the music was the medium that he taught me through…\u003c/p>\n\u003cp>\u003cem>PEN: How has the Bay influenced your art?\u003c/em>\u003c/p>\n\u003cp>JADA: Oh, my gosh, in so many ways! The Bay taught me how to dance! The Bay has also influenced a lot of my style and the ability to rock thrift shops, not because that’s all you can afford growing up, but because you can make that fly.\u003c/p>\n\u003cp>JADA: One thing that I really admire about the Bay is that there is a strong activist history and there’s also a strong hyphy history. And when we’re talking about bringing those sounds together, like, what does it mean to talk about identity and power over a Bay slap rap? But, yeah, it’s hard to say what the Bay hasn’t done for me. I owe so much to the Bay [laughs] Especially with the first project we sampled Mac Dre, and it was like an ode to the Bay and that was like part of the tone.\u003c/p>\n\u003cp>\u003cem>PEN: You mentioned the Mac Dre line… That’s what inspired me to ask that question. You sampled the line “sometimes I’m not myself, sometimes I’m another man.”\u003c/em>\u003c/p>\n\u003cp>JADA: I really enjoyed that line in particular because he was like, you don’t know who I am. Or I can recreate who I am, or like, you might see me one way because of the body I live in, but, you know, what else is there? Also it’s just like some like sassy clapping back against misogyny. I was like sixteen feeling myself. Because so much of the reason why I feel like I couldn’t talk is because I was born into a girl’s body, and so much of what inspires me to write is clapping back at the patriarchy.\u003c/p>\n\u003cp>\u003cem>PEN: It’s a high vibration clapback, if you will.\u003c/em>\u003c/p>\n\u003cp>JADA: HA! Let’s go! High vibration clap back. I love it.\u003c/p>\n\u003cp>PEN: But another line that stands out to me correct me if I butcher it… “reading looks reading books, reading minds, reading charts.” Did I say that right?\u003c/p>\n\u003cp>JADA: “Reading books, reading charts, read myself, it’s a work of art, way more work than to fall apart…”\u003c/p>\n\u003cp>JADA: I was really– and I still am– an astrology nerd. So reading birth charts was part of my hustle when I didn’t want to get a nine to five and I wanted to only do things I genuinely enjoyed. I read birth charts for people. And then reading myself, you know, introspection is hard work, but you can’t let yourself fall apart. You got to keep reading into it.\u003c/p>\n\u003cp>\u003cem>PEN: … So, you’re calling us from Hawaii right now, where you’ve been for months, is it influencing the music that you’re producing?\u003c/em>\u003c/p>\n\u003cp>JADA: That’s such a big question because I’m constantly processing it… how few black folks are here. I see more white folks than brown folks, indigenous folks out here. And I’m like, who gets to be here, who doesn’t and why? I’m really grateful to have the access to the kind of retreat that I need to grow and heal from my own, like, hurts and things. And I’m hella grateful for that… And in terms of the overarching narrative that’s going on here with the history of colonization and how it shows up in the present day. I think about it all the time. There’s colonization all over, in the Bay, like there’s gentrification, all these things. But it hits different here. You know, it really does.\u003c/p>\n\u003cp>JADA: … The coqui frogs are really loud at night. They sound like birds. And so when I’m recording at night, they get into the recordings of the songs. And so it ended up being the whole soundscape of an EP… Literally sounds of rainforest entering the music now [laughs]\u003c/p>\n\u003cp>\u003cem>PEN: So being that your parents put a seed in you in terms of like hip hop history, culture, the importance of the art. What role do you play?\u003c/em>\u003c/p>\n\u003cp>JADA: I think I’m a weaver of community, like to hold space and open space whether it be the community center or a cafe where folks can cipher, for poets or hip hop artists to come together and see each other’s craft and like, love on each other…\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cblockquote>\n\u003cp>\u003cem>I have seen God – I have seen ungodly – none can be greater – none can compare to God.\u003c/em>\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003ca href=\"https://www.npr.org/artists/15394783/john-coltrane\">John Coltrane\u003c/a> composed these words in December 1964, as part of a poem he called \u003cem>A Love Supreme. \u003c/em>He included the poem in the inside gatefold of an album by the same name, released the following year. That same year, a young couple in San Francisco heard Coltrane in concert, sharing a jolt of higher purpose when he seemed to fix them in his sights with the bell of his saxophone.\u003c/p>\n\u003cp>That couple, Franzo and Marina King, went on to \u003ca href=\"https://www.npr.org/2020/09/23/915846867/five-decades-on-an-eclectic-church-preaches-the-message-of-john-coltrane\">establish a church\u003c/a> devoted to Coltrane and his spiritual message, incorporating \u003cem>A Love Supreme \u003c/em>as their chief liturgical text. Their house of worship — known today as the St. John Will-I-Am Coltrane African Orthodox Church — has survived decades of change in a gentrifying city, while making a few notable revisions to its charter.\u003c/p>\n\u003cp>In this 20-minute documentary short, \u003cem>Jazz Night in America\u003c/em> pays a visit to the Coltrane Church, thoughtfully tracing its winding history — including a tumultuous period when Alice Coltrane, John’s widow, bestowed and then revoked her support. We’ll delve into the spiritual mysteries of \u003cem>A Love Supreme, \u003c/em>from “Acknowledgment” to “Psalm,” and consider what it means to be of service — to a calling, to a community, and to the music that sparked it all. \u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 WBGO and Jazz At Lincoln Center. To see more, visit \u003ca href=\"http://www.npr.org/series/347139849/jazz-night-in-america\">WBGO and Jazz At Lincoln Center\u003c/a>\u003c/em>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Saint+Coltrane%3A+The+Church+Built+On+%27A+Love+Supreme%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cblockquote>\n\u003cp>\u003cem>I have seen God – I have seen ungodly – none can be greater – none can compare to God.\u003c/em>\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003ca href=\"https://www.npr.org/artists/15394783/john-coltrane\">John Coltrane\u003c/a> composed these words in December 1964, as part of a poem he called \u003cem>A Love Supreme. \u003c/em>He included the poem in the inside gatefold of an album by the same name, released the following year. That same year, a young couple in San Francisco heard Coltrane in concert, sharing a jolt of higher purpose when he seemed to fix them in his sights with the bell of his saxophone.\u003c/p>\n\u003cp>That couple, Franzo and Marina King, went on to \u003ca href=\"https://www.npr.org/2020/09/23/915846867/five-decades-on-an-eclectic-church-preaches-the-message-of-john-coltrane\">establish a church\u003c/a> devoted to Coltrane and his spiritual message, incorporating \u003cem>A Love Supreme \u003c/em>as their chief liturgical text. Their house of worship — known today as the St. John Will-I-Am Coltrane African Orthodox Church — has survived decades of change in a gentrifying city, while making a few notable revisions to its charter.\u003c/p>\n\u003cp>In this 20-minute documentary short, \u003cem>Jazz Night in America\u003c/em> pays a visit to the Coltrane Church, thoughtfully tracing its winding history — including a tumultuous period when Alice Coltrane, John’s widow, bestowed and then revoked her support. We’ll delve into the spiritual mysteries of \u003cem>A Love Supreme, \u003c/em>from “Acknowledgment” to “Psalm,” and consider what it means to be of service — to a calling, to a community, and to the music that sparked it all. \u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 WBGO and Jazz At Lincoln Center. To see more, visit \u003ca href=\"http://www.npr.org/series/347139849/jazz-night-in-america\">WBGO and Jazz At Lincoln Center\u003c/a>\u003c/em>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Saint+Coltrane%3A+The+Church+Built+On+%27A+Love+Supreme%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Queen Iminah’s Musical Journey Through the African Diaspora",
"headTitle": "Queen Iminah’s Musical Journey Through the African Diaspora | KQED",
"content": "\u003cfigure id=\"attachment_13892039\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13892039\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/0-4-800x660.jpg\" alt=\"Queen Iminah's new EP is a love letter from—and to—the African diaspora.\" width=\"800\" height=\"660\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/0-4-800x660.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/0-4-1020x841.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/0-4-160x132.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/0-4-768x633.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/0-4-1536x1267.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/0-4.jpg 1734w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Queen Iminah’s new EP is a love letter from—and to—the African diaspora. \u003ccite>(GLM Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Let’s start Black History Month with a dose of something to dance to, coming directly from the African Diaspora.\u003c/p>\n\u003cp>On Saturday, Feb. 6, Oakland’s \u003ca href=\"https://www.instagram.com/queen_iminah/\" target=\"_blank\" rel=\"noopener noreferrer\">Queen Iminah\u003c/a> will perform music from her debut project \u003cem>From Ghetto 2 Goddess\u003c/em> via livestream from \u003ca href=\"https://www.eventbrite.com/e/queen-iminah-tickets-136717590995\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco’s Great American Music Hall\u003c/a>.\u003c/p>\n\u003cp>The six-track EP is a blend of what some might call hip-hop, reggae, Afrobeat and R&B. Queen Iminah simply calls it “\u003cspan style=\"font-weight: 400\">melanated music.” Or better yet, “born-again African soul.”\u003c/span>\u003c/p>\n\u003cp>Just by looking at the EP’s featured artists—Ghana’s \u003ca href=\"https://twitter.com/ponobiom\" target=\"_blank\" rel=\"noopener noreferrer\">Yaa Pono\u003c/a>, Brooklyn’s \u003ca href=\"https://www.blakkamoore.com/\">Jahdan Blakkamoore\u003c/a> (originally from Guyana), and Oakland’s \u003ca href=\"https://www.instagram.com/dwaynewigginsofficial/\" target=\"_blank\" rel=\"noopener noreferrer\">D’wayne Wiggins\u003c/a>—a common thread emerges of the African diaspora. That theme carries over to the recording process, which occurred in studios in Ghana, Nigeria, Brooklyn and Oakland.[aside postID='bayareabites_139725']\u003c/p>\n\u003cp>“It all represents my lineage,” says Queen Iminah, who is African American and Jamaican, and became an ordained priestess in the Yoruba tradition after traveling to Nigeria.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Along with her bloodline and culture, the artist brings her passion as an academic to her craft as well. “People are educated through their art,” says Queen Iminah, who is the head of Oakland Unified School District’s \u003ca href=\"https://www.ousd.org/Page/15707\" target=\"_blank\" rel=\"noopener noreferrer\">African American Female Excellence program\u003c/a>.\u003c/p>\n\u003cp>True to form, her music is both spiritually enlightening and intellectually inspiring.\u003c/p>\n\u003cp>The song “Osun” comes on like a jam session, heavy on the percussion; Queen Iminah’s repetitive praise of the deity’s name makes me wonder if there’s even a difference between prayer and song. It helps that the track-ending guitar solo sounds like the strings were plucked from the heavens.\u003c/p>\n\u003cp>As a song more grounded in worldly ills, “Ife Me” is an uptempo reminder of the need for consensual respect, communication, and understanding in any relationship. “Yes means yes, and no means no / respect is key for us to grow,” sings Queen Iminah. And if you’re looking for a song to use as curriculum this month—or any month—I suggest “Warrior Queen.” It’s another uptempo recording, full of lyrics honoring women who lived as warriors, in many forms of the word.\u003c/p>\n\u003cfigure id=\"attachment_13892042\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13892042\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/0-5-1020x1212.jpg\" alt=\"Queen Iminah plays the drums while wearing a guitar over her shoulder.\" width=\"640\" height=\"760\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/0-5-1020x1212.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/0-5-800x951.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/0-5-160x190.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/0-5-768x913.