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"content": "\u003cp>I’ve lately realized that we’re living in a historic moment. Much like 9/11 or the Great Recession, we will talk about the coronavirus crisis for decades to come. It’ll be a question we ask each other: what were you doing then?\u003c/p>\n\u003cp>Except we may not actually \u003cem>remember\u003c/em>. The days all bleed together now, the scenery of our living rooms stays the same, and if it weren’t for constantly checking my phone, I’d definitely forget what month it is, let alone the date. Ask yourself: what exactly did you \u003cem>do\u003c/em> three days ago? See? [aside label=\"More Coverage\" tag=\"coronavirus\"]\u003c/p>\n\u003cp>All of this is to say that it’s important to document our shelter-in-place lives. And that’s where \u003ca href=\"https://www.kqed.org/arts/tag/fantastic-negrito\" rel=\"noopener noreferrer\" target=\"_blank\">Fantastic Negrito\u003c/a> comes in. \u003c/p>\n\u003cp>The Grammy-winning Oakland singer recently put out a call to his fanbase for video footage of what they’re doing during the coronavirus crisis, and how they’re coping. The dozens of responses have now been made into a video, soundtracked by Fantastic Negrito’s song “Chocolate Samurai,” with the timely hook: “Have you lost your mind yet?”\u003c/p>\n\u003cp>The footage from fans is at once both distant and immediately familiar. Basically, other people in quarantine are doing what you’re doing: hanging out with pets, exercising, cooking, hiking, dancing, sewing, playing music, singing. \u003c/p>\n\u003cp>Watch the video above, or head over to the YouTube link \u003ca href=\"https://www.youtube.com/watch?v=bolqbyi1VMQ\" rel=\"noopener noreferrer\" target=\"_blank\">here\u003c/a>. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cp>The songwriter John Prine has been hospitalized for COVID-19 symptoms and “his situation is critical,” according to \u003ca href=\"https://www.instagram.com/p/B-VRdTABV0f/\" rel=\"noopener noreferrer\" target=\"_blank\">a statement\u003c/a> from the Prine family.\u003c/p>\n\u003cp>Prine, 73, was admitted to a hospital on Thursday last week, and was put on a ventilator Saturday evening, the statement reads. \u003c/p>\n\u003cp>Prine’s wife, Fiona, \u003ca href=\"https://www.wideopencountry.com/fiona-prine-coronavirus/\" rel=\"noopener noreferrer\" target=\"_blank\">announced\u003c/a> that she had tested positive for the coronavirus on March 17. At the time, John’s test had come back “inconclusive.” \u003c/p>\n\u003cp>Read the statement from the family below. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/Prine-800x864.jpg\" alt=\"\" width=\"800\" height=\"864\" class=\"aligncenter size-medium wp-image-13877733\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Prine-800x864.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Prine-160x173.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Prine-768x829.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Prine-1020x1101.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Prine.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Prine’s hospitalization comes four days after fellow songwriter Jackson Browne \u003ca href=\"https://www.rollingstone.com/music/music-news/jackson-browne-tests-positive-coronavirus-972713/\" rel=\"noopener noreferrer\" target=\"_blank\">tested positive\u003c/a> for the coronavirus. Earlier on Sunday, \u003ca href=\"https://www.wideopencountry.com/joe-diffie-coronavirus/\" rel=\"noopener noreferrer\" target=\"_blank\">country singer Joe Diffie died\u003c/a> due to coronavirus symptoms. \u003c/p>\n\u003cp>Prine’s latest album, released in 2018, is \u003cem>The Tree of Forgiveness\u003c/em>. “I think everybody needs a little forgiveness, I would think,” Prine told KQED at the time. “And I think the person who’s hardest to forgive is probably yourself.”\u003c/p>\n\u003cp>Prine underwent hip surgery in February, and remarked that he was “looking forward to being back on the road,” a reference to his near-constant tour schedule.\u003c/p>\n\u003cp>Prine has also won two previous bouts with cancer: once in 1998 for throat cancer, and once in 2013 for lung cancer. \u003c/p>\n\u003cp>Prine and wife Fiona reside in Nashville.\u003c/p>\n\u003cp>\u003cem>[\u003cstrong>Update, March 30\u003c/strong>: On Monday, Fiona Prine reported that she has recovered from her coronavirus symptoms. In \u003ca href=\"https://twitter.com/FionaPrine/status/1244655527554138115\" rel=\"noopener noreferrer\" target=\"_blank\">a tweet\u003c/a>, she added: “We are humbled by the outpouring of love for me and John and our precious family. He is stable. Please continue to send your amazing love and prayers. Sing his songs. Stay home and wash hands. John loves you. I love you.”]\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The songwriter John Prine has been hospitalized for COVID-19 symptoms and “his situation is critical,” according to \u003ca href=\"https://www.instagram.com/p/B-VRdTABV0f/\" rel=\"noopener noreferrer\" target=\"_blank\">a statement\u003c/a> from the Prine family.\u003c/p>\n\u003cp>Prine, 73, was admitted to a hospital on Thursday last week, and was put on a ventilator Saturday evening, the statement reads. \u003c/p>\n\u003cp>Prine’s wife, Fiona, \u003ca href=\"https://www.wideopencountry.com/fiona-prine-coronavirus/\" rel=\"noopener noreferrer\" target=\"_blank\">announced\u003c/a> that she had tested positive for the coronavirus on March 17. At the time, John’s test had come back “inconclusive.” \u003c/p>\n\u003cp>Read the statement from the family below. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/Prine-800x864.jpg\" alt=\"\" width=\"800\" height=\"864\" class=\"aligncenter size-medium wp-image-13877733\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Prine-800x864.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Prine-160x173.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Prine-768x829.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Prine-1020x1101.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Prine.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Prine’s hospitalization comes four days after fellow songwriter Jackson Browne \u003ca href=\"https://www.rollingstone.com/music/music-news/jackson-browne-tests-positive-coronavirus-972713/\" rel=\"noopener noreferrer\" target=\"_blank\">tested positive\u003c/a> for the coronavirus. Earlier on Sunday, \u003ca href=\"https://www.wideopencountry.com/joe-diffie-coronavirus/\" rel=\"noopener noreferrer\" target=\"_blank\">country singer Joe Diffie died\u003c/a> due to coronavirus symptoms. \u003c/p>\n\u003cp>Prine’s latest album, released in 2018, is \u003cem>The Tree of Forgiveness\u003c/em>. “I think everybody needs a little forgiveness, I would think,” Prine told KQED at the time. “And I think the person who’s hardest to forgive is probably yourself.”\u003c/p>\n\u003cp>Prine underwent hip surgery in February, and remarked that he was “looking forward to being back on the road,” a reference to his near-constant tour schedule.\u003c/p>\n\u003cp>Prine has also won two previous bouts with cancer: once in 1998 for throat cancer, and once in 2013 for lung cancer. \u003c/p>\n\u003cp>Prine and wife Fiona reside in Nashville.\u003c/p>\n\u003cp>\u003cem>[\u003cstrong>Update, March 30\u003c/strong>: On Monday, Fiona Prine reported that she has recovered from her coronavirus symptoms. In \u003ca href=\"https://twitter.com/FionaPrine/status/1244655527554138115\" rel=\"noopener noreferrer\" target=\"_blank\">a tweet\u003c/a>, she added: “We are humbled by the outpouring of love for me and John and our precious family. He is stable. Please continue to send your amazing love and prayers. Sing his songs. Stay home and wash hands. John loves you. I love you.”]\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "How Shing02 and Nujabes Linked West Coast and Japanese Hip-Hop",
