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"title": "Marilyn Manson Allegations Suggest His Art Was a Cover for Abuse",
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"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>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": "\u003cdiv class=\"post-body\">\u003cp>\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>\u003c/p>\u003c/div>",
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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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"content": "\u003cdiv class=\"post-body\">\u003cp>\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>\u003c/p>\u003c/div>",
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"content": "\u003cp>While the pandemic has closed music venues throughout the country, it hasn’t stopped the creation and composition of new music. On Saturday, Jan. 30, the Green Music Center presents Pulitzer Prize-winning trumpeter and composer Wynton Marsalis’s \u003cem>The Democracy! Suite\u003c/em>, a composition written during the COVID-19 pandemic and performed by the Jazz at Lincoln Center Orchestra Septet. \u003c/p>\n\u003cp>Filmed in New York City’s Frederick P. Rose Hall in September of last year, the musicians were able to gather safely according to city guidelines and record a concert to “tour” virtually at performing arts centers across the United States. In addition to Marsalis, the septet features Elliot Mason on trombone, Ted Nash on alto saxophone and flute, Walter Blanding on tenor and soprano saxophones, Dan Nimmer on piano, Carlos Henriquez on bass, and Obed Calvaire on drums. \u003c/p>\n\u003cp>Over its 45 minutes, \u003cem>The Democracy! Suite\u003c/em> reflects and responds to contemporary sociopolitical and economic issues, and ruminates on the potential of collective efforts to create a better future. With directly referential titles like “Sloganize, Patronize, Realize, Revolutionize (Black Lives Matters)” as well as more introspective ones, Marsalis explores the isolation brought by COVID, as well as themes of grief, loss, reflection, protest, and more. \u003c/p>\n\u003cp>“Jazz music is the perfect metaphor for democracy,” Marsalis said in announcing the suite. “The question that confronts us right now as a nation is, ‘Do we want to find a better way?’” Much of Marsalis’s past work has also been inspired by social and political issues, including the Grammy Award-winning \u003cem>Black Codes (From the Underground)\u003c/em> in 1985 and the Pulitzer Prize-winning \u003cem>Blood on the Fields\u003c/em> in 1996.\u003c/p>\n\u003cp>The recording of the concert is available for 48 hours after the link is emailed to ticket buyers on Jan. 30. Tickets are $10. \u003ca href=\"https://gmc.sonoma.edu/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>While the pandemic has closed music venues throughout the country, it hasn’t stopped the creation and composition of new music. On Saturday, Jan. 30, the Green Music Center presents Pulitzer Prize-winning trumpeter and composer Wynton Marsalis’s \u003cem>The Democracy! Suite\u003c/em>, a composition written during the COVID-19 pandemic and performed by the Jazz at Lincoln Center Orchestra Septet. \u003c/p>\n\u003cp>Filmed in New York City’s Frederick P. Rose Hall in September of last year, the musicians were able to gather safely according to city guidelines and record a concert to “tour” virtually at performing arts centers across the United States. In addition to Marsalis, the septet features Elliot Mason on trombone, Ted Nash on alto saxophone and flute, Walter Blanding on tenor and soprano saxophones, Dan Nimmer on piano, Carlos Henriquez on bass, and Obed Calvaire on drums. \u003c/p>\n\u003cp>Over its 45 minutes, \u003cem>The Democracy! Suite\u003c/em> reflects and responds to contemporary sociopolitical and economic issues, and ruminates on the potential of collective efforts to create a better future. With directly referential titles like “Sloganize, Patronize, Realize, Revolutionize (Black Lives Matters)” as well as more introspective ones, Marsalis explores the isolation brought by COVID, as well as themes of grief, loss, reflection, protest, and more. \u003c/p>\n\u003cp>“Jazz music is the perfect metaphor for democracy,” Marsalis said in announcing the suite. “The question that confronts us right now as a nation is, ‘Do we want to find a better way?’” Much of Marsalis’s past work has also been inspired by social and political issues, including the Grammy Award-winning \u003cem>Black Codes (From the Underground)\u003c/em> in 1985 and the Pulitzer Prize-winning \u003cem>Blood on the Fields\u003c/em> in 1996.\u003c/p>\n\u003cp>The recording of the concert is available for 48 hours after the link is emailed to ticket buyers on Jan. 30. Tickets are $10. \u003ca href=\"https://gmc.sonoma.edu/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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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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"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",