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/0-5.jpg 1203w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Queen Iminah. \u003ccite>(Carol Dutra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>African American luminaries\u003ca href=\"https://www.nytimes.com/1997/06/24/nyregion/betty-shabazz-a-rights-voice-dies-of-burns.html\" target=\"_blank\" rel=\"noopener noreferrer\"> Betty Shabazz\u003c/a>,\u003ca href=\"https://www.pbs.org/wgbh/americanexperience/features/freedomsummer-hamer/\" target=\"_blank\" rel=\"noopener noreferrer\"> Fannie Lou Hamer\u003c/a> and \u003ca href=\"https://www.npr.org/sections/president-biden-takes-office/2021/01/25/960417969/biden-administration-will-speed-up-efforts-to-put-harriet-tubman-on-20-bill\" target=\"_blank\" rel=\"noopener noreferrer\">Harriet Tubman\u003c/a> are mentioned on the same four-and-a-half-minute track as the \u003ca href=\"https://www.smithsonianmag.com/history/the-queen-who-would-be-king-130328511/\" target=\"_blank\" rel=\"noopener noreferrer\">Egyptian pharaoh Hatshepsut\u003c/a>; \u003ca href=\"https://www.metmuseum.org/toah/hd/pwmn_2/hd_pwmn_2.htm\" target=\"_blank\" rel=\"noopener noreferrer\"> Queen Nzinga\u003c/a>, who once ruled the Kingdoms of Ndongo and Matamba (modern day Angola); and \u003ca href=\"https://www.bbc.com/news/av/world-africa-44772345\" target=\"_blank\" rel=\"noopener noreferrer\">Yaa Asantewaa\u003c/a>, the Ghanaian warrior queen who fought against British colonizers in the 1800s.\u003c/p>\n\u003cp>\u003cem>From Ghetto 2 Goddess\u003c/em>, which officially drops in March, is named for what Queen Iminah describes as her “personal journey of ascension.” She says the term isn’t about being better than anyone—it just reflects her own experience in going from “hanging out in strip clubs and throwing my life away” to traveling the world, developing educational workshops and focusing on her art.\u003c/p>\n\u003cp>She’s been \u003ca href=\"https://www.instagram.com/p/CD-wudQsK4Q/\" target=\"_blank\" rel=\"noopener noreferrer\">open about her experiences\u003c/a> in the past, and hopes to continue to discuss her philosophy with the young women she works with, as well as anyone looking to better themselves and their community—especially people of the African Diaspora.\u003c/p>\n\u003cp>“It’s about breaking out of temporary oppression,” says Queen Iminah. “And embracing the multifaceted origins of humanity; all of the spectrums we come from.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Queen Iminah is joined by Jahi of Public Enemy’s PE 2.0 for a livestream on Saturday, Feb. 6, live from the Great American Music Hall. \u003ca href=\"https://www.slimspresents.com/e/queen-iminah-136717590995/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"excerpt": "\"Melanated music\" maker Queen Iminah highlights personal growth in her latest EP, 'From Ghetto 2 Goddess.'",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13892039\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13892039\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/0-4-800x660.jpg\" alt=\"Queen Iminah's new EP is a love letter from—and to—the African diaspora.\" width=\"800\" height=\"660\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/0-4-800x660.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/0-4-1020x841.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/0-4-160x132.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/0-4-768x633.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/0-4-1536x1267.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/0-4.jpg 1734w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Queen Iminah’s new EP is a love letter from—and to—the African diaspora. \u003ccite>(GLM Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Let’s start Black History Month with a dose of something to dance to, coming directly from the African Diaspora.\u003c/p>\n\u003cp>On Saturday, Feb. 6, Oakland’s \u003ca href=\"https://www.instagram.com/queen_iminah/\" target=\"_blank\" rel=\"noopener noreferrer\">Queen Iminah\u003c/a> will perform music from her debut project \u003cem>From Ghetto 2 Goddess\u003c/em> via livestream from \u003ca href=\"https://www.eventbrite.com/e/queen-iminah-tickets-136717590995\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco’s Great American Music Hall\u003c/a>.\u003c/p>\n\u003cp>The six-track EP is a blend of what some might call hip-hop, reggae, Afrobeat and R&B. Queen Iminah simply calls it “\u003cspan style=\"font-weight: 400\">melanated music.” Or better yet, “born-again African soul.”\u003c/span>\u003c/p>\n\u003cp>Just by looking at the EP’s featured artists—Ghana’s \u003ca href=\"https://twitter.com/ponobiom\" target=\"_blank\" rel=\"noopener noreferrer\">Yaa Pono\u003c/a>, Brooklyn’s \u003ca href=\"https://www.blakkamoore.com/\">Jahdan Blakkamoore\u003c/a> (originally from Guyana), and Oakland’s \u003ca href=\"https://www.instagram.com/dwaynewigginsofficial/\" target=\"_blank\" rel=\"noopener noreferrer\">D’wayne Wiggins\u003c/a>—a common thread emerges of the African diaspora. That theme carries over to the recording process, which occurred in studios in Ghana, Nigeria, Brooklyn and Oakland.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It all represents my lineage,” says Queen Iminah, who is African American and Jamaican, and became an ordained priestess in the Yoruba tradition after traveling to Nigeria.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Along with her bloodline and culture, the artist brings her passion as an academic to her craft as well. “People are educated through their art,” says Queen Iminah, who is the head of Oakland Unified School District’s \u003ca href=\"https://www.ousd.org/Page/15707\" target=\"_blank\" rel=\"noopener noreferrer\">African American Female Excellence program\u003c/a>.\u003c/p>\n\u003cp>True to form, her music is both spiritually enlightening and intellectually inspiring.\u003c/p>\n\u003cp>The song “Osun” comes on like a jam session, heavy on the percussion; Queen Iminah’s repetitive praise of the deity’s name makes me wonder if there’s even a difference between prayer and song. It helps that the track-ending guitar solo sounds like the strings were plucked from the heavens.\u003c/p>\n\u003cp>As a song more grounded in worldly ills, “Ife Me” is an uptempo reminder of the need for consensual respect, communication, and understanding in any relationship. “Yes means yes, and no means no / respect is key for us to grow,” sings Queen Iminah. And if you’re looking for a song to use as curriculum this month—or any month—I suggest “Warrior Queen.” It’s another uptempo recording, full of lyrics honoring women who lived as warriors, in many forms of the word.\u003c/p>\n\u003cfigure id=\"attachment_13892042\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13892042\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/02/0-5-1020x1212.jpg\" alt=\"Queen Iminah plays the drums while wearing a guitar over her shoulder.\" width=\"640\" height=\"760\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/0-5-1020x1212.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/0-5-800x951.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/0-5-160x190.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/0-5-768x913.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/02/0-5.jpg 1203w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Queen Iminah. \u003ccite>(Carol Dutra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>African American luminaries\u003ca href=\"https://www.nytimes.com/1997/06/24/nyregion/betty-shabazz-a-rights-voice-dies-of-burns.html\" target=\"_blank\" rel=\"noopener noreferrer\"> Betty Shabazz\u003c/a>,\u003ca href=\"https://www.pbs.org/wgbh/americanexperience/features/freedomsummer-hamer/\" target=\"_blank\" rel=\"noopener noreferrer\"> Fannie Lou Hamer\u003c/a> and \u003ca href=\"https://www.npr.org/sections/president-biden-takes-office/2021/01/25/960417969/biden-administration-will-speed-up-efforts-to-put-harriet-tubman-on-20-bill\" target=\"_blank\" rel=\"noopener noreferrer\">Harriet Tubman\u003c/a> are mentioned on the same four-and-a-half-minute track as the \u003ca href=\"https://www.smithsonianmag.com/history/the-queen-who-would-be-king-130328511/\" target=\"_blank\" rel=\"noopener noreferrer\">Egyptian pharaoh Hatshepsut\u003c/a>; \u003ca href=\"https://www.metmuseum.org/toah/hd/pwmn_2/hd_pwmn_2.htm\" target=\"_blank\" rel=\"noopener noreferrer\"> Queen Nzinga\u003c/a>, who once ruled the Kingdoms of Ndongo and Matamba (modern day Angola); and \u003ca href=\"https://www.bbc.com/news/av/world-africa-44772345\" target=\"_blank\" rel=\"noopener noreferrer\">Yaa Asantewaa\u003c/a>, the Ghanaian warrior queen who fought against British colonizers in the 1800s.\u003c/p>\n\u003cp>\u003cem>From Ghetto 2 Goddess\u003c/em>, which officially drops in March, is named for what Queen Iminah describes as her “personal journey of ascension.” She says the term isn’t about being better than anyone—it just reflects her own experience in going from “hanging out in strip clubs and throwing my life away” to traveling the world, developing educational workshops and focusing on her art.\u003c/p>\n\u003cp>She’s been \u003ca href=\"https://www.instagram.com/p/CD-wudQsK4Q/\" target=\"_blank\" rel=\"noopener noreferrer\">open about her experiences\u003c/a> in the past, and hopes to continue to discuss her philosophy with the young women she works with, as well as anyone looking to better themselves and their community—especially people of the African Diaspora.\u003c/p>\n\u003cp>“It’s about breaking out of temporary oppression,” says Queen Iminah. “And embracing the multifaceted origins of humanity; all of the spectrums we come from.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Queen Iminah is joined by Jahi of Public Enemy’s PE 2.0 for a livestream on Saturday, Feb. 6, live from the Great American Music Hall. \u003ca href=\"https://www.slimspresents.com/e/queen-iminah-136717590995/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Marilyn Manson Allegations Suggest His Art Was a Cover for Abuse",
"headTitle": "Marilyn Manson Allegations Suggest His Art Was a Cover for Abuse | KQED",
"content": "\u003cp>Evan Rachel Wood long avoided naming the ex-partner she said abused her. But this week, in tandem with accusations from four other women, Wood finally admitted that she had been referring to Marilyn Manson. “I am done living in fear of retaliation, slander, or blackmail,” she wrote on Instagram.\u003c/p>\n\u003cp>https://www.instagram.com/p/CKvmsUmF1ho/\u003c/p>\n\u003cp>Two years ago, Wood offered stark details of a prior relationship while speaking at a House Judiciary subcommittee. Though she did not name him at the time, it was \u003ca href=\"https://www.youtube.com/watch?v=rvf1DMDTosk\" target=\"_blank\" rel=\"noopener noreferrer\">very public knowledge\u003c/a> that Wood and Manson dated between 2006 and 2010, having met when she was 18 and he was 36.\u003c/p>\n\u003cp>Speaking out in favor of the Sexual Assault Survivors’ Bill of Rights, \u003ca href=\"https://www.huffpost.com/entry/evan-rachel-wood-sexual-abuse-testimony-congress_n_601812bcc5b653f644d5dda5\" target=\"_blank\" rel=\"noopener noreferrer\">Wood detailed\u003c/a>:\u003c/p>\n\u003cblockquote>\u003cp>Toxic mental, physical, and sexual abuse, which started slow, but escalated over time, including threats against my life, severe gaslighting and brainwashing, waking up to the man that claimed to love me raping what he believed to be my unconscious body, and—the worst part—sick rituals of binding me up by my hands and feet to be mentally and physically tortured until my abuser felt I had ‘proven my love for them.’\u003c/p>\u003c/blockquote>\n\u003cp>That Manson is the ex-partner that Wood was referring to is not particularly surprising for anyone who has been paying attention these last few years. Much has been made of the fact that Manson openly admitted to \u003ca href=\"https://www.spin.com/2009/06/qa-marilyn-manson/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Spin\u003c/em> in 2009\u003c/a> that he had, “fantasies every day about smashing her skull in with a sledgehammer,” and that he had once called her 158 times in one day, while cutting himself each time.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://twitter.com/PattyArquette/status/969299551541743617\u003c/p>\n\u003cp>Last year, British rock magazine \u003ca href=\"https://www.loudersound.com/features/the-10-questions-we-would-like-marilyn-manson-to-answer\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Metal Hammer \u003c/em>\u003c/a>attempted to broach the subject of Wood with Manson during a phone interview, and the singer promptly hung up. Manson’s PR rep later contacted the magazine to say: “Personal testimony is just that, and we think it’s inappropriate to comment on that.” The rep also pointed to Manson’s prior relationships, and current friendships, with ex-wife \u003ca href=\"https://www.mirror.co.uk/3am/celebrity-news/marilyn-manson-cosies-up-ex-14770571\" target=\"_blank\" rel=\"noopener noreferrer\">Dita Von Teese\u003c/a> and #MeToo activist Rose McGowan, as proof that Manson wasn’t abusive. (McGowan has since tweeted \u003ca href=\"https://people.com/tv/rose-mcgowan-supports-evan-rachel-wood-following-marilyn-manson-allegations/\" target=\"_blank\" rel=\"noopener noreferrer\">words of support\u003c/a> for Wood.) [aside postid='arts_13887034']\u003c/p>\n\u003cp>Manson’s publicist added: “The comments in \u003cem>Spin \u003c/em>where Manson had a fantasy of using a sledgehammer on Evan and he cut himself 158 times was obviously a theatrical rock star interview promoting a new record, and not a factual account.”\u003c/p>\n\u003cp>That statement doubled down on ideas around Manson that first found popularity after his appearance in Michael Moore’s \u003cem>Bowling For Columbine\u003c/em> documentary. In the 2002 film, Manson came across as an articulate, intelligent and sensitive misfit who had been scapegoated. His frightening image, the film suggested, was just that—an image that doubled as an outlet. For both himself and his fans.