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"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">E\u003c/span>arlier this week, Shingo “Shing02” Annen should have been performing at San Francisco’s Great American Music Hall with his band, the Chee-Hoos. For the past seven years, he has led “A Tribute to Nujabes,” an annual tour that honors his work with his late friend, the Japanese producer Jun “Seba” Yamada, better known as Nujabes (pronounced New-jah-base). Their March 26 and 27 concerts would have served as a small homecoming for an artist whose lifelong love of hip-hop culture began nearly three decades ago in the Bay Area.\u003c/p>\n\u003cp>Instead, the 44-year-old rapper is back at his home in Honolulu, Hawaii. In some ways, his band was lucky: they started the tour “riding on this cusp” of a wave of coronavirus-fueled venue closings that led to thousands of canceled concerts across the country. “We were the last bands to perform” at a given venue before it shut down, he explains. He and the Chee-Hoos managed to finish nearly half of their dates, including a show in New York and a final gig in Boston. [aside postid='arts_13876314']\u003c/p>\n\u003cp>Now, with their tour postponed indefinitely, they’ve scheduled a live-streamed \u003ca href=\"https://www.facebook.com/events/236142000770870/\" target=\"_blank\" rel=\"noopener noreferrer\">performance\u003c/a> on March 31 at 5pm PST.\u003c/p>\n\u003cp>Names like Shing02 and Nujabes may ring unfamiliar. Yet as collaborators, the two pioneered a sound that inspired the viral “chillhop” phenomenon, and popular YouTube programs like “\u003ca href=\"https://youtu.be/5qap5aO4i9A\" target=\"_blank\" rel=\"noopener noreferrer\">lofi hip hop radio – beats to relax/study to\u003c/a>,” an ongoing stream that gets tens of thousands of listeners at any given moment. A search on Spotify unveils dozens of playlists dedicated to Nujabes, who crafted lushly immersive arrangements of hip-hop, jazz fusion and house tracks before passing away on February 26, 2010 at the age of 36 in a Tokyo car accident.\u003c/p>\n\u003cp>https://youtu.be/wEo9mGWk6RA\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>A recent \u003ca href=\"https://genius.com/videos/How-nujabes-influenced-lo-fi-hip-hop\" target=\"_blank\" rel=\"noopener noreferrer\">Genius.com video\u003c/a> on Nujabes’ influence points out how modern-day rappers as disparate as SahBabii, Jaden Smith and Joey Bada$$ have shouted him out in rhymes. Fans compare Nujabes’ to James “\u003ca href=\"https://www.npr.org/sections/ablogsupreme/2013/02/07/171349007/why-j-dilla-may-be-jazzs-latest-great-innovator\" target=\"_blank\" rel=\"noopener noreferrer\">J Dilla\u003c/a>” Yancey, another lauded beatmaker whose greatest impact came after his untimely 2006 death, at the age of at 32. “They both have the same birthday, [February 7],” says Shing02.\u003c/p>\n\u003cp>Together, Shing02 and Nujabes made fan favorites like the “Luv(sic)” 12-inch series, music for the Adult Swim anime hit \u003cem>Samurai Champloo\u003c/em> (Shing02 raps on the hero’s theme “Battlecry”), and Nujabes’ classic 2005 album, \u003cem>Modal Soul\u003c/em>.\u003c/p>\n\u003cp>“We happen to have the luxury and the privilege of being identified as one of the forefathers of this movement that started retroactively,” says Shing02. “[The Chee-Hoos] didn’t set out to do these tributes. From our end, it was done by popular demand.”\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">B\u003c/span>efore Shing02 connected with Nujabes, he was a Japanese émigré involved in the Bay Area indie rap scene. He remembers discovering hip-hop as a self-described “art kid” when his family moved to Menlo Park in 1989, and then getting schooled by classmates when he enrolled at the University of California, Berkeley as an engineering student in 1993.\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/album/4oT4YRVe43ESrT9rx2LKCM\" width=\"300\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>In the early ’90s, Berkeley’s Telegraph Avenue thrived with independent hustle. Musicians circulated around record stores like Amoeba, Rasputin and the now-shuttered Leopold’s. Shing02 recalls the presence of local heroes like Del the Funky Homosapien (who he gifted with an illustration in 1994, leading to a friendship), Invisibl Skratch Piklz, Saafir and Hobo Junction, Fanatik, Rasco and Planet Asia.\u003c/p>\n\u003cp>“They would teach you the actual hustle of how to get records pressed or where to get blank tapes,” he recalls. “It was truly inspirational.”\u003c/p>\n\u003cp>Shing02 immersed himself. He drew album art for Living Legends and Kirby Dominant, submitted illustrations to local rap zines like Dave Paul’s \u003cem>Bomb\u003c/em> and the Legends’ \u003cem>Unsigned and Hella Broke\u003c/em>, and developed his own music. He recorded his first tape, \u003cem>Evolution of the MC/MC No Susume\u003c/em>, with local B-boy and musician Bas-1 and Japanese turntablist DJ $hin.\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/album/6nVACH6a27eOWiumAJhDWS\" width=\"300\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>That activity blossomed into a career that spans two languages and continents. Shing02’s strongest quality is as a conceptualist who uses images, lyrics and production to craft memorably esoteric ideas. Standout work like 1999’s bilingual \u003cem>Homo Caeruleus Cerinus\u003c/em> and last year’s Japanese-only \u003cem>246911\u003c/em> (with producer Spin Master A-1) reverberate in spite of potential linguistic differences. On the former, he retells the story of \u003cem>The Little Prince\u003c/em> with hauntingly meditative calm. Meanwhile, \u003cem>246911\u003c/em> is festooned with traditional Japanese drums and melodies and breakbeats.\u003c/p>\n\u003cp>He’s proficient at English and Japanese rapping, but in different ways. “As far as the English goes, I’m more of a writer than a crazy chopper,” he says. “As far as Japanese, it’s more a syllable language, so I can chop it up a lot more and be experimental with it.”