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"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>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. 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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>\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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"title": "Musicians To Know: Nappy Nina on Becoming the Rap Bill Nye and Missing Oakland",
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"content": "\u003cp>\u003cspan style=\"font-weight: 400\">\u003cem>For the next month, \u003ca href=\"https://www.kqed.org/arts/13891641/four-bay-area-musicians-to-know-right-nowish\">Rightnowish will be featuring artists with local roots\u003c/a> who are taking the sounds of the Bay to a national stage. \u003c/em>\u003cbr>\n\u003c/span>\u003cbr>\n\u003ca href=\"https://www.instagram.com/nappy_nina/\" target=\"_blank\" rel=\"noopener noreferrer\">Nappy Nina \u003c/a>is a lyricist with a smooth-sultry delivery that’s almost jazz-like, especially when coupled with some signature Boom-Bap production. In her songs, she raps about breakups, missing Oakland, the disappointing produce in Brooklyn, and navigating rough financial waters.\u003c/p>\n\u003cp>She’s gotten mentions from the \u003ca href=\"https://www.grammy.com/grammys/news/mexican-summer-continues-looking-glass-series-latest-nappy-nina-weight-release\" target=\"_blank\" rel=\"noopener noreferrer\">Grammys\u003c/a> and \u003ca href=\"https://daily.bandcamp.com/features/nappy-nina-feature\" target=\"_blank\" rel=\"noopener noreferrer\">Bandcamp.\u003c/a> And she’s been working on a streak of exciting projects. For the educational organization, Flocabulary, Nina was commissioned to pen a rhyme that tells the story of \u003ca href=\"https://www.flocabulary.com/unit/toni-morrison/\">Toni Morrison\u003c/a>. A few weeks ago, she dropped a new single, “\u003ca href=\"https://lucidhaus.bandcamp.com/album/pandemy-stimmy\" target=\"_blank\" rel=\"noopener noreferrer\">Pandemy Stimmy\u003c/a>,” which features Stas THEE Boss. Soon, she’ll release a new EP, Double Down, in collaboration with New Jersey-based producer, \u003ca href=\"https://www.instagram.com/_jwords/\" target=\"_blank\" rel=\"noopener noreferrer\">J Words\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13891535\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13891535\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/1Beat_2019_Nina-4-800x534.jpg\" alt=\"Nappy Nina looks off to her left as she poses for a photo.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1Beat_2019_Nina-4-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1Beat_2019_Nina-4-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1Beat_2019_Nina-4-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1Beat_2019_Nina-4-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1Beat_2019_Nina-4.jpg 1450w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nappy Nina looks off to her left as she poses for a photo. \u003ccite>(Alexia Webster)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This week on Rightnowish, we talk to Nappy Nina about her disdain for the term \u003cem>femcee\u003c/em>, how her Bay Area upbringing influences her craft and how some of my favorite songs came together.\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=KQINC6743777419&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Below are lightly edited excerpts of my conversation with Nappy Nina.\u003c/strong>\u003c/p>\n\u003cp>\u003cem>PEN: …OK, so for folks who’ve never been to East Oakland… how did it influence you? What did you see out there that made you grow into the artist that you are today?\u003c/em>\u003c/p>\n\u003cp>NINA: One of the main influences that I had growing up in East Oakland… just spending a lot of time with my pops, who’s really a community man. He has a couple of radio shows and he’s just really connected to a lot of folks in Oakland. A\u003cspan style=\"font-weight: 400\">nd I think seeing that has made me wanna carry on that tradition within my own work.\u003c/span>\u003c/p>\n\u003cp>\u003cem>PEN: Shout out to Pops. Greg Bridges deep into the jazz game. Did he put you in any jazz artists that stuck with you?\u003c/em>\u003c/p>\n\u003cp>NINA: He tried to put me on so much jazz when I was younger and I was so reluctant. [laughs] I kicked and screamed about it often, like I was in the jazz band in middle school. I play upright bass, I didn’t really appreciate it and hated it at the time. And now I’m just like, yo, why didn’t I just stick with it? That would have been ill.\u003c/p>\n\u003cp>\u003cem>PEN: I could see a middle school upright bass… like the bass is probably as big as you, right?\u003c/em>\u003c/p>\n\u003cp>NINA: Exactly. I had to carry it all around, like, it was just hella inconvenient.\u003c/p>\n\u003cp>\u003cem>PEN:… there’s this thing that you do of calling out “Mencees.”