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=oeQ4HWhPEdA\u003c/p>\n\u003cp>The allegations that emerged this week, however, suggest that Manson’s darkest traits have long wandered off the stage and into his real life—and not just the one he shared with Wood. The stories each of Manson’s new accusers told this week parallel each other in stark and remarkable ways.\u003c/p>\n\u003cp>An artist named Gabriella—known professionally as \u003ca href=\"https://sourgirrrlart.bigcartel.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Sourgirrrl\u003c/a>—says that she, like Wood, was much younger than Manson when they first became involved. (Gabriella was 22, he was 46.) Like Wood, she says that he tied her up, raped her and sexually abused her while she slept. Like Wood, she says Manson interpreted her suffering as evidence of her love for him.\u003c/p>\n\u003cp>https://www.instagram.com/p/CKvnbDTF1mb/\u003c/p>\n\u003cp>Gabriella’s claim that Manson imprisoned her in a room echoes the story also shared by model Sarah McNeilly. In her own Instagram post, McNeilly detailed manipulative, abusive and threatening behavior she said she survived, after a period of “love-bombing” by Manson.\u003c/p>\n\u003cp>“I was emotionally abused, terrorized and scarred,” she wrote. “I was locked in rooms when I was ‘bad,’ sometimes forced to listen to him entertaining other women. Kept away from certain friends or, if I didn’t, he would threaten to come after them. I was told stories of others who tried to tell their story and their pets ended up dead.”\u003c/p>\n\u003cp>https://www.instagram.com/p/CKvm7NtAInI/\u003c/p>\n\u003cp>Another model, Ashley Lindsay Morgan, says her relationship with Manson began as a professional endeavor, but quickly descended into him exercising extreme forms of control over her, including physical abuse like cutting and burning. She says he also denied her food, sleep and access to the outside world.\u003c/p>\n\u003cp>Morgan says she has decided to come forward now because she “[knows] he is still doing this to a rotating door of young girls, and causing irreparable damage.”\u003c/p>\n\u003cp>“I am coming forward so he will finally stop,” she wrote.\u003c/p>\n\u003cp>https://www.instagram.com/p/CKvrhjkpsmG/\u003c/p>\n\u003cp>Photographer Ashley Walters also came forward on Instagram, to talk about how she was treated by Manson while working as his assistant. “I felt like I was his property,” \u003ca href=\"https://celebrityinsider.org/ashley-walters-accuses-marilyn-manson-of-using-mind-control-and-torture-tactics-to-control-her-473565/\" target=\"_blank\" rel=\"noopener noreferrer\">she wrote\u003c/a>, “because [he] would offer me up for sexual encounters to please potential collaborators or friends, and bragged that he could do so.” [aside postid='arts_13889064']\u003c/p>\n\u003cp>The women’s testimonies come two years after actress \u003ca href=\"https://www.iheartradio.ca/news/actress-charlyne-yi-accuses-marilyn-manson-of-harassment-1.3629032\" target=\"_blank\" rel=\"noopener noreferrer\">Charlyne Yi took to Twitter\u003c/a> to allege harassment by Manson during a visit he made to the set of her TV show, \u003cem>House\u003c/em>, in 2011.\u003c/p>\n\u003cp>“He came on set to visit because he was a huge fan of the show,” she wrote, “[and] he harassed just about every woman.” Yi, who is of Spanish Filipino, Korean and Native American descent, said Manson also called her “a China man.”\u003c/p>\n\u003cp>Yi deleted her tweet after being harassed by Manson fans, and Walters deleted her Instagram account since making the post about working with him.\u003c/p>\n\u003cp>Though Manson’s entire career has been constructed around goth theatrics and his own innate desire to shock, the impression given in his interviews and by the music press at large was, for the most part, that it was one big, self-conscious experiment—a schtick to test America’s boundaries. And maybe that \u003cem>was\u003c/em> true at the beginning.\u003c/p>\n\u003cp>If true now, the allegations about Manson that emerged this week suggest that the lines that used to separate his art from reality have long since evaporated. At this point, it’s becoming hard to see him as anything but a real-life monster.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Update: On Feb. 1, Manson issued \u003ca href=\"https://www.instagram.com/p/CKxZavzAGOe/\" target=\"_blank\" rel=\"noopener noreferrer\">a statement\u003c/a> on Instagram in which he called the allegations, “horrible distortions of reality,” and said that, “My intimate relationships have always been entirely consensual with like-minded partners.” He was \u003ca href=\"https://twitter.com/LomaVistaRC/status/1356353704115515398\" target=\"_blank\" rel=\"noopener noreferrer\">dropped by Loma Vista Recordings\u003c/a> the same day. In the weeks since, stylist \u003ca href=\"https://www.thedailybeast.com/when-marilyn-manson-pulled-a-gun-on-her-she-thought-am-i-going-to-die\" target=\"_blank\" rel=\"noopener noreferrer\">Love Bailey\u003c/a>, model \u003ca href=\"https://pagesix.com/2021/02/02/jenna-jameson-marilyn-manson-fantasized-about-burning-me-alive/\" target=\"_blank\" rel=\"noopener noreferrer\">Jenna Jameson\u003c/a> and actress \u003ca href=\"https://www.thecut.com/2021/02/game-of-thrones-actor-esme-bianco-marilyn-manson.html\" target=\"_blank\" rel=\"noopener noreferrer\">Esmé Bianco\u003c/a> have all shared allegations of violent and abusive behavior towards them by Manson. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Evan Rachel Wood long avoided naming the ex-partner she said abused her. But this week, in tandem with accusations from four other women, Wood finally admitted that she had been referring to Marilyn Manson. “I am done living in fear of retaliation, slander, or blackmail,” she wrote on Instagram.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Two years ago, Wood offered stark details of a prior relationship while speaking at a House Judiciary subcommittee. Though she did not name him at the time, it was \u003ca href=\"https://www.youtube.com/watch?v=rvf1DMDTosk\" target=\"_blank\" rel=\"noopener noreferrer\">very public knowledge\u003c/a> that Wood and Manson dated between 2006 and 2010, having met when she was 18 and he was 36.\u003c/p>\n\u003cp>Speaking out in favor of the Sexual Assault Survivors’ Bill of Rights, \u003ca href=\"https://www.huffpost.com/entry/evan-rachel-wood-sexual-abuse-testimony-congress_n_601812bcc5b653f644d5dda5\" target=\"_blank\" rel=\"noopener noreferrer\">Wood detailed\u003c/a>:\u003c/p>\n\u003cblockquote>\u003cp>Toxic mental, physical, and sexual abuse, which started slow, but escalated over time, including threats against my life, severe gaslighting and brainwashing, waking up to the man that claimed to love me raping what he believed to be my unconscious body, and—the worst part—sick rituals of binding me up by my hands and feet to be mentally and physically tortured until my abuser felt I had ‘proven my love for them.’\u003c/p>\u003c/blockquote>\n\u003cp>That Manson is the ex-partner that Wood was referring to is not particularly surprising for anyone who has been paying attention these last few years. Much has been made of the fact that Manson openly admitted to \u003ca href=\"https://www.spin.com/2009/06/qa-marilyn-manson/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Spin\u003c/em> in 2009\u003c/a> that he had, “fantasies every day about smashing her skull in with a sledgehammer,” and that he had once called her 158 times in one day, while cutting himself each time.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Last year, British rock magazine \u003ca href=\"https://www.loudersound.com/features/the-10-questions-we-would-like-marilyn-manson-to-answer\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Metal Hammer \u003c/em>\u003c/a>attempted to broach the subject of Wood with Manson during a phone interview, and the singer promptly hung up. Manson’s PR rep later contacted the magazine to say: “Personal testimony is just that, and we think it’s inappropriate to comment on that.” The rep also pointed to Manson’s prior relationships, and current friendships, with ex-wife \u003ca href=\"https://www.mirror.co.uk/3am/celebrity-news/marilyn-manson-cosies-up-ex-14770571\" target=\"_blank\" rel=\"noopener noreferrer\">Dita Von Teese\u003c/a> and #MeToo activist Rose McGowan, as proof that Manson wasn’t abusive. (McGowan has since tweeted \u003ca href=\"https://people.com/tv/rose-mcgowan-supports-evan-rachel-wood-following-marilyn-manson-allegations/\" target=\"_blank\" rel=\"noopener noreferrer\">words of support\u003c/a> for Wood.) \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Manson’s publicist added: “The comments in \u003cem>Spin \u003c/em>where Manson had a fantasy of using a sledgehammer on Evan and he cut himself 158 times was obviously a theatrical rock star interview promoting a new record, and not a factual account.”\u003c/p>\n\u003cp>That statement doubled down on ideas around Manson that first found popularity after his appearance in Michael Moore’s \u003cem>Bowling For Columbine\u003c/em> documentary. In the 2002 film, Manson came across as an articulate, intelligent and sensitive misfit who had been scapegoated. His frightening image, the film suggested, was just that—an image that doubled as an outlet. For both himself and his fans.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/oeQ4HWhPEdA'\n title='//www.youtube.com/embed/oeQ4HWhPEdA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The allegations that emerged this week, however, suggest that Manson’s darkest traits have long wandered off the stage and into his real life—and not just the one he shared with Wood. The stories each of Manson’s new accusers told this week parallel each other in stark and remarkable ways.\u003c/p>\n\u003cp>An artist named Gabriella—known professionally as \u003ca href=\"https://sourgirrrlart.bigcartel.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Sourgirrrl\u003c/a>—says that she, like Wood, was much younger than Manson when they first became involved. (Gabriella was 22, he was 46.) Like Wood, she says that he tied her up, raped her and sexually abused her while she slept. Like Wood, she says Manson interpreted her suffering as evidence of her love for him.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Gabriella’s claim that Manson imprisoned her in a room echoes the story also shared by model Sarah McNeilly. In her own Instagram post, McNeilly detailed manipulative, abusive and threatening behavior she said she survived, after a period of “love-bombing” by Manson.\u003c/p>\n\u003cp>“I was emotionally abused, terrorized and scarred,” she wrote. “I was locked in rooms when I was ‘bad,’ sometimes forced to listen to him entertaining other women. Kept away from certain friends or, if I didn’t, he would threaten to come after them. I was told stories of others who tried to tell their story and their pets ended up dead.”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Another model, Ashley Lindsay Morgan, says her relationship with Manson began as a professional endeavor, but quickly descended into him exercising extreme forms of control over her, including physical abuse like cutting and burning. She says he also denied her food, sleep and access to the outside world.\u003c/p>\n\u003cp>Morgan says she has decided to come forward now because she “[knows] he is still doing this to a rotating door of young girls, and causing irreparable damage.”\u003c/p>\n\u003cp>“I am coming forward so he will finally stop,” she wrote.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Photographer Ashley Walters also came forward on Instagram, to talk about how she was treated by Manson while working as his assistant. “I felt like I was his property,” \u003ca href=\"https://celebrityinsider.org/ashley-walters-accuses-marilyn-manson-of-using-mind-control-and-torture-tactics-to-control-her-473565/\" target=\"_blank\" rel=\"noopener noreferrer\">she wrote\u003c/a>, “because [he] would offer me up for sexual encounters to please potential collaborators or friends, and bragged that he could do so.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The women’s testimonies come two years after actress \u003ca href=\"https://www.iheartradio.ca/news/actress-charlyne-yi-accuses-marilyn-manson-of-harassment-1.3629032\" target=\"_blank\" rel=\"noopener noreferrer\">Charlyne Yi took to Twitter\u003c/a> to allege harassment by Manson during a visit he made to the set of her TV show, \u003cem>House\u003c/em>, in 2011.\u003c/p>\n\u003cp>“He came on set to visit because he was a huge fan of the show,” she wrote, “[and] he harassed just about every woman.” Yi, who is of Spanish Filipino, Korean and Native American descent, said Manson also called her “a China man.”\u003c/p>\n\u003cp>Yi deleted her tweet after being harassed by Manson fans, and Walters deleted her Instagram account since making the post about working with him.\u003c/p>\n\u003cp>Though Manson’s entire career has been constructed around goth theatrics and his own innate desire to shock, the impression given in his interviews and by the music press at large was, for the most part, that it was one big, self-conscious experiment—a schtick to test America’s boundaries. And maybe that \u003cem>was\u003c/em> true at the beginning.\u003c/p>\n\u003cp>If true now, the allegations about Manson that emerged this week suggest that the lines that used to separate his art from reality have long since evaporated. At this point, it’s becoming hard to see him as anything but a real-life monster.