\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>n 2000, Nujabes contacted Shing02 via email with a 12-inch proposal. The former owned a record store in Tokyo’s Shibuya district and a label, Hyde Out Productions. He was developing a reputation as a producer of jazzy, sampled beats by collaborating with American artists like Substantial, Pase Rock, and Apani B. “If you remember, this is the golden age of independent 12-inches,” says Shing02 of that era. “That was the only way you could gauge how popular your song was: how many represses you got and how thousands of vinyl you were able to press.”\u003c/p>\n\u003cp>Shing02 was already making semi-regular trips to Japan to visit his family and do business, so the two planned to meet in Tokyo. Nujabes gave him a tape of instrumentals, and one of the tracks reminded him of Common’s seminal 1994 lament about the death of positivity in hip-hop culture, “I Used to Love H.E.R.” That inspired their first collaboration, 2001’s “Luv(sic),” where Shing02 proclaimed he would “always love her” in spite of the genre’s convulsions.\u003c/p>\n\u003cfigure id=\"attachment_13877649\" class=\"wp-caption alignright\" style=\"max-width: 450px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13877649\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/nujabes2.jpg\" alt=\"\" width=\"450\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/nujabes2.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/nujabes2-160x160.jpg 160w\" sizes=\"(max-width: 450px) 100vw, 450px\">\u003cfigcaption class=\"wp-caption-text\">Nujabes. \u003ccite>(Yoshiharu Ota)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Asked to describe Nujabes personally, Shing02 responds, “He was very calm and introverted in a way. But he was very particular, I would say, and very meticulous with his process. He already had the environment of being a record store owner because of his family’s support. So he had access to massive amounts of records, and somehow he turned it into a viable business where he would set up his own label and sell his own records at his own store. At the core, I think he was like any other person, really fun-loving. Like, always looking for something to do.”\u003c/p>\n\u003cp>By September 2001, Shing02 was living in Japan working on his album, \u003cem>400\u003c/em>. “9/11 happened. I lost my ticket. I couldn’t go back to California,” he remembered. “Nujabes sent me a beat. He said, ‘Let’s do another collaboration.’” The resulting “Luv(sic) Part Two” showed that Nujabes had improved rapidly as a producer, learning how to sustain longer chords and develop a sound signature unique from the melodic throwback loops that marked his initial work. Shing02 responded with poetic thoughts about how the world was changing in the shadow of the World Trade Center attacks.\u003c/p>\n\u003cp>The third installment, “Luv(sic) Part 3,” appeared on Nujabes’ \u003cem>Modal Soul\u003c/em> as a protest against hip-hop’s increasing commercialization. Around the same time, Nujabes recruited Shing02 to make “Battlecry” for \u003cem>Samurai Champloo: Departure\u003c/em>. “I remember being in a shed in [Berkeley’s] Rockridge working on that song,” says Shing02. “I’m so fortunate that I even got the call to that. It’s a good look, if you will.”\u003c/p>\n\u003cp>https://youtu.be/Eq6EYcpWB_c\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>n the ensuing years, Shing02 relocated to Los Angeles, while Nujabes got married and had a child. The producer’s best-selling CDs inspired a horde of imitators who made “squeaky-clean,” adult contemporary variations. From his “bird’s-eye view,” Shing02 observes, “I think being the figurehead of the ‘jazzy hip-hop’ movement gave him a lot of pressure.” He adds, however, that Nujabes found new inspiration with multi-instrumentalist Uyama Hiroto, leading to a sound that was “a little bit next level. It was arranged better.” [aside postid='arts_13876020']\u003c/p>\n\u003cp>The two emailed a final time in January 2010. Nujabes expressed condolences for Shing02’s friend, a teenage L.A. beatboxer named Jeff Resurreccion who died from throat cancer. Shing02 responded, “I’m going to come over to your studio. I don’t care if I have to sleep there. Let’s bang these songs out.” A month later, Nujabes was gone.\u003c/p>\n\u003cp>Afterward, Shing02 and Uyama completed three more “Luv(sic)” installments for limited-edition vinyl. Parts 4 and 5 consisted of music he and Nujabes had discussed. The beat for “Luv(sic) Grand Finale” was found on Nujabes’ cellphone by his manager. In 2015, all of the tracks were compiled into the album \u003cem>Luv(sic) Hexalogy\u003c/em>.\u003c/p>\n\u003cp>“Luv(sic) Part 5” is especially poignant. Shing02’s first verse is a dedication to Jeff Resurreccion, while the second is for Nujabes.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>By the way I got your letter, you said you were fed up\u003cbr>\nWell I second that, and I reckon that you tried\u003cbr>\nSo I don’t place the blame that you took the fifth\u003cbr>\nAnd the first flight out of town into the mist.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Ahead of a live-streamed concert in honor of late producer Nujabes, rapper Shing02 discusses his influence on lo-fi hip-hop.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">E\u003c/span>arlier this week, Shingo “Shing02” Annen should have been performing at San Francisco’s Great American Music Hall with his band, the Chee-Hoos. For the past seven years, he has led “A Tribute to Nujabes,” an annual tour that honors his work with his late friend, the Japanese producer Jun “Seba” Yamada, better known as Nujabes (pronounced New-jah-base). Their March 26 and 27 concerts would have served as a small homecoming for an artist whose lifelong love of hip-hop culture began nearly three decades ago in the Bay Area.\u003c/p>\n\u003cp>Instead, the 44-year-old rapper is back at his home in Honolulu, Hawaii. In some ways, his band was lucky: they started the tour “riding on this cusp” of a wave of coronavirus-fueled venue closings that led to thousands of canceled concerts across the country. “We were the last bands to perform” at a given venue before it shut down, he explains. He and the Chee-Hoos managed to finish nearly half of their dates, including a show in New York and a final gig in Boston. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Now, with their tour postponed indefinitely, they’ve scheduled a live-streamed \u003ca href=\"https://www.facebook.com/events/236142000770870/\" target=\"_blank\" rel=\"noopener noreferrer\">performance\u003c/a> on March 31 at 5pm PST.\u003c/p>\n\u003cp>Names like Shing02 and Nujabes may ring unfamiliar. Yet as collaborators, the two pioneered a sound that inspired the viral “chillhop” phenomenon, and popular YouTube programs like “\u003ca href=\"https://youtu.be/5qap5aO4i9A\" target=\"_blank\" rel=\"noopener noreferrer\">lofi hip hop radio – beats to relax/study to\u003c/a>,” an ongoing stream that gets tens of thousands of listeners at any given moment. A search on Spotify unveils dozens of playlists dedicated to Nujabes, who crafted lushly immersive arrangements of hip-hop, jazz fusion and house tracks before passing away on February 26, 2010 at the age of 36 in a Tokyo car accident.