\u003c/em>\u003c/p>\n\u003cp>NINA: Yeah. (laughs)\u003c/p>\n\u003cp>\u003cem>PEN: What’s that all about?\u003c/em>\u003c/p>\n\u003cp>NINA: Man. One day I was just talking to my manager like I’m so frustrated with the “female emcee” lists… And I’ve been on this rampage for a long time. Like nobody is like, ‘Yo. So I know they’re a rapper, but they’re a man. So like just, you know, give them a break.’ There’s no qualifiers for dudes like that. And it’s fucking ridiculous that eight out of ten times somebody wants to give me props it’s on some, “Yeah. But like she’s a ill Femcee, ya mean,”… I hate it.\u003c/p>\n\u003cp>\u003cem>PEN: …I saw something you did recently. It’s an illustrated piece where you laid down some bars in recognition of Toni Morrison, is it called Flocabulary?\u003c/em>\u003c/p>\n\u003cp>NINA: Yeah. Flocabulary. Yeah. That was dope…So Flocabulary is like a dope app and tool for teachers to teach students, like about all types of different subjects through hip hop. And they reached out to me and they had this Toni Morrison piece in mind. And so I wrote first two verses and a hook. Last I heard, the program was sold to like all of L.A. public schools. So to think that a lot of young Cali kids are learning about Toni Morrison through me… just like makes me smile to the end, I was like, wait, I get to be like the rap Bill Nye. And they were like, yeah (laughs).\u003c/p>\n\u003cp>\u003cem>PEN: … Do you use your music as a catharsis?\u003c/em>\u003c/p>\n\u003cp>NINA : Yeah, always. Always. I don’t know if it’s like the healthiest thing, but I always feel like when I’m not feeling great, then I know that I can probably write some good shit. Definitely.\u003c/p>\n\u003cp>\u003cem>PEN: Again, you know, like I just I struggle with that. I put myself out there. You have any tips for people who are like maybe scared to release their vulnerabilities?\u003c/em>\u003c/p>\n\u003cp>NINA: I would just say that it’s all going to come out somehow… Like they may come out, you know, with somebody else are like deep in those moments when you’re by yourself, like they’re always going to find you. And for me, that’s kind of just seems like the easiest way to deal with it.\u003c/p>\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>\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>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">\u003cem>For the next month, \u003ca href=\"https://www.kqed.org/arts/13891641/four-bay-area-musicians-to-know-right-nowish\">Rightnowish will be featuring artists with local roots\u003c/a> who are taking the sounds of the Bay to a national stage. \u003c/em>\u003cbr>\n\u003c/span>\u003cbr>\n\u003ca href=\"https://www.instagram.com/nappy_nina/\" target=\"_blank\" rel=\"noopener noreferrer\">Nappy Nina \u003c/a>is a lyricist with a smooth-sultry delivery that’s almost jazz-like, especially when coupled with some signature Boom-Bap production. In her songs, she raps about breakups, missing Oakland, the disappointing produce in Brooklyn, and navigating rough financial waters.\u003c/p>\n\u003cp>She’s gotten mentions from the \u003ca href=\"https://www.grammy.com/grammys/news/mexican-summer-continues-looking-glass-series-latest-nappy-nina-weight-release\" target=\"_blank\" rel=\"noopener noreferrer\">Grammys\u003c/a> and \u003ca href=\"https://daily.bandcamp.com/features/nappy-nina-feature\" target=\"_blank\" rel=\"noopener noreferrer\">Bandcamp.\u003c/a> And she’s been working on a streak of exciting projects. For the educational organization, Flocabulary, Nina was commissioned to pen a rhyme that tells the story of \u003ca href=\"https://www.flocabulary.com/unit/toni-morrison/\">Toni Morrison\u003c/a>. A few weeks ago, she dropped a new single, “\u003ca href=\"https://lucidhaus.bandcamp.com/album/pandemy-stimmy\" target=\"_blank\" rel=\"noopener noreferrer\">Pandemy Stimmy\u003c/a>,” which features Stas THEE Boss. Soon, she’ll release a new EP, Double Down, in collaboration with New Jersey-based producer, \u003ca href=\"https://www.instagram.com/_jwords/\" target=\"_blank\" rel=\"noopener noreferrer\">J Words\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13891535\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13891535\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/1Beat_2019_Nina-4-800x534.jpg\" alt=\"Nappy Nina looks off to her left as she poses for a photo.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1Beat_2019_Nina-4-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1Beat_2019_Nina-4-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1Beat_2019_Nina-4-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1Beat_2019_Nina-4-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/1Beat_2019_Nina-4.jpg 1450w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nappy Nina looks off to her left as she poses for a photo. \u003ccite>(Alexia Webster)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This week on Rightnowish, we talk to Nappy Nina about her disdain for the term \u003cem>femcee\u003c/em>, how her Bay Area upbringing influences her craft and how some of my favorite songs came together.