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Update: On Feb. 1, Manson issued \u003ca href=\"https://www.instagram.com/p/CKxZavzAGOe/\" target=\"_blank\" rel=\"noopener noreferrer\">a statement\u003c/a> on Instagram in which he called the allegations, “horrible distortions of reality,” and said that, “My intimate relationships have always been entirely consensual with like-minded partners.” He was \u003ca href=\"https://twitter.com/LomaVistaRC/status/1356353704115515398\" target=\"_blank\" rel=\"noopener noreferrer\">dropped by Loma Vista Recordings\u003c/a> the same day. In the weeks since, stylist \u003ca href=\"https://www.thedailybeast.com/when-marilyn-manson-pulled-a-gun-on-her-she-thought-am-i-going-to-die\" target=\"_blank\" rel=\"noopener noreferrer\">Love Bailey\u003c/a>, model \u003ca href=\"https://pagesix.com/2021/02/02/jenna-jameson-marilyn-manson-fantasized-about-burning-me-alive/\" target=\"_blank\" rel=\"noopener noreferrer\">Jenna Jameson\u003c/a> and actress \u003ca href=\"https://www.thecut.com/2021/02/game-of-thrones-actor-esme-bianco-marilyn-manson.html\" target=\"_blank\" rel=\"noopener noreferrer\">Esmé Bianco\u003c/a> have all shared allegations of violent and abusive behavior towards them by Manson. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The family of legendary singer Tony Bennett—a staple presence who introduced generations to the American songbook and pop standards—says he has Alzheimer’s disease.\u003c/p>\n\u003cp>The announcement was made in \u003ca href=\"https://www.aarp.org/entertainment/celebrities/info-2021/tony-bennett-alzheimers.html\" target=\"_blank\" rel=\"noopener noreferrer\">a profile of Bennett\u003c/a> published by \u003cem>AARP The Magazine\u003c/em> on Monday; his wife, Susan Benedetto, says that he was diagnosed with the debilitating disease in 2016. On Monday morning, Bennett’s Twitter account posted \u003ca href=\"https://twitter.com/itstonybennett/status/1356232201810157568?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5Etweet\" target=\"_blank\" rel=\"noopener noreferrer\">a note\u003c/a> in the singer’s name, writing: “Life is a gift—even with Alzheimer’s. Thank you to Susan and my family for their support, and \u003cem>AARP The Magazine\u003c/em> for telling my story.”\u003c/p>\n\u003cp>Benedetto also gave an interview to \u003ca href=\"https://www.cbsnews.com/news/tony-bennett-alzheimers-disease/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>CBS This Morning\u003c/em>\u003c/a> on Monday, saying that Bennett is still able to rehearse twice a week at home, singing for an hour or so at a time.\u003c/p>\n\u003cp>Benedetto told \u003cem>AARP\u003c/em> that the singer is often disoriented and sometimes doesn’t recognize the utility of household objects such as forks or keys, but that he still recognizes family members.\u003c/p>\n\u003cp>Despite his battle, Bennett has recorded a new album of duets with Lady Gaga as a follow-up to their 2014 project, \u003cem>Cheek to Cheek.\u003c/em> According to\u003cem> AARP\u003c/em>, the new material was recorded “in widely spaced sessions” between 2018 and early last year and Gaga was aware of his disease while they were recording.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>When the \u003cem>AARP \u003c/em>journalist asked the singer in early November 2020 if he was excited about the project, however, Bennett “stared silently.”\u003c/p>\n\u003cp>The family—chiefly his wife and his son, Danny, who has managed Bennett’s career for the past 40 years (and who \u003ca href=\"https://variety.com/2019/music/news/verve-records-president-danny-bennett-steps-down-1203169829/\" target=\"_blank\" rel=\"noopener noreferrer\">led\u003c/a> the Verve record label between 2016 and 2019)—told \u003cem>AARP\u003c/em> that they felt that with this new—and perhaps final—album scheduled for release this spring, it was time to disclose his condition.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=EIoyTlfUPPU\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Tony+Bennett+Has+Alzheimer%27s+Disease&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cp>Ever since COVID-19 forced NPR’s Tiny Desk concerts out of the office and into the personal domains of musicians, the backdrops to the sets have consistently displayed a delightful degree of creativity.\u003c/p>\n\u003cp>Dua Lipa took desks out of the equation altogether and brought the atmosphere of a very polished \u003ca href=\"https://www.youtube.com/watch?v=F4neLJQC1_E\" target=\"_blank\" rel=\"noopener noreferrer\">living room jam session\u003c/a>. Jazmine Sullivan created a \u003ca href=\"https://www.youtube.com/watch?v=KgrCYvVYSRE\" target=\"_blank\" rel=\"noopener noreferrer\">backroom bar\u003c/a> vibe for her set earlier this month. And Lous and the Yakuza created their very own \u003ca href=\"https://www.npr.org/2021/01/27/960903886/lous-and-the-yakuza-tiny-desk-home-concert\" rel=\"noopener noreferrer\" target=\"_blank\">tiny home studio\u003c/a>.\u003c/p>\n\u003cp>This week, Miley Cyrus took Billie Eilish’s idea of a \u003ca href=\"https://www.youtube.com/watch?v=4sZ2_aGsLKU\" target=\"_blank\" rel=\"noopener noreferrer\">Tiny Bedroom set\u003c/a> and brought it to a distinctly Miley Cyrus place. Miley’s room was awash with riot grrrl aesthetics—all tween pinks and purples intermingled with scruffy homemade posters—and constructed on a playhouse scale.\u003c/p>\n\u003cp>Landing in the middle of it all, with the distinctly 1970s rock ‘n’ roll bravado she’s embraced of late, Cyrus brought back childhood memories for anyone who spent their formative years playing dress-up and singing along to records in their room. The passionate set was comprised of a cover of Mazzy Star’s “\u003ca href=\"https://www.youtube.com/watch?v=ImKY6TZEyrI\" target=\"_blank\" rel=\"noopener noreferrer\">Fade Into You\u003c/a>,” followed by two tracks from her \u003cem>Plastic Hearts\u003c/em> album, “Golden G String” and “Prisoner.” Needless to say, the final result will have you looking for the nearest pair of leopard print pants.\u003c/p>\n\u003cp>You can watch Miley Cyrus’ Tiny Desk (Home) Concert in full, below.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=W5-yezpcZNU\u003c/p>\n\n",
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"title": "With Rap Snacks Radio, Kay-Beezy Fa Sheezy Serves Up Satisfying Tunes for the Soul",
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"content": "\u003cp>“Yes yes yes, boppers! Welcome. Bienvenidos. Aloha. Shalom.” A few minutes after 6pm on a Friday night, the smooth baritone offering a string of peaceful greetings over the KPOO 89.5 FM airwaves is Kay-Beezy Fa Sheezy. His show, \u003ca href=\"https://www.mixcloud.com/RapSnacksRadio/\" target=\"_blank\" rel=\"noopener noreferrer\">Rap Snacks Radio\u003c/a>, is a relative newcomer to the KPOO family, and already establishing a fan base of devoted Snackheads.\u003c/p>\n\u003cp>The savory show highlights Bay Area greats like Too $hort, Mac Dre, and Tupac Shakur. Another signature feature, known as Rap Snacks Double Downs, lines up source samples back-to-back with hip-hop anthems. Joe Cocker’s “Woman to Woman” might sound out of place on a rap show—that is, until EPMD’s “Knick Knack Paddy Wack” fades in over it.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" width=\"100%\" height=\"60\" src=\"https://www.mixcloud.com/widget/iframe/?hide_cover=1&mini=1&light=1&feed=%2FRapSnacksRadio%2Frap-snacks-radio-episode-161-cold-kickin-it-live-january-22-2021%2F\" frameborder=\"0\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Kay-Beezy Fa Sheezy got started in radio a few years ago after recording a PSA for his day job at a food bank, impressing the manager at Davis station KDRT with his crisp delivery. At the time, he was living in San Francisco but commuting north daily for work.\u003c/p>\n\u003cp>The mash-up was perfect. KDRT hadn’t had a hip-hop show in seven years. Kay-Beezy Fa Sheezy, whose DJ moniker is a nod to E-40, is a serious soul record collector. His stacks of “buttery vinyl” were amassed over more than two decades of paid work and passion, including retail clerking at a Virgin Megastore and sharing obscure tunes through small mail-based CD exchanges.\u003c/p>\n\u003cp>For a year and a half, he’d drive two hours to do his one-hour Wednesday evening show—which with station IDs and PSAs, was actually only 58 minutes long—and stay with family before returning home the next day. It was a soulful but taxing (unpaid) slog. All the while, he hoped a beloved station much closer to home would nurture his talents.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Founded in 1971, San Francisco’s \u003ca href=\"https://kpoo.com/\" target=\"_blank\" rel=\"noopener noreferrer\">KPOO 89.5 FM\u003c/a> focuses on programming for communities of people traditionally underserved by mainstream media, including Black, Latinx, and Native folks. The non-commercial station is entirely listener supported through annual fundraisers, and all KPOO DJs are volunteers. Once they settle into the KPOO family, many of the station’s broadcasters keep their shows for years, if not decades.\u003c/p>\n\u003cp>Since its inception, KPOO has been a groundbreaking West Coast presence, as well as the first Bay Area station to play reggae, salsa, and rap music; it lead other regional stations to start focusing on hip-hop. Bringing in a fresh show focusing on hip-hop history and classic tracks was obvious to station manager Jerome “JJ on D Radio” Parson.\u003c/p>\n\u003cp>As COVID-19 irreparably shifted schedules and lives, Kay-Beezy Fa Sheezy started regularly filling in on Friday nights. Many of the station’s DJs still broadcast live from the Divisadero Street studio, wearing masks on the mic. A few in higher-risk categories have temporarily switched to pre-recording their shows or taken a break from broadcasting.\u003c/p>\n\u003cp>Last fall, Rap Snacks Radio became the permanent, four-hour Friday night show. Since then, Kay-Beezy Fa Sheezy has only missed one week live in the studio, pre-recording that show to keep his deeply devoted fans satisfied. “Some people call me every single week, and some have made me art,” he reflects with awe. “People send me cookies!”\u003c/p>\n\u003cfigure id=\"attachment_13891892\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13891892\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/RapSnacks_1200.jpg\" alt=\"\" width=\"1280\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/RapSnacks_1200.jpg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/RapSnacks_1200-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/RapSnacks_1200-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/RapSnacks_1200-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/RapSnacks_1200-768x768.jpg 768w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">A crew of collaborators creates weekly graphics for Rap Snacks Radio.\u003c/figcaption>\u003c/figure>\n\u003cp>One of the biggest hurdles to hosting a hip-shop show between the hours of 6 and 10pm is avoiding profanity, which the Federal Communications Commission allows only after 10pm. Kay-Beezy Fa Sheezy doesn’t mind the extra effort required. “I like my show to be family-friendly,” he says, relying on his massive collection of 12” singles, many of which include clean cuts.\u003c/p>\n\u003cp>He’s also committed to nurturing a community, noting that unlike DJs who often try to hide their best obscure records and samples, “There’s a sharing and learning component to my show.” A whole crew of behind-the-scenes creative collaborators pitches in on weekly themes and graphics, including \u003ca href=\"https://www.instagram.com/houseofdoomoakland/\" target=\"_blank\" rel=\"noopener noreferrer\">House of Doom\u003c/a>, \u003ca href=\"https://www.instagram.com/thickcr8s/\" target=\"_blank\" rel=\"noopener noreferrer\">DJ Precise\u003c/a> and \u003ca href=\"https://www.instagram.com/noh8tin/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Noh8tin\u003c/a>. Call-in guests are common and have included young stars and legends like Lil B and Busy Bee Starski. Eventually, Kay-Beezy Fa Sheezy wants to welcome even more performers and visual artists into the studio. “Once the world opens back up, it’s gonna be like a jamboree!” he says.\u003c/p>\n\u003cp>In a year of unspeakable difficulty and pain, Kay-Beezy Fa Sheezy’s Friday evening mix of joy and optimism nourishes him as much as it uplifts listeners. “I’m a hope dealer—that’s what I’m pushing,” he jokes. He also notes despite relentless enthusiasm from fans, “I focus on staying hungry, humble and happy,” using a line he often drops during his shows.\u003c/p>\n\u003cp>“This has gotta be about fun,” he adds. “The minute this goes to my head, the minute it’s a job or I’m trying to impress someone? I’m done.”\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“Yes yes yes, boppers! Welcome. Bienvenidos. Aloha. Shalom.” A few minutes after 6pm on a Friday night, the smooth baritone offering a string of peaceful greetings over the KPOO 89.5 FM airwaves is Kay-Beezy Fa Sheezy. His show, \u003ca href=\"https://www.mixcloud.com/RapSnacksRadio/\" target=\"_blank\" rel=\"noopener noreferrer\">Rap Snacks Radio\u003c/a>, is a relative newcomer to the KPOO family, and already establishing a fan base of devoted Snackheads.