\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/wEo9mGWk6RA'\n title='//www.youtube.com/embed/wEo9mGWk6RA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A recent \u003ca href=\"https://genius.com/videos/How-nujabes-influenced-lo-fi-hip-hop\" target=\"_blank\" rel=\"noopener noreferrer\">Genius.com video\u003c/a> on Nujabes’ influence points out how modern-day rappers as disparate as SahBabii, Jaden Smith and Joey Bada$$ have shouted him out in rhymes. Fans compare Nujabes’ to James “\u003ca href=\"https://www.npr.org/sections/ablogsupreme/2013/02/07/171349007/why-j-dilla-may-be-jazzs-latest-great-innovator\" target=\"_blank\" rel=\"noopener noreferrer\">J Dilla\u003c/a>” Yancey, another lauded beatmaker whose greatest impact came after his untimely 2006 death, at the age of at 32. “They both have the same birthday, [February 7],” says Shing02.\u003c/p>\n\u003cp>Together, Shing02 and Nujabes made fan favorites like the “Luv(sic)” 12-inch series, music for the Adult Swim anime hit \u003cem>Samurai Champloo\u003c/em> (Shing02 raps on the hero’s theme “Battlecry”), and Nujabes’ classic 2005 album, \u003cem>Modal Soul\u003c/em>.\u003c/p>\n\u003cp>“We happen to have the luxury and the privilege of being identified as one of the forefathers of this movement that started retroactively,” says Shing02. “[The Chee-Hoos] didn’t set out to do these tributes. From our end, it was done by popular demand.”\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">B\u003c/span>efore Shing02 connected with Nujabes, he was a Japanese émigré involved in the Bay Area indie rap scene. He remembers discovering hip-hop as a self-described “art kid” when his family moved to Menlo Park in 1989, and then getting schooled by classmates when he enrolled at the University of California, Berkeley as an engineering student in 1993.\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/album/4oT4YRVe43ESrT9rx2LKCM\" width=\"300\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>In the early ’90s, Berkeley’s Telegraph Avenue thrived with independent hustle. Musicians circulated around record stores like Amoeba, Rasputin and the now-shuttered Leopold’s. Shing02 recalls the presence of local heroes like Del the Funky Homosapien (who he gifted with an illustration in 1994, leading to a friendship), Invisibl Skratch Piklz, Saafir and Hobo Junction, Fanatik, Rasco and Planet Asia.\u003c/p>\n\u003cp>“They would teach you the actual hustle of how to get records pressed or where to get blank tapes,” he recalls. “It was truly inspirational.”\u003c/p>\n\u003cp>Shing02 immersed himself. He drew album art for Living Legends and Kirby Dominant, submitted illustrations to local rap zines like Dave Paul’s \u003cem>Bomb\u003c/em> and the Legends’ \u003cem>Unsigned and Hella Broke\u003c/em>, and developed his own music. He recorded his first tape, \u003cem>Evolution of the MC/MC No Susume\u003c/em>, with local B-boy and musician Bas-1 and Japanese turntablist DJ $hin.\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/album/6nVACH6a27eOWiumAJhDWS\" width=\"300\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>That activity blossomed into a career that spans two languages and continents. Shing02’s strongest quality is as a conceptualist who uses images, lyrics and production to craft memorably esoteric ideas. Standout work like 1999’s bilingual \u003cem>Homo Caeruleus Cerinus\u003c/em> and last year’s Japanese-only \u003cem>246911\u003c/em> (with producer Spin Master A-1) reverberate in spite of potential linguistic differences. On the former, he retells the story of \u003cem>The Little Prince\u003c/em> with hauntingly meditative calm. Meanwhile, \u003cem>246911\u003c/em> is festooned with traditional Japanese drums and melodies and breakbeats.\u003c/p>\n\u003cp>He’s proficient at English and Japanese rapping, but in different ways. “As far as the English goes, I’m more of a writer than a crazy chopper,” he says. “As far as Japanese, it’s more a syllable language, so I can chop it up a lot more and be experimental with it.”\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>n 2000, Nujabes contacted Shing02 via email with a 12-inch proposal. The former owned a record store in Tokyo’s Shibuya district and a label, Hyde Out Productions. He was developing a reputation as a producer of jazzy, sampled beats by collaborating with American artists like Substantial, Pase Rock, and Apani B. “If you remember, this is the golden age of independent 12-inches,” says Shing02 of that era. “That was the only way you could gauge how popular your song was: how many represses you got and how thousands of vinyl you were able to press.”\u003c/p>\n\u003cp>Shing02 was already making semi-regular trips to Japan to visit his family and do business, so the two planned to meet in Tokyo. Nujabes gave him a tape of instrumentals, and one of the tracks reminded him of Common’s seminal 1994 lament about the death of positivity in hip-hop culture, “I Used to Love H.E.R.” That inspired their first collaboration, 2001’s “Luv(sic),” where Shing02 proclaimed he would “always love her” in spite of the genre’s convulsions.\u003c/p>\n\u003cfigure id=\"attachment_13877649\" class=\"wp-caption alignright\" style=\"max-width: 450px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13877649\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/nujabes2.jpg\" alt=\"\" width=\"450\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/nujabes2.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/nujabes2-160x160.jpg 160w\" sizes=\"(max-width: 450px) 100vw, 450px\">\u003cfigcaption class=\"wp-caption-text\">Nujabes. \u003ccite>(Yoshiharu Ota)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Asked to describe Nujabes personally, Shing02 responds, “He was very calm and introverted in a way. But he was very particular, I would say, and very meticulous with his process. He already had the environment of being a record store owner because of his family’s support. So he had access to massive amounts of records, and somehow he turned it into a viable business where he would set up his own label and sell his own records at his own store. At the core, I think he was like any other person, really fun-loving. Like, always looking for something to do.”\u003c/p>\n\u003cp>By September 2001, Shing02 was living in Japan working on his album, \u003cem>400\u003c/em>. “9/11 happened. I lost my ticket. I couldn’t go back to California,” he remembered. “Nujabes sent me a beat. He said, ‘Let’s do another collaboration.’” The resulting “Luv(sic) Part Two” showed that Nujabes had improved rapidly as a producer, learning how to sustain longer chords and develop a sound signature unique from the melodic throwback loops that marked his initial work. Shing02 responded with poetic thoughts about how the world was changing in the shadow of the World Trade Center attacks.