\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=KQINC6743777419&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Below are lightly edited excerpts of my conversation with Nappy Nina.\u003c/strong>\u003c/p>\n\u003cp>\u003cem>PEN: …OK, so for folks who’ve never been to East Oakland… how did it influence you? What did you see out there that made you grow into the artist that you are today?\u003c/em>\u003c/p>\n\u003cp>NINA: One of the main influences that I had growing up in East Oakland… just spending a lot of time with my pops, who’s really a community man. He has a couple of radio shows and he’s just really connected to a lot of folks in Oakland. A\u003cspan style=\"font-weight: 400\">nd I think seeing that has made me wanna carry on that tradition within my own work.\u003c/span>\u003c/p>\n\u003cp>\u003cem>PEN: Shout out to Pops. Greg Bridges deep into the jazz game. Did he put you in any jazz artists that stuck with you?\u003c/em>\u003c/p>\n\u003cp>NINA: He tried to put me on so much jazz when I was younger and I was so reluctant. [laughs] I kicked and screamed about it often, like I was in the jazz band in middle school. I play upright bass, I didn’t really appreciate it and hated it at the time. And now I’m just like, yo, why didn’t I just stick with it? That would have been ill.\u003c/p>\n\u003cp>\u003cem>PEN: I could see a middle school upright bass… like the bass is probably as big as you, right?\u003c/em>\u003c/p>\n\u003cp>NINA: Exactly. I had to carry it all around, like, it was just hella inconvenient.\u003c/p>\n\u003cp>\u003cem>PEN:… there’s this thing that you do of calling out “Mencees.”\u003c/em>\u003c/p>\n\u003cp>NINA: Yeah. (laughs)\u003c/p>\n\u003cp>\u003cem>PEN: What’s that all about?\u003c/em>\u003c/p>\n\u003cp>NINA: Man. One day I was just talking to my manager like I’m so frustrated with the “female emcee” lists… And I’ve been on this rampage for a long time. Like nobody is like, ‘Yo. So I know they’re a rapper, but they’re a man. So like just, you know, give them a break.’ There’s no qualifiers for dudes like that. And it’s fucking ridiculous that eight out of ten times somebody wants to give me props it’s on some, “Yeah. But like she’s a ill Femcee, ya mean,”… I hate it.\u003c/p>\n\u003cp>\u003cem>PEN: …I saw something you did recently. It’s an illustrated piece where you laid down some bars in recognition of Toni Morrison, is it called Flocabulary?\u003c/em>\u003c/p>\n\u003cp>NINA: Yeah. Flocabulary. Yeah. That was dope…So Flocabulary is like a dope app and tool for teachers to teach students, like about all types of different subjects through hip hop. And they reached out to me and they had this Toni Morrison piece in mind. And so I wrote first two verses and a hook. Last I heard, the program was sold to like all of L.A. public schools. So to think that a lot of young Cali kids are learning about Toni Morrison through me… just like makes me smile to the end, I was like, wait, I get to be like the rap Bill Nye. And they were like, yeah (laughs).\u003c/p>\n\u003cp>\u003cem>PEN: … Do you use your music as a catharsis?\u003c/em>\u003c/p>\n\u003cp>NINA : Yeah, always. Always. I don’t know if it’s like the healthiest thing, but I always feel like when I’m not feeling great, then I know that I can probably write some good shit. Definitely.\u003c/p>\n\u003cp>\u003cem>PEN: Again, you know, like I just I struggle with that. I put myself out there. You have any tips for people who are like maybe scared to release their vulnerabilities?\u003c/em>\u003c/p>\n\u003cp>NINA: I would just say that it’s all going to come out somehow… Like they may come out, you know, with somebody else are like deep in those moments when you’re by yourself, like they’re always going to find you. And for me, that’s kind of just seems like the easiest way to deal with it.\u003c/p>\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>\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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"title": "Four Bay Area Musicians to Know, Rightnowish",
"headTitle": "Four Bay Area Musicians to Know, Rightnowish | KQED",
"content": "\u003cp>There are way too many talented musical artists from the Bay Area, each one deserving their shine. So, let’s do more to support them.\u003c/p>\n\u003cp>For the next four weeks, the \u003ca href=\"https://www.kqed.org/podcasts/rightnowish\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Rightnowish\u003c/em> \u003c/a>team is dropping one episode per week spotlighting artists who are getting active. Every one of these talented people are taking the culture they soaked up from the Bay, and they’re sharing it with the world.