\u003c/p>\n\u003cp>The savory show highlights Bay Area greats like Too $hort, Mac Dre, and Tupac Shakur. Another signature feature, known as Rap Snacks Double Downs, lines up source samples back-to-back with hip-hop anthems. Joe Cocker’s “Woman to Woman” might sound out of place on a rap show—that is, until EPMD’s “Knick Knack Paddy Wack” fades in over it.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" width=\"100%\" height=\"60\" src=\"https://www.mixcloud.com/widget/iframe/?hide_cover=1&mini=1&light=1&feed=%2FRapSnacksRadio%2Frap-snacks-radio-episode-161-cold-kickin-it-live-january-22-2021%2F\" frameborder=\"0\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Kay-Beezy Fa Sheezy got started in radio a few years ago after recording a PSA for his day job at a food bank, impressing the manager at Davis station KDRT with his crisp delivery. At the time, he was living in San Francisco but commuting north daily for work.\u003c/p>\n\u003cp>The mash-up was perfect. KDRT hadn’t had a hip-hop show in seven years. Kay-Beezy Fa Sheezy, whose DJ moniker is a nod to E-40, is a serious soul record collector. His stacks of “buttery vinyl” were amassed over more than two decades of paid work and passion, including retail clerking at a Virgin Megastore and sharing obscure tunes through small mail-based CD exchanges.\u003c/p>\n\u003cp>For a year and a half, he’d drive two hours to do his one-hour Wednesday evening show—which with station IDs and PSAs, was actually only 58 minutes long—and stay with family before returning home the next day. It was a soulful but taxing (unpaid) slog. All the while, he hoped a beloved station much closer to home would nurture his talents.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Founded in 1971, San Francisco’s \u003ca href=\"https://kpoo.com/\" target=\"_blank\" rel=\"noopener noreferrer\">KPOO 89.5 FM\u003c/a> focuses on programming for communities of people traditionally underserved by mainstream media, including Black, Latinx, and Native folks. The non-commercial station is entirely listener supported through annual fundraisers, and all KPOO DJs are volunteers. Once they settle into the KPOO family, many of the station’s broadcasters keep their shows for years, if not decades.\u003c/p>\n\u003cp>Since its inception, KPOO has been a groundbreaking West Coast presence, as well as the first Bay Area station to play reggae, salsa, and rap music; it lead other regional stations to start focusing on hip-hop. Bringing in a fresh show focusing on hip-hop history and classic tracks was obvious to station manager Jerome “JJ on D Radio” Parson.\u003c/p>\n\u003cp>As COVID-19 irreparably shifted schedules and lives, Kay-Beezy Fa Sheezy started regularly filling in on Friday nights. Many of the station’s DJs still broadcast live from the Divisadero Street studio, wearing masks on the mic. A few in higher-risk categories have temporarily switched to pre-recording their shows or taken a break from broadcasting.\u003c/p>\n\u003cp>Last fall, Rap Snacks Radio became the permanent, four-hour Friday night show. Since then, Kay-Beezy Fa Sheezy has only missed one week live in the studio, pre-recording that show to keep his deeply devoted fans satisfied. “Some people call me every single week, and some have made me art,” he reflects with awe. “People send me cookies!”\u003c/p>\n\u003cfigure id=\"attachment_13891892\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13891892\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/RapSnacks_1200.jpg\" alt=\"\" width=\"1280\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/RapSnacks_1200.jpg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/RapSnacks_1200-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/RapSnacks_1200-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/RapSnacks_1200-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/RapSnacks_1200-768x768.jpg 768w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">A crew of collaborators creates weekly graphics for Rap Snacks Radio.\u003c/figcaption>\u003c/figure>\n\u003cp>One of the biggest hurdles to hosting a hip-shop show between the hours of 6 and 10pm is avoiding profanity, which the Federal Communications Commission allows only after 10pm. Kay-Beezy Fa Sheezy doesn’t mind the extra effort required. “I like my show to be family-friendly,” he says, relying on his massive collection of 12” singles, many of which include clean cuts.\u003c/p>\n\u003cp>He’s also committed to nurturing a community, noting that unlike DJs who often try to hide their best obscure records and samples, “There’s a sharing and learning component to my show.” A whole crew of behind-the-scenes creative collaborators pitches in on weekly themes and graphics, including \u003ca href=\"https://www.instagram.com/houseofdoomoakland/\" target=\"_blank\" rel=\"noopener noreferrer\">House of Doom\u003c/a>, \u003ca href=\"https://www.instagram.com/thickcr8s/\" target=\"_blank\" rel=\"noopener noreferrer\">DJ Precise\u003c/a> and \u003ca href=\"https://www.instagram.com/noh8tin/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Noh8tin\u003c/a>. Call-in guests are common and have included young stars and legends like Lil B and Busy Bee Starski. Eventually, Kay-Beezy Fa Sheezy wants to welcome even more performers and visual artists into the studio. “Once the world opens back up, it’s gonna be like a jamboree!” he says.\u003c/p>\n\u003cp>In a year of unspeakable difficulty and pain, Kay-Beezy Fa Sheezy’s Friday evening mix of joy and optimism nourishes him as much as it uplifts listeners. “I’m a hope dealer—that’s what I’m pushing,” he jokes. He also notes despite relentless enthusiasm from fans, “I focus on staying hungry, humble and happy,” using a line he often drops during his shows.\u003c/p>\n\u003cp>“This has gotta be about fun,” he adds. “The minute this goes to my head, the minute it’s a job or I’m trying to impress someone? I’m done.”\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"title": "From Vallejo, LaRussell Is Putting On for the Bay",
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"content": "\u003cp>With live music venues shuttered due to the pandemic, alternate platforms have become more necessary than ever for fans seeking entertainment and artists itchy to perform.\u003c/p>\n\u003cp>Enter \u003ca href=\"https://www.youtube.com/c/GoodCompenny/videos\" rel=\"noopener noreferrer\" target=\"_blank\">Good Compenny\u003c/a>, the latest creation from 26-year-old Vallejo MC and media producer \u003ca href=\"https://www.instagram.com/larussell/\" target=\"_blank\" rel=\"noopener noreferrer\">LaRussell\u003c/a>. For over a year, he and his team have experimented with new approaches to filming musical performances—and with their latest iteration, they might’ve struck gold.\u003c/p>\n\u003cp>“Bruh, we got a hard one!” LaRussell exclaims during a phone call. As he tells me about his recent video with the L.A.-based artist \u003ca href=\"https://www.instagram.com/p/CJfMzFYg-a_/\" target=\"_blank\" rel=\"noopener noreferrer\">Iman Europe\u003c/a>, he’s clearly juiced: “She came in and went \u003cem>stupid\u003c/em>.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=WwXsgUdJJIg\u003c/p>\n\u003cp>Posted \u003ca href=\"https://twitter.com/ImanEurope/status/1350188341153521664?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">on Twitter\u003c/a> 10 days ago, the video has amassed 500 retweets and over 1,000 likes. It’s one 15 videos from LaRussell and crew in the past month or so, all filmed at the \u003ca href=\"https://www.instagram.com/shopes.vallejo/\" target=\"_blank\" rel=\"noopener noreferrer\">Esthedik boutique\u003c/a> in his hometown of Vallejo.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>We’re a year into a whole pandemic, and I can’t think of too many artists who \u003cem>haven’t\u003c/em> done some sort of video performance. But there’s something that’s unique, refreshing, and kind of intimate about the clips coming from Good Compenny. It must be the way the LED lighting accents the pure talent of the artists who aren’t household names… yet. Yeah, that’s it.\u003c/p>\n\u003ch2>A Springboard for New Artists\u003c/h2>\n\u003cp>So far, LaRussell’s short videos feature mostly Bay Area artists. Fairfield’s \u003ca href=\"https://www.youtube.com/watch?v=_YRyb-_81ug\" target=\"_blank\" rel=\"noopener noreferrer\">Tah-Hir\u003c/a> spits a verse of life perspective over a sample of the classic Black Rob track “Whoa.” The Alameda-bred vocalist and model \u003ca href=\"https://www.instagram.com/zharmila/\" target=\"_blank\" rel=\"noopener noreferrer\">Zharmila\u003c/a> sends her soulful voice floating on a track named “Honey.” East Bay artist \u003ca href=\"https://www.instagram.com/jazsyaa_/\" target=\"_blank\" rel=\"noopener noreferrer\">Jazs\u003c/a> pleads with a partner to get out of the same old routine in the acoustic-soul track “Riot.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=p3jcRH34Vjk\u003c/p>\n\u003cp>From the audience perspective, LaRussell looks at artists like they’re professional athletes. It’s one thing to hear them be interviewed, he says, but “we wanna see them ball.”\u003c/p>\n\u003cp>I feel him.\u003c/p>\n\u003cp>I grew up watching my favorite artists drop bars inside the booth on BET’s \u003cem>Rap City\u003c/em> and show vulnerability during live tapings of \u003cem>MTV Unplugged\u003c/em>. I’m a firm believer that while the concept of seeing an artist at work isn’t new, it doesn’t really get old—especially when done right.\u003c/p>\n\u003cp>A few platforms are doing pretty well: \u003ca href=\"https://www.youtube.com/channel/UC2Qw1dzXDBAZPwS7zm37g8g\" target=\"_blank\" rel=\"noopener noreferrer\">the COLORS series\u003c/a> is entertaining, and of course \u003ca href=\"https://www.npr.org/series/tiny-desk-concerts/\" target=\"_blank\" rel=\"noopener noreferrer\">NPR’s Tiny Desk\u003c/a> is good.\u003c/p>\n\u003cp>XXL’s \u003ca href=\"https://www.youtube.com/watch?v=RXpGypeg1HU\" target=\"_blank\" rel=\"noopener noreferrer\">Freshman Cypher\u003c/a> and BET’s \u003ca href=\"https://www.youtube.com/watch?v=SKsW0QK68OM\" target=\"_blank\" rel=\"noopener noreferrer\">Hip Hop Awards Cypher\u003c/a> are staples in the industry. Looking at local renditions, Thizzler’s “\u003ca href=\"https://www.youtube.com/watch?v=-oy4A6miB6A\" target=\"_blank\" rel=\"noopener noreferrer\">The Best of Thizzler\u003c/a>” filmed cyphers have been cracking for years. And recently, artists like \u003ca href=\"https://www.youtube.com/watch?v=-v1MxJLy8HY&feature=youtu.be\" target=\"_blank\" rel=\"noopener noreferrer\">Shy’an G\u003c/a> and the \u003ca href=\"https://www.instagram.com/grandnationxl_/\" target=\"_blank\" rel=\"noopener noreferrer\">Grand Nationxl\u003c/a> collective have released taped live performances on their own.\u003c/p>\n\u003cp>“Platforms like this,” says LaRussell, “are launch pads for the artists.”\u003c/p>\n\u003cp>They also fill a gap in the ways artists can get discovered. Given the lack of live events due to COVID-19, videos are the bridge. So now, LaRussell himself is in the latest batch of Good Compenny videos, performing a verse of his track “Do That Little Dance.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=zk8L-CoNk2k\u003c/p>\n\u003cp>He shot it the night before he released his album \u003cem>The Field Effect 2\u003c/em>, simply as album promotion. “We dropped (the video) the very next day, and that shit took off,” LaRussell says with a laugh.\u003c/p>\n\u003cp>But the track is far from comical. “African nigga in a European whip / like we ain’t come here in a European ship,” LaRussell raps in the song’s opening lines. It’s the first track on the album, and serves as an introduction to what he’s about. An expression of pain and anger. Frustration and distrust of the government, specifically the police. And a push for self-accountability: “Unfamiliar, quite peculiar, do you know yourself? / Are you tending to your garden, do you grow yourself?” LaRussell raps.\u003c/p>\n\u003ch2>‘We’re Always on Edge’\u003c/h2>\n\u003cp>From there, \u003cem>The Field Effect 2\u003c/em> covers a lot of territory. With “Hidden Animosity,” LaRussell pens a piece about internal community issues. On the song “God Flow,” he celebrates his own lyrical ability. In the song “Soup and Cracks,” LaRussell mentions his maturation into using his real name in his music, and retiring his stage name, Tota. And then calls out the shortcomings of his childhood hero who introduced him to the concept of metaphor, Lil Wayne: “Looking at my idols that no longer wear a cape / Spewing they beliefs while I no longer can relate.”\u003c/p>\n\u003cp>A recent message from a childhood friend reminded LaRussell that he’s been rapping since he was in second grade at Vallejo’s Widenmann Elementary School. Now LaRussell has released five projects, plus a few ghostwriting placements and a bunch of singles, but he says \u003cem>The Field Effect 2\u003c/em> has gotten the most attention.\u003c/p>\n\u003cp>On the track “Proud Boys,” LaRussell lists off names of people who’ve been killed by state sponsored violence, and then raps, “It’s a couple things that you gotta understand / niggas getting killed for stealing on stolen land.” The track concludes with the poetry of \u003ca href=\"https://www.instagram.com/agrowinggirl333/\" target=\"_blank\" rel=\"noopener noreferrer\">Tee Speaks\u003c/a>, who’s also featured on “Second Hand Emotion,” a song in which LaRussell takes accountability for his role for past trauma in romantic relationships.