\u003c/p>\n\u003cp>The third installment, “Luv(sic) Part 3,” appeared on Nujabes’ \u003cem>Modal Soul\u003c/em> as a protest against hip-hop’s increasing commercialization. Around the same time, Nujabes recruited Shing02 to make “Battlecry” for \u003cem>Samurai Champloo: Departure\u003c/em>. “I remember being in a shed in [Berkeley’s] Rockridge working on that song,” says Shing02. “I’m so fortunate that I even got the call to that. It’s a good look, if you will.”\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/Eq6EYcpWB_c'\n title='//www.youtube.com/embed/Eq6EYcpWB_c'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>n the ensuing years, Shing02 relocated to Los Angeles, while Nujabes got married and had a child. The producer’s best-selling CDs inspired a horde of imitators who made “squeaky-clean,” adult contemporary variations. From his “bird’s-eye view,” Shing02 observes, “I think being the figurehead of the ‘jazzy hip-hop’ movement gave him a lot of pressure.” He adds, however, that Nujabes found new inspiration with multi-instrumentalist Uyama Hiroto, leading to a sound that was “a little bit next level. It was arranged better.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The two emailed a final time in January 2010. Nujabes expressed condolences for Shing02’s friend, a teenage L.A. beatboxer named Jeff Resurreccion who died from throat cancer. Shing02 responded, “I’m going to come over to your studio. I don’t care if I have to sleep there. Let’s bang these songs out.” A month later, Nujabes was gone.\u003c/p>\n\u003cp>Afterward, Shing02 and Uyama completed three more “Luv(sic)” installments for limited-edition vinyl. Parts 4 and 5 consisted of music he and Nujabes had discussed. The beat for “Luv(sic) Grand Finale” was found on Nujabes’ cellphone by his manager. In 2015, all of the tracks were compiled into the album \u003cem>Luv(sic) Hexalogy\u003c/em>.\u003c/p>\n\u003cp>“Luv(sic) Part 5” is especially poignant. Shing02’s first verse is a dedication to Jeff Resurreccion, while the second is for Nujabes.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>By the way I got your letter, you said you were fed up\u003cbr>\nWell I second that, and I reckon that you tried\u003cbr>\nSo I don’t place the blame that you took the fifth\u003cbr>\nAnd the first flight out of town into the mist.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>It’s week three of California’s shelter-in-place order due to the spread of COVID-19. How deep into your childhood memories are you by now?\u003c/p>\n\u003cp>Old photos. Ancient notebooks. Video games you haven’t played since the second grade. How about that TV show you used to watch back in the day?\u003c/p>\n\u003cp>Luckily for me, and many others of a certain age and locale, there’s an Instagram page paying homage to the old school Bay Area TV station that hosted shows, music videos and Oakland culture.\u003c/p>\n\u003cp>Soul Beat TV, one of the nation’s first African American-owned TV Networks—which ran from \u003ca href=\"https://www.sfgate.com/bayarea/article/Oaklanders-calling-for-return-of-Soul-Beat-2510067.php\" target=\"_blank\" rel=\"noopener noreferrer\">1978–2003\u003c/a>, and which was filmed and broadcast from East Oakland—has been revived \u003ca href=\"https://www.instagram.com/soulbeattv/\" target=\"_blank\" rel=\"noopener noreferrer\">in Instagram form\u003c/a>. Grainy videos from the early ’90s, cheesy commercials and comical crank calls from the era that I called a childhood have been made readily accessible.\u003c/p>\n\u003cp>https://www.instagram.com/p/B9b3SoNBM3J/\u003c/p>\n\u003cp>It couldn’t have come at a better time.\u003c/p>\n\u003cp>In early March, when the coronavius was something Americans were just starting to seriously prepare for, Rynell “Showbiz” Williams started the \u003ca href=\"https://www.instagram.com/soulbeattv/\" target=\"_blank\" rel=\"noopener noreferrer\">Soul Beat TV Instagram page\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/DjBiz/\" target=\"_blank\" rel=\"noopener noreferrer\">Showbiz\u003c/a> is a longtime radio DJ, formerly with 94.9 KWILD, and currently a host on the morning show with 102.5 KDON. He’s also from East Oakland, and grew up watching Soul Beat TV on Channel 37.\u003c/p>\n\u003cp>“Soul Beat in Oakland was everything,” Showbiz says, over the phone. “It was (one of) the first black-owned television network(s)… Before BET. Before TV One. There was Soul Beat. And it was started by\u003ca href=\"https://www.eastbaytimes.com/2004/07/28/soul-beat-owner-chuck-johnson-dies/\" target=\"_blank\" rel=\"noopener noreferrer\"> Chuck Johnson\u003c/a>.”\u003c/p>\n\u003cp>Chuck Johnson was a former Marine who spent some time in Hollywood, where he worked on movies like \u003cem>Dolemite\u003c/em> before coming to Oakland and starting Soul Beat.\u003c/p>\n\u003cp>Although the production was sometimes low quality, the network’s appeal was immediate in making something for the people, by the people.\u003c/p>\n\u003cp>“It was black faces that you saw. It was black businesses that you saw,” says Showbiz. “The beauty was all about the Soul Beat commercials.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ySQmXtwz-AI\u003c/p>\n\u003cp>The \u003ca href=\"https://www.instagram.com/tv/B-Hkv4pg0Ew/?utm_source=ig_web_copy_link\" target=\"_blank\" rel=\"noopener noreferrer\">corny car commercial\u003c/a> where everyone waves on cue. The commercial for Harputs, an urban \u003ca href=\"https://www.youtube.com/watch?v=ajCwxC3s2Nc\" target=\"_blank\" rel=\"noopener noreferrer\">clothing store in San Francisco\u003c/a> that has since pivoted to more \u003ca href=\"https://thecollection.sbe.com/creators/gus-robin-harputs\" target=\"_blank\" rel=\"noopener noreferrer\">upscale fashion\u003c/a> . The \u003ca href=\"https://www.instagram.com/p/B-LHRqCgSbn/?utm_source=ig_web_copy_link\" target=\"_blank\" rel=\"noopener noreferrer\">S-Curl commercial\u003c/a> that shows the styles of the time.\u003c/p>\n\u003cp>At this point, it’s incredible that this footage has survived. If you lived it, you may or may not want to travel back then. But for me, it’s what the big homies always talked about—so I’m fascinated.\u003c/p>\n\u003cp>Not just by the commercials, but the commentary from Night Dog, whose no-holds-barred \u003ca href=\"https://youtu.be/kONpdG_hKpI?t=50s\" target=\"_blank\" rel=\"noopener noreferrer\">call-in talk show\u003c/a> was a Soul Beat TV staple. The music videos were the soundtrack to my childhood, with lyrics I didn’t fully understood until now. Even the background scenes of Oakland, in the music videos and commercials Soul Beat showed, is now rare documentary footage, what with all the changes that have occurred here. [ad floatright]\u003c/p>\n\u003cp>As far as music, Soul Beat had it covered in more ways than one.