\u003c/p>\n\u003cp>All of them are working on some pretty interesting projects right now:\u003c/p>\n\u003cp>Nappy Nina is following a successful 2020 run by dropping a new project soon. YMTK is ghostwriting and producing, as well as continuously putting out new singles. Jada Imani is releasing a new three-track EP every month for six months straight. And Champ Green, who is the face of the Hella Nuts plant-based eatery, is on the verge of dropping a project called Pleasantly Plump II—an ode to the plus-sized brothers like himself.\u003c/p>\n\u003cp>I’m lucky enough to know these people and their work, so it’s an honor to share their stories with you… \u003cem>Rightnowish\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13891649\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13891649\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/Nappy-Nina-1020x1020.png\" alt=\"Nappy Nina\" width=\"640\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Nappy-Nina-1020x1020.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Nappy-Nina-800x800.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Nappy-Nina-160x160.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Nappy-Nina-768x768.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Nappy-Nina.png 1080w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Nappy Nina \u003ccite>(Alexia Webster)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"https://www.instagram.com/nappy_nina/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Nappy Nina\u003c/strong>\u003c/a>\u003c/h3>\n\u003cp>East Oakland raised, based in Brooklyn. She’s a woman and an MC, but don’t call her a femcee. Actually, just be quiet, kick back, nod your head and enjoy her sultry, lyrical flow over jazzy, boom-bap beats.\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=KQINC6743777419&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-large wp-image-13891650\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/YMTK-1020x1020.png\" alt=\"YMTK\" width=\"640\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/YMTK-1020x1020.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/YMTK-800x800.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/YMTK-160x160.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/YMTK-768x768.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/YMTK.png 1080w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/h3>\n\u003ch3>\u003ca href=\"https://www.instagram.com/i_am_ymtk/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>YMTK\u003c/strong>\u003c/a>\u003c/h3>\n\u003cp>East Oakland raised, based in Los Angeles. He’s eclectic: a fashionable guy who loves a party and a spiritual guy who has never gotten too far from his religious roots. His music falls into that undefined world where R&B meets hip-hop. You’ll get to know a different side of his personality on each track.\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=KQINC6798740887&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cfigure id=\"attachment_13891648\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13891648\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/Jada-Imani-1020x1020.png\" alt=\"Jada Imani\" width=\"640\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Jada-Imani-1020x1020.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Jada-Imani-800x800.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Jada-Imani-160x160.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Jada-Imani-768x768.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Jada-Imani.png 1080w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Jada Imani \u003ccite>(Photo by 13thelement)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"https://www.instagram.com/jadaimani510/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Jada Imani\u003c/strong>\u003c/a>\u003c/h3>\n\u003cp>Missouri born, Bay Area raised, currently living in Hawaii. Jada Imani is a light. She’s an educator and organizer who uses her music to do both. I can only describe her sound as neo-soul-meets lyrical hip-hop, served over a hot plate of vibes.\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&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cfigure id=\"attachment_13891647\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13891647\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/Champ-Green-1020x1020.png\" alt=\"Champ Green\" width=\"640\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Champ-Green-1020x1020.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Champ-Green-800x800.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Champ-Green-160x160.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Champ-Green-768x768.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Champ-Green.png 1080w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Champ Green \u003ccite>(Photo by Rustin Cohle)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cstrong>\u003ca href=\"https://www.instagram.com/champgreen/\" target=\"_blank\" rel=\"noopener noreferrer\">Champ Green\u003c/a>\u003c/strong>\u003c/h3>\n\u003cp>Born, raised and currently residing in Oakland. Champ Green is a linguist who uses his verbal skills to express the benevolent energy that fills his heart. His music sounds like a word puzzle, where lyrical ideas are connected cohesively. It’s as if his rhymes are a slinky falling down a staircase. Each metaphor serves as an extension of the love he has for his people and his craft.