\u003c/p>\n\u003cfigure id=\"attachment_13891735\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13891735\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/Z6PECedj-800x533.jpg\" alt=\"LaRussell, seated, and co. on the set of a video shoot in Vallejo.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Z6PECedj-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Z6PECedj-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Z6PECedj-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Z6PECedj-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Z6PECedj-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Z6PECedj-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Z6PECedj.jpg 2048w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">LaRussell (seated) and his team on the set of a video shoot in Vallejo. \u003ccite>(LaRussell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After listening to the album, I dug deeper into his catalog. His music chronicles his efforts to be a good father to his daughter, as well as his strides toward veganism. But evident in his latest project project, and the majority of his other work, is his disdain for the police. And given \u003ca href=\"https://www.kqed.org/vallejopolicing\" target=\"_blank\" rel=\"noopener noreferrer\">all that we know about Vallejo police\u003c/a>, it’s no surprise.\u003c/p>\n\u003cp>“We’re always on edge,” says LaRussell, in reference to his city as a whole. “Lately, it’s gotten even worse.”\u003c/p>\n\u003cp>Along with what LaRussell calls “neighborhood politics”—such as festering Vallejo beefs—new conflicts have started to arise when incoming residents make their way to one of the \u003ca href=\"https://sf.curbed.com/2019/6/20/18691880/cheapest-cities-rent-bay-area-zumper-california-median\" target=\"_blank\" rel=\"noopener noreferrer\">least expensive\u003c/a> parts of the Bay Area. “And then you have the fucked-up-ass police force, on top of it,” says LaRussell, who’s never had a violent encounter with the department, but has been stopped on numerous occasions without being ticketed.\u003c/p>\n\u003ch2>The Theory of 1,000 Splits\u003c/h2>\n\u003cp>Volunteering with a local politician during the mayoral race last year allowed LaRussell to see firsthand just how bad things are. “The corruption we’re facing inside the city, it’s sick,” says LaRussell. “It’s like a Hollywood movie.”\u003c/p>\n\u003cp>As an artist, what can he do about it?\u003c/p>\n\u003cp>There isn’t much he can do as an individual, he says. The task is larger than one person can handle. But he’s a believer in working together to achieve a common goal.\u003c/p>\n\u003cp>“We’ve been on a quest,” says LaRussell. “I got this saying: 1,000 splits.”\u003c/p>\n\u003cp>He explains that every video he produces is free for the artists. His company makes sure the artists have ownership of the footage, and any profit that might come from it gets split among all parties that worked on it.\u003c/p>\n\u003cp>His ultimate goal for the year is to help people with 1,000 projects, be it videos, music, or otherwise.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>He wrapped up his answer to my question of what he can do to better the situation in his hometown by simplifying things. “The more resources you provide to someone,” says LaRussell, “the better the chance they have of making it out of a situation.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>With live music venues shuttered due to the pandemic, alternate platforms have become more necessary than ever for fans seeking entertainment and artists itchy to perform.\u003c/p>\n\u003cp>Enter \u003ca href=\"https://www.youtube.com/c/GoodCompenny/videos\" rel=\"noopener noreferrer\" target=\"_blank\">Good Compenny\u003c/a>, the latest creation from 26-year-old Vallejo MC and media producer \u003ca href=\"https://www.instagram.com/larussell/\" target=\"_blank\" rel=\"noopener noreferrer\">LaRussell\u003c/a>. For over a year, he and his team have experimented with new approaches to filming musical performances—and with their latest iteration, they might’ve struck gold.\u003c/p>\n\u003cp>“Bruh, we got a hard one!” LaRussell exclaims during a phone call. As he tells me about his recent video with the L.A.-based artist \u003ca href=\"https://www.instagram.com/p/CJfMzFYg-a_/\" target=\"_blank\" rel=\"noopener noreferrer\">Iman Europe\u003c/a>, he’s clearly juiced: “She came in and went \u003cem>stupid\u003c/em>.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/WwXsgUdJJIg'\n title='//www.youtube.com/embed/WwXsgUdJJIg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Posted \u003ca href=\"https://twitter.com/ImanEurope/status/1350188341153521664?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">on Twitter\u003c/a> 10 days ago, the video has amassed 500 retweets and over 1,000 likes. It’s one 15 videos from LaRussell and crew in the past month or so, all filmed at the \u003ca href=\"https://www.instagram.com/shopes.vallejo/\" target=\"_blank\" rel=\"noopener noreferrer\">Esthedik boutique\u003c/a> in his hometown of Vallejo.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>We’re a year into a whole pandemic, and I can’t think of too many artists who \u003cem>haven’t\u003c/em> done some sort of video performance. But there’s something that’s unique, refreshing, and kind of intimate about the clips coming from Good Compenny. It must be the way the LED lighting accents the pure talent of the artists who aren’t household names… yet. Yeah, that’s it.\u003c/p>\n\u003ch2>A Springboard for New Artists\u003c/h2>\n\u003cp>So far, LaRussell’s short videos feature mostly Bay Area artists. Fairfield’s \u003ca href=\"https://www.youtube.com/watch?v=_YRyb-_81ug\" target=\"_blank\" rel=\"noopener noreferrer\">Tah-Hir\u003c/a> spits a verse of life perspective over a sample of the classic Black Rob track “Whoa.” The Alameda-bred vocalist and model \u003ca href=\"https://www.instagram.com/zharmila/\" target=\"_blank\" rel=\"noopener noreferrer\">Zharmila\u003c/a> sends her soulful voice floating on a track named “Honey.” East Bay artist \u003ca href=\"https://www.instagram.com/jazsyaa_/\" target=\"_blank\" rel=\"noopener noreferrer\">Jazs\u003c/a> pleads with a partner to get out of the same old routine in the acoustic-soul track “Riot.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/p3jcRH34Vjk'\n title='//www.youtube.com/embed/p3jcRH34Vjk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>From the audience perspective, LaRussell looks at artists like they’re professional athletes. It’s one thing to hear them be interviewed, he says, but “we wanna see them ball.”\u003c/p>\n\u003cp>I feel him.\u003c/p>\n\u003cp>I grew up watching my favorite artists drop bars inside the booth on BET’s \u003cem>Rap City\u003c/em> and show vulnerability during live tapings of \u003cem>MTV Unplugged\u003c/em>. I’m a firm believer that while the concept of seeing an artist at work isn’t new, it doesn’t really get old—especially when done right.\u003c/p>\n\u003cp>A few platforms are doing pretty well: \u003ca href=\"https://www.youtube.com/channel/UC2Qw1dzXDBAZPwS7zm37g8g\" target=\"_blank\" rel=\"noopener noreferrer\">the COLORS series\u003c/a> is entertaining, and of course \u003ca href=\"https://www.npr.org/series/tiny-desk-concerts/\" target=\"_blank\" rel=\"noopener noreferrer\">NPR’s Tiny Desk\u003c/a> is good.\u003c/p>\n\u003cp>XXL’s \u003ca href=\"https://www.youtube.com/watch?v=RXpGypeg1HU\" target=\"_blank\" rel=\"noopener noreferrer\">Freshman Cypher\u003c/a> and BET’s \u003ca href=\"https://www.youtube.com/watch?v=SKsW0QK68OM\" target=\"_blank\" rel=\"noopener noreferrer\">Hip Hop Awards Cypher\u003c/a> are staples in the industry. Looking at local renditions, Thizzler’s “\u003ca href=\"https://www.youtube.com/watch?v=-oy4A6miB6A\" target=\"_blank\" rel=\"noopener noreferrer\">The Best of Thizzler\u003c/a>” filmed cyphers have been cracking for years. And recently, artists like \u003ca href=\"https://www.youtube.com/watch?v=-v1MxJLy8HY&feature=youtu.be\" target=\"_blank\" rel=\"noopener noreferrer\">Shy’an G\u003c/a> and the \u003ca href=\"https://www.instagram.com/grandnationxl_/\" target=\"_blank\" rel=\"noopener noreferrer\">Grand Nationxl\u003c/a> collective have released taped live performances on their own.\u003c/p>\n\u003cp>“Platforms like this,” says LaRussell, “are launch pads for the artists.”\u003c/p>\n\u003cp>They also fill a gap in the ways artists can get discovered. Given the lack of live events due to COVID-19, videos are the bridge. So now, LaRussell himself is in the latest batch of Good Compenny videos, performing a verse of his track “Do That Little Dance.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/zk8L-CoNk2k'\n title='//www.youtube.com/embed/zk8L-CoNk2k'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>He shot it the night before he released his album \u003cem>The Field Effect 2\u003c/em>, simply as album promotion. “We dropped (the video) the very next day, and that shit took off,” LaRussell says with a laugh.\u003c/p>\n\u003cp>But the track is far from comical. “African nigga in a European whip / like we ain’t come here in a European ship,” LaRussell raps in the song’s opening lines. It’s the first track on the album, and serves as an introduction to what he’s about. An expression of pain and anger. Frustration and distrust of the government, specifically the police. And a push for self-accountability: “Unfamiliar, quite peculiar, do you know yourself? / Are you tending to your garden, do you grow yourself?” LaRussell raps.\u003c/p>\n\u003ch2>‘We’re Always on Edge’\u003c/h2>\n\u003cp>From there, \u003cem>The Field Effect 2\u003c/em> covers a lot of territory. With “Hidden Animosity,” LaRussell pens a piece about internal community issues. On the song “God Flow,” he celebrates his own lyrical ability. In the song “Soup and Cracks,” LaRussell mentions his maturation into using his real name in his music, and retiring his stage name, Tota. And then calls out the shortcomings of his childhood hero who introduced him to the concept of metaphor, Lil Wayne: “Looking at my idols that no longer wear a cape / Spewing they beliefs while I no longer can relate.”\u003c/p>\n\u003cp>A recent message from a childhood friend reminded LaRussell that he’s been rapping since he was in second grade at Vallejo’s Widenmann Elementary School. Now LaRussell has released five projects, plus a few ghostwriting placements and a bunch of singles, but he says \u003cem>The Field Effect 2\u003c/em> has gotten the most attention.\u003c/p>\n\u003cp>On the track “Proud Boys,” LaRussell lists off names of people who’ve been killed by state sponsored violence, and then raps, “It’s a couple things that you gotta understand / niggas getting killed for stealing on stolen land.” The track concludes with the poetry of \u003ca href=\"https://www.instagram.com/agrowinggirl333/\" target=\"_blank\" rel=\"noopener noreferrer\">Tee Speaks\u003c/a>, who’s also featured on “Second Hand Emotion,” a song in which LaRussell takes accountability for his role for past trauma in romantic relationships.\u003c/p>\n\u003cfigure id=\"attachment_13891735\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13891735\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/Z6PECedj-800x533.jpg\" alt=\"LaRussell, seated, and co. on the set of a video shoot in Vallejo.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Z6PECedj-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Z6PECedj-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Z6PECedj-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Z6PECedj-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Z6PECedj-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Z6PECedj-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Z6PECedj.jpg 2048w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">LaRussell (seated) and his team on the set of a video shoot in Vallejo. \u003ccite>(LaRussell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After listening to the album, I dug deeper into his catalog. His music chronicles his efforts to be a good father to his daughter, as well as his strides toward veganism. But evident in his latest project project, and the majority of his other work, is his disdain for the police. And given \u003ca href=\"https://www.kqed.org/vallejopolicing\" target=\"_blank\" rel=\"noopener noreferrer\">all that we know about Vallejo police\u003c/a>, it’s no surprise.\u003c/p>\n\u003cp>“We’re always on edge,” says LaRussell, in reference to his city as a whole. “Lately, it’s gotten even worse.”\u003c/p>\n\u003cp>Along with what LaRussell calls “neighborhood politics”—such as festering Vallejo beefs—new conflicts have started to arise when incoming residents make their way to one of the \u003ca href=\"https://sf.curbed.com/2019/6/20/18691880/cheapest-cities-rent-bay-area-zumper-california-median\" target=\"_blank\" rel=\"noopener noreferrer\">least expensive\u003c/a> parts of the Bay Area. “And then you have the fucked-up-ass police force, on top of it,” says LaRussell, who’s never had a violent encounter with the department, but has been stopped on numerous occasions without being ticketed.\u003c/p>\n\u003ch2>The Theory of 1,000 Splits\u003c/h2>\n\u003cp>Volunteering with a local politician during the mayoral race last year allowed LaRussell to see firsthand just how bad things are. “The corruption we’re facing inside the city, it’s sick,” says LaRussell. “It’s like a Hollywood movie.”\u003c/p>\n\u003cp>As an artist, what can he do about it?\u003c/p>\n\u003cp>There isn’t much he can do as an individual, he says. The task is larger than one person can handle. But he’s a believer in working together to achieve a common goal.\u003c/p>\n\u003cp>“We’ve been on a quest,” says LaRussell. “I got this saying: 1,000 splits.”\u003c/p>\n\u003cp>He explains that every video he produces is free for the artists. His company makes sure the artists have ownership of the footage, and any profit that might come from it gets split among all parties that worked on it.\u003c/p>\n\u003cp>His ultimate goal for the year is to help people with 1,000 projects, be it videos, music, or otherwise.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>He wrapped up his answer to my question of what he can do to better the situation in his hometown by simplifying things. “The more resources you provide to someone,” says LaRussell, “the better the chance they have of making it out of a situation.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "When Indian Classical Music Giants Collided With Psychedelic San Francisco",