\u003c/p>\n\u003cp>“They made sure they showed all the videos. They broke a lot of artists,” says Showbiz. Soul Beat first introduced him to Too $hort, MC Hammer, En Vogue, Seagram, Tony! Toni! Toné! and more.\u003c/p>\n\u003cp>More important than the rotation of local artists was the fiscal impact. “Soul Beat would play an artist, and people would hear it and then go to a store called \u003ca href=\"https://www.complex.com/pop-culture/2011/02/rap-atlas-oakland/eastmontmall\" target=\"_blank\" rel=\"noopener noreferrer\">T’s Wauzi\u003c/a>,” said Showbiz. “Soul Beat was like the circle of life. They’d play the music and we’d go out and buy it.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=T4RB41Dn9Vg\u003c/p>\n\u003cp>That’s how arts and culture spread throughout East Oakland, and the greater Bay Area, for the course of a few decades. And it wasn’t confined to local artists, either—SoulBeat broadcast early interviews with \u003ca href=\"https://www.youtube.com/watch?v=LRNk_U5telI\" target=\"_blank\" rel=\"noopener noreferrer\">Michael Jackson\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=bPqs1SdZpMU\" target=\"_blank\" rel=\"noopener noreferrer\">Eazy-E\u003c/a>.\u003c/p>\n\u003cp>But Soul Beat has been defunct for nearly 20 years. Why start an Instagram account now?\u003c/p>\n\u003cp>Showbiz was simply having a conversation with Atlantic Records’ \u003ca href=\"https://www.eastbaytimes.com/2005/11/23/east-bay-man-breaks-into-thebiz-hopes-to-end-up-on-top/\" target=\"_blank\" rel=\"noopener noreferrer\">Yancey Richardson\u003c/a>, the co-executive producer of Raphael Saadiq’s album \u003cem>Jimmy Lee\u003c/em>, when he got inspired. Next thing he knew, he was scouring the internet for related content.\u003c/p>\n\u003cp>“I couldn’t find a lot of things about Soul Beat. So, I was like, let me put something together,” says Showbiz.\u003c/p>\n\u003cfigure id=\"attachment_13877705\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13877705\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/Showbiz-800x800.jpg\" alt=\"Rynell "Showbiz" Williams\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Showbiz.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Showbiz-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Showbiz-768x768.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003cfigcaption class=\"wp-caption-text\">Rynell “Showbiz” Williams, outside the Oakland Coliseum. \u003ccite>(Rynell \"Showbiz\" Williams)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He found some old commercials online. After tracking down some footage of well-known comedian and actor Luenell, he was on to something. He paired that footage with some commercials, videos and footage of Night Dog. And then he got people to tap in.\u003c/p>\n\u003cp>“A lot of artists from the Bay started following the page,” says Showbiz. “First, you’ve got Raphael Saadiq following, then you’ve got his brother D’Wayne Wiggins … and then members from En Vogue.” He let off a roster of names including the entire Hiero crew, members of RBL Posse and more.\u003c/p>\n\u003cp>Showbiz says, “You got so many people following the page because people feel the same way I feel about SoulBeat, and now I feel like I have a responsibility to make this thing go.”\u003c/p>\n\u003cp>https://www.instagram.com/p/B9ackH-hXGr/\u003c/p>\n\u003cp>I let him know that the special thing for me wasn’t necessarily the retreat into better times, nostalgia being \u003ca href=\"https://www.nytimes.com/2020/03/24/arts/coronavirus-myst-nostalgia.html\" target=\"_blank\" rel=\"noopener noreferrer\">par for the course\u003c/a> for anyone going through what we’re going through. But instead, it’s the history lessons. The ability to understand what the older kids in the neighborhood would talk about back in the day, but that I hadn’t gotten the chance to digest. The commerce. The entrepreneurship. The staked claim of ownership in a town that has always been up for grabs.\u003c/p>\n\u003cp>Of course, it was out there all this time. I just hadn’t seen it curated in this manner, all in one place.\u003c/p>\n\u003cp>On that note, Showbiz tips his hat, and acknowledges that his Instagram page is simply a tribute, not an official page. He has nothing to do with the family or Soul Beat’s ownership. This is a passion project. But he still tries to reach out to people for content, and people reach out to him.\u003c/p>\n\u003cp>He says Charles Johnson (no relation to former owner Charles Johnson), former host of Soul Beat’s hip-hop show, has sent him some photos. Artists have reached out. And the community has been activated.\u003c/p>\n\u003cp>Like I said, it couldn’t have come at a better time.\u003c/p>\n\u003cp>“While we’re in this whole coronavirus time period,” Showbiz says, “maybe this can ease somebody’s mind for five or ten minutes. Help them think back to happier times.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n",
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"excerpt": "Vintage footage from SoulBeat's commercials, music videos and talk shows has found its way to Instagram.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s week three of California’s shelter-in-place order due to the spread of COVID-19. How deep into your childhood memories are you by now?\u003c/p>\n\u003cp>Old photos. Ancient notebooks. Video games you haven’t played since the second grade. How about that TV show you used to watch back in the day?\u003c/p>\n\u003cp>Luckily for me, and many others of a certain age and locale, there’s an Instagram page paying homage to the old school Bay Area TV station that hosted shows, music videos and Oakland culture.\u003c/p>\n\u003cp>Soul Beat TV, one of the nation’s first African American-owned TV Networks—which ran from \u003ca href=\"https://www.sfgate.com/bayarea/article/Oaklanders-calling-for-return-of-Soul-Beat-2510067.php\" target=\"_blank\" rel=\"noopener noreferrer\">1978–2003\u003c/a>, and which was filmed and broadcast from East Oakland—has been revived \u003ca href=\"https://www.instagram.com/soulbeattv/\" target=\"_blank\" rel=\"noopener noreferrer\">in Instagram form\u003c/a>. Grainy videos from the early ’90s, cheesy commercials and comical crank calls from the era that I called a childhood have been made readily accessible.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It couldn’t have come at a better time.\u003c/p>\n\u003cp>In early March, when the coronavius was something Americans were just starting to seriously prepare for, Rynell “Showbiz” Williams started the \u003ca href=\"https://www.instagram.com/soulbeattv/\" target=\"_blank\" rel=\"noopener noreferrer\">Soul Beat TV Instagram page\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/DjBiz/\" target=\"_blank\" rel=\"noopener noreferrer\">Showbiz\u003c/a> is a longtime radio DJ, formerly with 94.9 KWILD, and currently a host on the morning show with 102.5 KDON. He’s also from East Oakland, and grew up watching Soul Beat TV on Channel 37.