\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=KQINC3715528401&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\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>Download \u003cem>\u003ca href=\"https://www.kqed.org/podcasts/rightnowish\" target=\"_blank\" rel=\"noopener noreferrer\">Rightnowish\u003c/a> \u003c/em>wherever you get your podcasts and get a new episode to your feed every week. \u003c/strong>\u003c/p>\n\u003chr>\n\u003ch4>What Bay Area musicians do you think we should know about?\u003c/h4>\n\u003cp>Nominate your faves for consideration on a future Rightnowish episode: \u003ca href=\"http://www.kqed.org/rightnowish\" target=\"_blank\" rel=\"noopener noreferrer\">www.kqed.org/rightnowish\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"excerpt": "For the next month, the 'Rightnowish' podcast will feature artists with local roots who are taking the sounds of the Bay to a national stage.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There are way too many talented musical artists from the Bay Area, each one deserving their shine. So, let’s do more to support them.\u003c/p>\n\u003cp>For the next four weeks, the \u003ca href=\"https://www.kqed.org/podcasts/rightnowish\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Rightnowish\u003c/em> \u003c/a>team is dropping one episode per week spotlighting artists who are getting active. Every one of these talented people are taking the culture they soaked up from the Bay, and they’re sharing it with the world.\u003c/p>\n\u003cp>All of them are working on some pretty interesting projects right now:\u003c/p>\n\u003cp>Nappy Nina is following a successful 2020 run by dropping a new project soon. YMTK is ghostwriting and producing, as well as continuously putting out new singles. Jada Imani is releasing a new three-track EP every month for six months straight. And Champ Green, who is the face of the Hella Nuts plant-based eatery, is on the verge of dropping a project called Pleasantly Plump II—an ode to the plus-sized brothers like himself.\u003c/p>\n\u003cp>I’m lucky enough to know these people and their work, so it’s an honor to share their stories with you… \u003cem>Rightnowish\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13891649\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13891649\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/Nappy-Nina-1020x1020.png\" alt=\"Nappy Nina\" width=\"640\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Nappy-Nina-1020x1020.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Nappy-Nina-800x800.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Nappy-Nina-160x160.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Nappy-Nina-768x768.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Nappy-Nina.png 1080w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Nappy Nina \u003ccite>(Alexia Webster)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"https://www.instagram.com/nappy_nina/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Nappy Nina\u003c/strong>\u003c/a>\u003c/h3>\n\u003cp>East Oakland raised, based in Brooklyn. She’s a woman and an MC, but don’t call her a femcee. Actually, just be quiet, kick back, nod your head and enjoy her sultry, lyrical flow over jazzy, boom-bap beats.\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=KQINC6743777419&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-large wp-image-13891650\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/YMTK-1020x1020.png\" alt=\"YMTK\" width=\"640\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/YMTK-1020x1020.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/YMTK-800x800.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/YMTK-160x160.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/YMTK-768x768.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/YMTK.png 1080w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/h3>\n\u003ch3>\u003ca href=\"https://www.instagram.com/i_am_ymtk/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>YMTK\u003c/strong>\u003c/a>\u003c/h3>\n\u003cp>East Oakland raised, based in Los Angeles. He’s eclectic: a fashionable guy who loves a party and a spiritual guy who has never gotten too far from his religious roots. His music falls into that undefined world where R&B meets hip-hop. You’ll get to know a different side of his personality on each track.\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=KQINC6798740887&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cfigure id=\"attachment_13891648\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13891648\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/Jada-Imani-1020x1020.png\" alt=\"Jada Imani\" width=\"640\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Jada-Imani-1020x1020.