"headTitle": "When Indian Classical Music Giants Collided With Psychedelic San Francisco | KQED",
"content": "\u003cp>In May of 1970, at a San Francisco concert venue best known for reverberating with the sounds of the \u003ca href=\"https://www.npr.org/artists/15440218/grateful-dead\" target=\"_blank\" rel=\"noopener noreferrer\">Grateful Dead\u003c/a> and Jefferson Airplane, three masters of Indian classical music took the stage for a celebration of Indian ragas. The concert was recorded by another legend of the time: Owsley Stanley, the man who designed the Dead’s innovative sound system, as well as making what was reputed to be the best LSD of its day. That recording is now available as a live album, titled \u003cem>Bear’s Sonic Journals: That Which Colors the Mind\u003c/em>.\u003c/p>\n\u003cp>On that night, Indian sarod master Ali Akbar Khan was joined on stage by sitar player Indranil Bhattacharya and a 19-year-old percussionist named \u003ca href=\"https://www.npr.org/artists/113441328/zakir-hussain\" target=\"_blank\" rel=\"noopener noreferrer\">Zakir Hussain\u003c/a>. Hussain had just arrived in America a few months before, occupied with finding his way around the country and understanding the slang: “Words like ‘far-out’ and ‘groovy’ and all weren’t quite registering,” he says.\u003c/p>\n\u003cp>The language of the hippie generation may not have clicked for Hussain, but sitar maestro Ravi Shankar had already electrified the Woodstock and Monterey Pop festivals. The audience in San Francisco that night was primed to listen.\u003c/p>\n\u003cp>“In India, I was used to playing with the audience chiming in,” Hussain recalls. “Everybody saying ‘Wow’ and … ‘Do that again,’ and all that stuff. But here the audience was quiet, eyes closed, meditative. The room was dark so you couldn’t really make eye contact with the audience, and so you were left to rely on your interaction with your fellow musicians.”\u003c/p>\n\u003cp>Since his first American concert, Zakir Hussain has become perhaps the most famous tabla player in the world. He now lives in California, and he says it was this performance 50 years ago that showed him that Indian classical music could be played in the West in its purest form. “It really set the tone of how I would present myself to my fellow musicians—whoever I was accompanying—for the rest of my life.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Capturing the performance in the highest fidelity possible was the goal of Owsley Stanley, the man known to friends as “The Bear.” Hussain says Stanley was often seen running around “like a madman,” tripping over wires and cursing. “This was a guy who knew what needed to be done about how this music should be presented to those who were not there. I mean, Bear had this idea that the music should be heard in a way where people can close their eyes and actually see where the musicians are seated.”\u003c/p>\n\u003cp>“His objective with his recording was to try to capture the audiences’ experience so that he could improve the sound system,” says Starfinder Stanley, son of the late sound man and head of the \u003ca href=\"https://owsleystanleyfoundation.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Owsley Stanley Foundation\u003c/a>. He describes his father as an “audiophile who was born in a low fidelity world,” devoted to improving the sound systems and overall sonic experience of rock and roll. “He called his tapes his sonic journals,” he recalls. “They were his working diary so that he could improve the sound.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=myYeIlhh45U\u003c/p>\n\u003cp>The Foundation has begun restoring Stanley’s tapes and releasing the music. “He had collected about 1,300 reels of 80 different artists in nearly every idiom you can imagine of music,” says Hawk Semins, the executive producer of the series. From Miles Davis to Janis Joplin, Semins says these live recordings capture the ‘magic’ of the ’60s and ’70s Bay Area music scene. “It’s just absolutely remarkable the mix that’s reflected, the contacts that there were, the open-mindedness of the scene in terms of the various musical influences,” he says. “You’ve got Ali Akbar Khan one night, and you’ve got Commander Cody another night, and you’ve got the Grateful Dead another night. And they were all listening to each other, and they were all playing with each other.”\u003c/p>\n\u003cp>It was a time for expanding consciousness, and while Starfinder acknowledges his father’s role in chemically altering the minds of that scene’s participants, he insists the music was Owsley Stanley’s real drug. Zakir Hussain says that idea is captured in the new album’s title: Thousands of years ago, an ancient thinker named Bharata lived in India; he wrote many treatises, including the \u003cem>Natya Shastra\u003c/em>, where raga originates. “It says, ‘\u003cem>Rangati iti raga\u003c/em>,’ which means ‘That which colors the mind is a raga.’ And that ties into this recording, the title.”\u003c/p>\n\u003cp>Starfinder says he hopes the recordings can introduce a new generation to a pivotal moment in American music history, when genres and cultures cross-pollinated in a spirit of openness and dialogue. He suggests that the album makes a great companion in the chaos of our current time, especially in moments where one needs to unplug and step back.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Stop doom-scrolling through all the crazy stuff that’s going on,” he says. “Let this into your mind, and let it soothe that internal monologue. And this album in particular is great for that—you know, it just transports you.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=When+The+Giants+Of+Indian+Classical+Music+Collided+With+Psychedelic+San+Francisco&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In May of 1970, at a San Francisco concert venue best known for reverberating with the sounds of the \u003ca href=\"https://www.npr.org/artists/15440218/grateful-dead\" target=\"_blank\" rel=\"noopener noreferrer\">Grateful Dead\u003c/a> and Jefferson Airplane, three masters of Indian classical music took the stage for a celebration of Indian ragas. The concert was recorded by another legend of the time: Owsley Stanley, the man who designed the Dead’s innovative sound system, as well as making what was reputed to be the best LSD of its day. That recording is now available as a live album, titled \u003cem>Bear’s Sonic Journals: That Which Colors the Mind\u003c/em>.\u003c/p>\n\u003cp>On that night, Indian sarod master Ali Akbar Khan was joined on stage by sitar player Indranil Bhattacharya and a 19-year-old percussionist named \u003ca href=\"https://www.npr.org/artists/113441328/zakir-hussain\" target=\"_blank\" rel=\"noopener noreferrer\">Zakir Hussain\u003c/a>. Hussain had just arrived in America a few months before, occupied with finding his way around the country and understanding the slang: “Words like ‘far-out’ and ‘groovy’ and all weren’t quite registering,” he says.\u003c/p>\n\u003cp>The language of the hippie generation may not have clicked for Hussain, but sitar maestro Ravi Shankar had already electrified the Woodstock and Monterey Pop festivals. The audience in San Francisco that night was primed to listen.\u003c/p>\n\u003cp>“In India, I was used to playing with the audience chiming in,” Hussain recalls. “Everybody saying ‘Wow’ and … ‘Do that again,’ and all that stuff. But here the audience was quiet, eyes closed, meditative. The room was dark so you couldn’t really make eye contact with the audience, and so you were left to rely on your interaction with your fellow musicians.”\u003c/p>\n\u003cp>Since his first American concert, Zakir Hussain has become perhaps the most famous tabla player in the world. He now lives in California, and he says it was this performance 50 years ago that showed him that Indian classical music could be played in the West in its purest form. “It really set the tone of how I would present myself to my fellow musicians—whoever I was accompanying—for the rest of my life.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Capturing the performance in the highest fidelity possible was the goal of Owsley Stanley, the man known to friends as “The Bear.” Hussain says Stanley was often seen running around “like a madman,” tripping over wires and cursing. “This was a guy who knew what needed to be done about how this music should be presented to those who were not there. I mean, Bear had this idea that the music should be heard in a way where people can close their eyes and actually see where the musicians are seated.”\u003c/p>\n\u003cp>“His objective with his recording was to try to capture the audiences’ experience so that he could improve the sound system,” says Starfinder Stanley, son of the late sound man and head of the \u003ca href=\"https://owsleystanleyfoundation.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Owsley Stanley Foundation\u003c/a>. He describes his father as an “audiophile who was born in a low fidelity world,” devoted to improving the sound systems and overall sonic experience of rock and roll. “He called his tapes his sonic journals,” he recalls. “They were his working diary so that he could improve the sound.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/myYeIlhh45U'\n title='//www.youtube.com/embed/myYeIlhh45U'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The Foundation has begun restoring Stanley’s tapes and releasing the music. “He had collected about 1,300 reels of 80 different artists in nearly every idiom you can imagine of music,” says Hawk Semins, the executive producer of the series. From Miles Davis to Janis Joplin, Semins says these live recordings capture the ‘magic’ of the ’60s and ’70s Bay Area music scene. “It’s just absolutely remarkable the mix that’s reflected, the contacts that there were, the open-mindedness of the scene in terms of the various musical influences,” he says. “You’ve got Ali Akbar Khan one night, and you’ve got Commander Cody another night, and you’ve got the Grateful Dead another night. And they were all listening to each other, and they were all playing with each other.”\u003c/p>\n\u003cp>It was a time for expanding consciousness, and while Starfinder acknowledges his father’s role in chemically altering the minds of that scene’s participants, he insists the music was Owsley Stanley’s real drug. Zakir Hussain says that idea is captured in the new album’s title: Thousands of years ago, an ancient thinker named Bharata lived in India; he wrote many treatises, including the \u003cem>Natya Shastra\u003c/em>, where raga originates. “It says, ‘\u003cem>Rangati iti raga\u003c/em>,’ which means ‘That which colors the mind is a raga.’ And that ties into this recording, the title.”\u003c/p>\n\u003cp>Starfinder says he hopes the recordings can introduce a new generation to a pivotal moment in American music history, when genres and cultures cross-pollinated in a spirit of openness and dialogue. He suggests that the album makes a great companion in the chaos of our current time, especially in moments where one needs to unplug and step back.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Stop doom-scrolling through all the crazy stuff that’s going on,” he says. “Let this into your mind, and let it soothe that internal monologue. And this album in particular is great for that—you know, it just transports you.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=When+The+Giants+Of+Indian+Classical+Music+Collided+With+Psychedelic+San+Francisco&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>What do you get if you cross a heavy metal ode to nightmares with a yacht rock paean to being sensible? (Try to resist answering, “An actual nightmare.”)\u003c/p>\n\u003cp>Sure, it’s probably not a question anyone should have asked. But since this concerns both Metallica and Huey Lewis and the News—both San Francisco bands—everyone who lives in the city has a contractual obligation to listen to this. (I don’t make the rules! That’s just how this works!)\u003c/p>\n\u003cp>Making these two very different songs work together is less complicated than you might expect. You take James Hetfield’s vocals from “\u003ca href=\"https://www.youtube.com/watch?v=CD-E-LDc384\" target=\"_blank\" rel=\"noopener noreferrer\">Enter Sandman\u003c/a>,” speed them up a little, then lay them over the music from “\u003ca href=\"https://www.youtube.com/watch?v=LB5YkmjalDg\" target=\"_blank\" rel=\"noopener noreferrer\">Hip to Be Square\u003c/a>.”