\u003c/p>\n\u003cp>“Soul Beat in Oakland was everything,” Showbiz says, over the phone. “It was (one of) the first black-owned television network(s)… Before BET. Before TV One. There was Soul Beat. And it was started by\u003ca href=\"https://www.eastbaytimes.com/2004/07/28/soul-beat-owner-chuck-johnson-dies/\" target=\"_blank\" rel=\"noopener noreferrer\"> Chuck Johnson\u003c/a>.”\u003c/p>\n\u003cp>Chuck Johnson was a former Marine who spent some time in Hollywood, where he worked on movies like \u003cem>Dolemite\u003c/em> before coming to Oakland and starting Soul Beat.\u003c/p>\n\u003cp>Although the production was sometimes low quality, the network’s appeal was immediate in making something for the people, by the people.\u003c/p>\n\u003cp>“It was black faces that you saw. It was black businesses that you saw,” says Showbiz. “The beauty was all about the Soul Beat commercials.”\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/ySQmXtwz-AI'\n title='//www.youtube.com/embed/ySQmXtwz-AI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The \u003ca href=\"https://www.instagram.com/tv/B-Hkv4pg0Ew/?utm_source=ig_web_copy_link\" target=\"_blank\" rel=\"noopener noreferrer\">corny car commercial\u003c/a> where everyone waves on cue. The commercial for Harputs, an urban \u003ca href=\"https://www.youtube.com/watch?v=ajCwxC3s2Nc\" target=\"_blank\" rel=\"noopener noreferrer\">clothing store in San Francisco\u003c/a> that has since pivoted to more \u003ca href=\"https://thecollection.sbe.com/creators/gus-robin-harputs\" target=\"_blank\" rel=\"noopener noreferrer\">upscale fashion\u003c/a> . The \u003ca href=\"https://www.instagram.com/p/B-LHRqCgSbn/?utm_source=ig_web_copy_link\" target=\"_blank\" rel=\"noopener noreferrer\">S-Curl commercial\u003c/a> that shows the styles of the time.\u003c/p>\n\u003cp>At this point, it’s incredible that this footage has survived. If you lived it, you may or may not want to travel back then. But for me, it’s what the big homies always talked about—so I’m fascinated.\u003c/p>\n\u003cp>Not just by the commercials, but the commentary from Night Dog, whose no-holds-barred \u003ca href=\"https://youtu.be/kONpdG_hKpI?t=50s\" target=\"_blank\" rel=\"noopener noreferrer\">call-in talk show\u003c/a> was a Soul Beat TV staple. The music videos were the soundtrack to my childhood, with lyrics I didn’t fully understood until now. Even the background scenes of Oakland, in the music videos and commercials Soul Beat showed, is now rare documentary footage, what with all the changes that have occurred here. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As far as music, Soul Beat had it covered in more ways than one.\u003c/p>\n\u003cp>“They made sure they showed all the videos. They broke a lot of artists,” says Showbiz. Soul Beat first introduced him to Too $hort, MC Hammer, En Vogue, Seagram, Tony! Toni! Toné! and more.\u003c/p>\n\u003cp>More important than the rotation of local artists was the fiscal impact. “Soul Beat would play an artist, and people would hear it and then go to a store called \u003ca href=\"https://www.complex.com/pop-culture/2011/02/rap-atlas-oakland/eastmontmall\" target=\"_blank\" rel=\"noopener noreferrer\">T’s Wauzi\u003c/a>,” said Showbiz. “Soul Beat was like the circle of life. They’d play the music and we’d go out and buy it.”\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/T4RB41Dn9Vg'\n title='//www.youtube.com/embed/T4RB41Dn9Vg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>That’s how arts and culture spread throughout East Oakland, and the greater Bay Area, for the course of a few decades. And it wasn’t confined to local artists, either—SoulBeat broadcast early interviews with \u003ca href=\"https://www.youtube.com/watch?v=LRNk_U5telI\" target=\"_blank\" rel=\"noopener noreferrer\">Michael Jackson\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=bPqs1SdZpMU\" target=\"_blank\" rel=\"noopener noreferrer\">Eazy-E\u003c/a>.\u003c/p>\n\u003cp>But Soul Beat has been defunct for nearly 20 years. Why start an Instagram account now?\u003c/p>\n\u003cp>Showbiz was simply having a conversation with Atlantic Records’ \u003ca href=\"https://www.eastbaytimes.com/2005/11/23/east-bay-man-breaks-into-thebiz-hopes-to-end-up-on-top/\" target=\"_blank\" rel=\"noopener noreferrer\">Yancey Richardson\u003c/a>, the co-executive producer of Raphael Saadiq’s album \u003cem>Jimmy Lee\u003c/em>, when he got inspired. Next thing he knew, he was scouring the internet for related content.\u003c/p>\n\u003cp>“I couldn’t find a lot of things about Soul Beat. So, I was like, let me put something together,” says Showbiz.\u003c/p>\n\u003cfigure id=\"attachment_13877705\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13877705\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/Showbiz-800x800.jpg\" alt=\"Rynell "Showbiz" Williams\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Showbiz.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Showbiz-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Showbiz-768x768.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003cfigcaption class=\"wp-caption-text\">Rynell “Showbiz” Williams, outside the Oakland Coliseum. \u003ccite>(Rynell \"Showbiz\" Williams)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He found some old commercials online. After tracking down some footage of well-known comedian and actor Luenell, he was on to something. He paired that footage with some commercials, videos and footage of Night Dog. And then he got people to tap in.\u003c/p>\n\u003cp>“A lot of artists from the Bay started following the page,” says Showbiz. “First, you’ve got Raphael Saadiq following, then you’ve got his brother D’Wayne Wiggins … and then members from En Vogue.” He let off a roster of names including the entire Hiero crew, members of RBL Posse and more.\u003c/p>\n\u003cp>Showbiz says, “You got so many people following the page because people feel the same way I feel about SoulBeat, and now I feel like I have a responsibility to make this thing go.”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I let him know that the special thing for me wasn’t necessarily the retreat into better times, nostalgia being \u003ca href=\"https://www.nytimes.com/2020/03/24/arts/coronavirus-myst-nostalgia.html\" target=\"_blank\" rel=\"noopener noreferrer\">par for the course\u003c/a> for anyone going through what we’re going through. But instead, it’s the history lessons. The ability to understand what the older kids in the neighborhood would talk about back in the day, but that I hadn’t gotten the chance to digest. The commerce. The entrepreneurship. The staked claim of ownership in a town that has always been up for grabs.\u003c/p>\n\u003cp>Of course, it was out there all this time. I just hadn’t seen it curated in this manner, all in one place.\u003c/p>\n\u003cp>On that note, Showbiz tips his hat, and acknowledges that his Instagram page is simply a tribute, not an official page. He has nothing to do with the family or Soul Beat’s ownership. This is a passion project. But he still tries to reach out to people for content, and people reach out to him.