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Jada-Imani-800x800.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Jada-Imani-160x160.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Jada-Imani-768x768.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Jada-Imani.png 1080w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Jada Imani \u003ccite>(Photo by 13thelement)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ca href=\"https://www.instagram.com/jadaimani510/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Jada Imani\u003c/strong>\u003c/a>\u003c/h3>\n\u003cp>Missouri born, Bay Area raised, currently living in Hawaii. Jada Imani is a light. She’s an educator and organizer who uses her music to do both. I can only describe her sound as neo-soul-meets lyrical hip-hop, served over a hot plate of vibes.\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&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cfigure id=\"attachment_13891647\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13891647\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/Champ-Green-1020x1020.png\" alt=\"Champ Green\" width=\"640\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Champ-Green-1020x1020.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Champ-Green-800x800.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Champ-Green-160x160.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Champ-Green-768x768.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Champ-Green.png 1080w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Champ Green \u003ccite>(Photo by Rustin Cohle)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cstrong>\u003ca href=\"https://www.instagram.com/champgreen/\" target=\"_blank\" rel=\"noopener noreferrer\">Champ Green\u003c/a>\u003c/strong>\u003c/h3>\n\u003cp>Born, raised and currently residing in Oakland. Champ Green is a linguist who uses his verbal skills to express the benevolent energy that fills his heart. His music sounds like a word puzzle, where lyrical ideas are connected cohesively. It’s as if his rhymes are a slinky falling down a staircase. Each metaphor serves as an extension of the love he has for his people and his craft.\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=KQINC3715528401&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\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>Download \u003cem>\u003ca href=\"https://www.kqed.org/podcasts/rightnowish\" target=\"_blank\" rel=\"noopener noreferrer\">Rightnowish\u003c/a> \u003c/em>wherever you get your podcasts and get a new episode to your feed every week. \u003c/strong>\u003c/p>\n\u003chr>\n\u003ch4>What Bay Area musicians do you think we should know about?\u003c/h4>\n\u003cp>Nominate your faves for consideration on a future Rightnowish episode: \u003ca href=\"http://www.kqed.org/rightnowish\" target=\"_blank\" rel=\"noopener noreferrer\">www.kqed.org/rightnowish\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>While COVID-19 has drastically altered the incomes and livelihoods of many, it has been particularly devastating for artists throughout the Bay Area and the nation. Since the start of the pandemic, \u003ca href=\"https://www.sanjosejazz.org/\">San Jose Jazz (SJZ) \u003c/a>has been focused on supporting musicians, hosting a livestreamed concert series beginning last March that put 100% of donations into the hands of performing artists. This week, the San Jose Jazz board of directors announced the creation of the SJZ Jazz Aid Fund, seeking to provide additional relief for musicians in their community.\u003c/p>\n\u003cp>“The Bay Area is home to some of the best jazz musicians, anywhere,” said longtime San Jose Jazz board member Jan Decarli, who catalyzed the project. “We need to support them financially and keep them creating so the Bay Area remains a place where jazz artists can build careers.”\u003c/p>\n\u003cp>Members of the Bay Area jazz community, including music critics, jazz musicians, curators and radio correspondents, provided a list of recommendations from which \u003ca href=\"https://www.sanjosejazz.org/wp-content/uploads/2021/01/San-Jose-Jazz-Announces-Jazz-Aid-Fund_Jan_19_2021.pdf\">the cohort of grant recipients was selected\u003c/a>. With $30,000 in donations from board members and an additional $3,000 raised in the last months of 2020, the Jazz Aid Fund will provide 33 musicians with grants of $1,000 each to support themselves and create new work that will be premiered by SJZ.\u003c/p>\n\u003cp>The grantees include a diverse set of musicians of all kinds, including producers, vocalists, composers and more. Some, like San Francisco native and Grammy-nominated Afro-Latin percussionist John Santos, have already had long careers spanning decades, while others are younger, like pianist and The New School alum Javier Santiago.