\u003c/p>\n\u003cp>Yes, the end result is stupid. No, nobody needed this. But, damn. That’s a catchy mashup.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=3MRx4LpYbQ4\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>Do you miss packing your friends into the car and passing around the aux cord, playing your favorite tracks, singing along and dancing in your seat? We do too—which is why the KQED Arts & Culture team is introducing our new, biweekly music column, Pass the Aux. Every two weeks, we’ll share new(ish) releases from Bay Area artists, across a variety of genres. Hip-hop, pop, experimental, jazz, R&B, rock, folk and classical all have a home here. Here’s what we have on deck this week.\u003cem>—Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cp>https://youtu.be/w6v6EUPrHxM\u003c/p>\n\u003ch2>Ally Cocaine, “Boss Type” feat. 10 Piece Tone\u003c/h2>\n\u003cp>The video for \u003ca href=\"https://www.instagram.com/ally_cocaine/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Ally Cocaine\u003c/a>’s recently released track “Boss Type” (feat. 10 Piece Tone) has the flavor of a classic Blaxploitation film. The lively attire, the freshly laid hairdos and the drop-top, American-made vehicle chauffeured by producer Big Spence all play into the plot. Directed by Ariel Mei, the video depicts Ally as the head of an operation of some sort; the details of the business aren’t disclosed, but other women who don’t wear a lot of clothes are obviously bringing her money. The video’s concept compliments the subject matter in the bass-heavy track, in which Ally raps, “I’m the boss type / If I was Tina Turner, I would’ve offed Ike.” The standalone single also serves as a good introduction to Ally Cocaine’s music, clearly capturing both her lyrical ability and her “I don’t play that B.S.” attitude.\u003cem>—Pendarvis Harshaw\u003c/em>\u003c/p>\n\u003cp>https://youtu.be/dY8iLikhRIg\u003c/p>\n\u003ch2>Jax the Band, “What If”\u003c/h2>\n\u003cp>Formed in 2013, \u003ca href=\"http://jaxtheband.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Jax the Band\u003c/a> is a Haitian-American family band of three homeschooled siblings from Oakland, California. The group dropped the music video for their song “What If” earlier this month, a track that was released as part of their debut album \u003cem>The Glo Up\u003c/em> in October 2020. The two-minute song features dreamy vocals and harmonies from singer Sudan Jackson, backed by tranquil and uplifting instrumentals. The music video, filmed in various locations throughout the Bay Area, features quick cuts between a series of straightforward shots with Sudan at the center, mirroring the deceptively simple yet captivating song itself, and portraying the passage of time as her hair changes and the weather shifts.\u003cem>—Samuel Getachew\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://youtu.be/aM3mp1FeJbU\u003c/p>\n\u003ch2>Rexx Life Raj, “Bad Bad Bad”\u003c/h2>\n\u003cp>Over the past year, we’ve read about entertainers and influencers going against COVID-19 protocols and throwing lavish parties in their mansions. Not \u003ca href=\"https://www.rexxliferaj.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Rexx Life Raj\u003c/a>. In his new music video for “Bad Bad Bad,” he’s dressed in a \u003ca href=\"https://youtu.be/6MGGwk6bBWg\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Bubble Boy\u003c/em>\u003c/a>-meets-astronaut COVID shield as he ventures around the Bay Area, playing pick-up basketball, strolling on Haight Street and unsuccessfully attempting to eat charcuterie through his air-sealed helmet. The video showcases a lighthearted side of the artist, who has a sense of humor despite being \u003ca href=\"https://www.kqed.org/arts/13869513/rexx-life-raj-father-figure-3-empire\" target=\"_blank\" rel=\"noopener noreferrer\">known for delivering sage advice\u003c/a> in the form of lyrical gems. Those come through on this guitar-driven, motivational hip-hop track, in which Raj relishes his successes and thinks back with a laugh at those who doubted him. With a demeanor as down-to-earth as people swapping money-making tips on Clubhouse, Raj raps about the multiple streams of income he’s pursuing to make it as an independent artist in a pandemic.\u003cem>—Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=2806984102/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Dax Pierson, \u003cem>Nerve Bumps\u003c/em>\u003c/h2>\n\u003cp>\u003c/p>\n\u003cp>If you’ve ever laid on your floor listening to Pharoah Sanders or Alice Coltrane and felt the music speaking to you directly, then you know it takes a special kind of artist to convey ideas and feelings through purely instrumental music. And even then, when it happens, it’s often through the human-like vibrations of acoustic instruments. \u003ca href=\"https://daxpierson.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Dax Pierson\u003c/a>, meanwhile, has mastered the art of communication in the electronic realm. While his previous album \u003ca href=\"https://www.kqed.org/arts/13861305/dax-piersons-new-album-confronts-a-near-death-experience-and-turbulent-recovery\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Live In Oakland\u003c/em>\u003c/a> resonated with a darker ambiance, having drawn upon his recovery from a 2005 crash that left him partially paralyzed, the \u003ca href=\"https://soundcloud.com/darkentriesrecords/dax-pierson-nerve-bumps-a-queer-divine-disappointmentclips\" target=\"_blank\" rel=\"noopener noreferrer\">preview clips\u003c/a> from his upcoming full-length \u003cem>Nerve Bumps\u003c/em> are lively, complex, and pulsating with emotion. I can’t wait for the full-length, coming in late February, so I can lay on the floor at let it speak to me.\u003cem>—Gabe Meline\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Do you miss packing your friends into the car and passing around the aux cord, playing your favorite tracks, singing along and dancing in your seat? We do too—which is why the KQED Arts & Culture team is introducing our new, biweekly music column, Pass the Aux. Every two weeks, we’ll share new(ish) releases from Bay Area artists, across a variety of genres. Hip-hop, pop, experimental, jazz, R&B, rock, folk and classical all have a home here. Here’s what we have on deck this week.\u003cem>—Nastia Voynovskaya\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/w6v6EUPrHxM'\n title='//www.youtube.com/embed/w6v6EUPrHxM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>Ally Cocaine, “Boss Type” feat. 10 Piece Tone\u003c/h2>\n\u003cp>The video for \u003ca href=\"https://www.instagram.com/ally_cocaine/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Ally Cocaine\u003c/a>’s recently released track “Boss Type” (feat. 10 Piece Tone) has the flavor of a classic Blaxploitation film. The lively attire, the freshly laid hairdos and the drop-top, American-made vehicle chauffeured by producer Big Spence all play into the plot. Directed by Ariel Mei, the video depicts Ally as the head of an operation of some sort; the details of the business aren’t disclosed, but other women who don’t wear a lot of clothes are obviously bringing her money. The video’s concept compliments the subject matter in the bass-heavy track, in which Ally raps, “I’m the boss type / If I was Tina Turner, I would’ve offed Ike.” The standalone single also serves as a good introduction to Ally Cocaine’s music, clearly capturing both her lyrical ability and her “I don’t play that B.S.” attitude.\u003cem>—Pendarvis Harshaw\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/dY8iLikhRIg'\n title='//www.youtube.com/embed/dY8iLikhRIg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>Jax the Band, “What If”\u003c/h2>\n\u003cp>Formed in 2013, \u003ca href=\"http://jaxtheband.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Jax the Band\u003c/a> is a Haitian-American family band of three homeschooled siblings from Oakland, California. The group dropped the music video for their song “What If” earlier this month, a track that was released as part of their debut album \u003cem>The Glo Up\u003c/em> in October 2020. The two-minute song features dreamy vocals and harmonies from singer Sudan Jackson, backed by tranquil and uplifting instrumentals. The music video, filmed in various locations throughout the Bay Area, features quick cuts between a series of straightforward shots with Sudan at the center, mirroring the deceptively simple yet captivating song itself, and portraying the passage of time as her hair changes and the weather shifts.\u003cem>—Samuel Getachew\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/aM3mp1FeJbU'\n title='//www.youtube.com/embed/aM3mp1FeJbU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>Rexx Life Raj, “Bad Bad Bad”\u003c/h2>\n\u003cp>Over the past year, we’ve read about entertainers and influencers going against COVID-19 protocols and throwing lavish parties in their mansions. Not \u003ca href=\"https://www.rexxliferaj.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Rexx Life Raj\u003c/a>. In his new music video for “Bad Bad Bad,” he’s dressed in a \u003ca href=\"https://youtu.be/6MGGwk6bBWg\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Bubble Boy\u003c/em>\u003c/a>-meets-astronaut COVID shield as he ventures around the Bay Area, playing pick-up basketball, strolling on Haight Street and unsuccessfully attempting to eat charcuterie through his air-sealed helmet. The video showcases a lighthearted side of the artist, who has a sense of humor despite being \u003ca href=\"https://www.kqed.org/arts/13869513/rexx-life-raj-father-figure-3-empire\" target=\"_blank\" rel=\"noopener noreferrer\">known for delivering sage advice\u003c/a> in the form of lyrical gems. Those come through on this guitar-driven, motivational hip-hop track, in which Raj relishes his successes and thinks back with a laugh at those who doubted him. With a demeanor as down-to-earth as people swapping money-making tips on Clubhouse, Raj raps about the multiple streams of income he’s pursuing to make it as an independent artist in a pandemic.\u003cem>—Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=2806984102/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Dax Pierson, \u003cem>Nerve Bumps\u003c/em>\u003c/h2>\n\u003cp>\u003c/p>\n\u003cp>If you’ve ever laid on your floor listening to Pharoah Sanders or Alice Coltrane and felt the music speaking to you directly, then you know it takes a special kind of artist to convey ideas and feelings through purely instrumental music. And even then, when it happens, it’s often through the human-like vibrations of acoustic instruments. \u003ca href=\"https://daxpierson.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Dax Pierson\u003c/a>, meanwhile, has mastered the art of communication in the electronic realm. While his previous album \u003ca href=\"https://www.kqed.org/arts/13861305/dax-piersons-new-album-confronts-a-near-death-experience-and-turbulent-recovery\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Live In Oakland\u003c/em>\u003c/a> resonated with a darker ambiance, having drawn upon his recovery from a 2005 crash that left him partially paralyzed, the \u003ca href=\"https://soundcloud.com/darkentriesrecords/dax-pierson-nerve-bumps-a-queer-divine-disappointmentclips\" target=\"_blank\" rel=\"noopener noreferrer\">preview clips\u003c/a> from his upcoming full-length \u003cem>Nerve Bumps\u003c/em> are lively, complex, and pulsating with emotion. I can’t wait for the full-length, coming in late February, so I can lay on the floor at let it speak to me.\u003cem>—Gabe Meline\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
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"masters-of-scale": {
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},
"mindshift": {
"id": "mindshift",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"morning-edition": {
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"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
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"onourwatch": {
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"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"order": 11
},
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"on-the-media": {
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"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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},
"link": "/radio/program/on-the-media",
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},
"pbs-newshour": {
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"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
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},
"perspectives": {
"id": "perspectives",
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"order": 14
},
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"planet-money": {
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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},
"link": "/radio/program/planet-money",
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"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
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},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"order": 5
},
"link": "/podcasts/politicalbreakdown",
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"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
"meta": {
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"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
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