\u003c/p>\n\u003cp>Others have created their own spaces within the musical community, like Adam Theis, an Oakland-based multi-instrumentalist, producer, bandleader and composer who is also the co-founder and director of Jazz Mafia, a collective of local jazz, hip-hop, classical and global musicians. “To be commissioned to create a new work and to be paid fairly for it, especially in these upside-down times, is huge,” said Theis. “Not only does it help me stay afloat financially, but it is a huge morale booster and an encouraging reminder that the Bay Area does have love and support for its artists.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In 2021, SJZ plans to support even more artists through continued fundraising, and 10 artists from the original cohort of 33 will receive an additional grant. Those 10 musicians will record videos of full performances in a new music studio currently being developed by SJZ, to be used as promotional tools for the artists and released online.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>While COVID-19 has drastically altered the incomes and livelihoods of many, it has been particularly devastating for artists throughout the Bay Area and the nation. Since the start of the pandemic, \u003ca href=\"https://www.sanjosejazz.org/\">San Jose Jazz (SJZ) \u003c/a>has been focused on supporting musicians, hosting a livestreamed concert series beginning last March that put 100% of donations into the hands of performing artists. This week, the San Jose Jazz board of directors announced the creation of the SJZ Jazz Aid Fund, seeking to provide additional relief for musicians in their community.\u003c/p>\n\u003cp>“The Bay Area is home to some of the best jazz musicians, anywhere,” said longtime San Jose Jazz board member Jan Decarli, who catalyzed the project. “We need to support them financially and keep them creating so the Bay Area remains a place where jazz artists can build careers.”\u003c/p>\n\u003cp>Members of the Bay Area jazz community, including music critics, jazz musicians, curators and radio correspondents, provided a list of recommendations from which \u003ca href=\"https://www.sanjosejazz.org/wp-content/uploads/2021/01/San-Jose-Jazz-Announces-Jazz-Aid-Fund_Jan_19_2021.pdf\">the cohort of grant recipients was selected\u003c/a>. With $30,000 in donations from board members and an additional $3,000 raised in the last months of 2020, the Jazz Aid Fund will provide 33 musicians with grants of $1,000 each to support themselves and create new work that will be premiered by SJZ.\u003c/p>\n\u003cp>The grantees include a diverse set of musicians of all kinds, including producers, vocalists, composers and more. Some, like San Francisco native and Grammy-nominated Afro-Latin percussionist John Santos, have already had long careers spanning decades, while others are younger, like pianist and The New School alum Javier Santiago.\u003c/p>\n\u003cp>Others have created their own spaces within the musical community, like Adam Theis, an Oakland-based multi-instrumentalist, producer, bandleader and composer who is also the co-founder and director of Jazz Mafia, a collective of local jazz, hip-hop, classical and global musicians. “To be commissioned to create a new work and to be paid fairly for it, especially in these upside-down times, is huge,” said Theis. “Not only does it help me stay afloat financially, but it is a huge morale booster and an encouraging reminder that the Bay Area does have love and support for its artists.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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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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"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.",
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"masters-of-scale": {
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},
"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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"onourwatch": {
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"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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"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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},
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},
"pbs-newshour": {
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},
"perspectives": {
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"order": 14
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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.",
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"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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"politicalbreakdown": {
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"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
},
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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/",
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"source": "Possible"
},
"link": "/radio/program/possible",
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
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