\u003c/p>\n\u003cp>He says Charles Johnson (no relation to former owner Charles Johnson), former host of Soul Beat’s hip-hop show, has sent him some photos. Artists have reached out. And the community has been activated.\u003c/p>\n\u003cp>Like I said, it couldn’t have come at a better time.\u003c/p>\n\u003cp>“While we’re in this whole coronavirus time period,” Showbiz says, “maybe this can ease somebody’s mind for five or ten minutes. Help them think back to happier times.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Bob Dylan surprised fans late Thursday night with the release of the epic “Murder Most Foul,” a long, delicate song about the assassination of President John F. Kennedy.\u003c/p>\n\u003cp>In a short post on his website, Dylan provided little information about the song’s origin, and wished his fans well: “This is an unreleased song we recorded a while back that you might find interesting. Stay safe, stay observant, and may God be with you.” \u003ca href=\"http://www.bobdylan.com/\">The post\u003c/a> includes a formal portrait of President Kennedy. Stylistically, it evokes \u003ca href=\"https://www.npr.org/2012/09/11/160892713/bob-dylans-baffling-and-sometimes-beautiful-tempest\">\u003cem>Tempest\u003c/em>\u003c/a>\u003cem> \u003c/em>(2012) or even \u003ca href=\"https://www.npr.org/transcripts/5725823?storyId=5725823?storyId=5725823\">\u003cem>Modern Times\u003c/em>\u003c/a>\u003cem> \u003c/em>(2006).\u003c/p>\n\u003cp>The song unfolds slowly over a delicate instrumental backing of violin, piano and hushed percussion. Dylan’s vocal is rich and expressive as he veers between describing the assassination, the unfolding of the counterculture, and a roll call of musicians, movie lyrics and other pop culture references. \u003c/p>\n\u003cp>At almost 17 minutes, “Murder Most Foul” is Dylan’s longest song. The lyrics are sometimes playful, especially in its final minutes, but overall this is Dylan at his most incisive and cutting: “What’s new pussycat? What’d I say? / I said the soul of a nation been torn away / And it’s beginning to go into a slow decay / And that it’s 36 hours past Judgment Day.” It’s worth many repeated listens and will occupy any Dylanologist holed up at home. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Bob+Dylan+Releases+Epic+New+Song%2C+%27Murder+Most+Foul%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Bob Dylan surprised fans late Thursday night with the release of the epic “Murder Most Foul,” a long, delicate song about the assassination of President John F. Kennedy.\u003c/p>\n\u003cp>In a short post on his website, Dylan provided little information about the song’s origin, and wished his fans well: “This is an unreleased song we recorded a while back that you might find interesting. Stay safe, stay observant, and may God be with you.” \u003ca href=\"http://www.bobdylan.com/\">The post\u003c/a> includes a formal portrait of President Kennedy. Stylistically, it evokes \u003ca href=\"https://www.npr.org/2012/09/11/160892713/bob-dylans-baffling-and-sometimes-beautiful-tempest\">\u003cem>Tempest\u003c/em>\u003c/a>\u003cem> \u003c/em>(2012) or even \u003ca href=\"https://www.npr.org/transcripts/5725823?storyId=5725823?storyId=5725823\">\u003cem>Modern Times\u003c/em>\u003c/a>\u003cem> \u003c/em>(2006).\u003c/p>\n\u003cp>The song unfolds slowly over a delicate instrumental backing of violin, piano and hushed percussion. Dylan’s vocal is rich and expressive as he veers between describing the assassination, the unfolding of the counterculture, and a roll call of musicians, movie lyrics and other pop culture references. \u003c/p>\n\u003cp>At almost 17 minutes, “Murder Most Foul” is Dylan’s longest song. The lyrics are sometimes playful, especially in its final minutes, but overall this is Dylan at his most incisive and cutting: “What’s new pussycat? What’d I say? / I said the soul of a nation been torn away / And it’s beginning to go into a slow decay / And that it’s 36 hours past Judgment Day.” It’s worth many repeated listens and will occupy any Dylanologist holed up at home. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Bob+Dylan+Releases+Epic+New+Song%2C+%27Murder+Most+Foul%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Three Decades After a Forgotten Demo, Musician Prophet Makes a Comeback",
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"content": "\u003cp>The first thing that may strike listeners about \u003ca href=\"https://www.stonesthrow.com/artist/prophet/\" target=\"_blank\" rel=\"noopener noreferrer\">Prophet\u003c/a>’s 2020 album, \u003cem>Don’t Forget It\u003c/em>, is how fresh, even young it sounds. There’s a sweet yearning to his voice that mixes with the electronic bite, shimmering guitar and crisp, funky punch. The sound suggests a new figure on the scene finding a path among a generation that happily mixes styles from further back.\u003c/p>\n\u003cp>But \u003cem>Don’t Forget It\u003c/em>, released at the end of January on the influential \u003ca href=\"https://www.stonesthrow.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Stones Throw Records\u003c/a>, isn’t the work of an industry newcomer, but of a veteran musician whose work was nearly forgotten for decades.\u003c/p>\n\u003cp>“I just try to stay young at heart basically,” Prophet says with easy confidence in a phone interview from Los Angeles. “I just stay in tune with music events that are going on with the youth, but doing it in my own way. They are the ones that are really supporting music in a large way right now.”\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=1771736739/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\u003cp>Prophet originally came to San Francisco in the mid 1970s from Baton Rouge, Louisiana, following up on an extensive classical music education at home with a growing love for bass guitar. His first gigs were with a military band and then a tour with a Top 40 cover group. His 1984 album \u003cem>Right On Time\u003c/em>, a home demo pressed into a short run on his own Treasure Records, didn’t get the major label attention he’d hoped for, leaving Prophet to continue work in a variety of Bay Area bands for the next decade and a half while the vinyl run disappeared into consignment at various record stores.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Prophet finally left San Francisco in 1999 to return to Baton Rouge to take care of his mother, and remained there for almost fifteen years. He regularly performed with Louisiana soul, funk and reggae legend \u003ca href=\"http://www.henryturnerjr.com/bio.htm\" target=\"_blank\" rel=\"noopener noreferrer\">Henry Turner Jr.\u003c/a> and his group & Flavor. Meanwhile, \u003cem>Right On Time\u003c/em>’s underground reputation grew with crate-digging record collectors—chief among them Stones Throw founder, \u003ca href=\"https://www.stonesthrow.com/artist/pbwolf/\" target=\"_blank\" rel=\"noopener noreferrer\">Peanut Butter Wolf\u003c/a>, who wondered what had happened to the talented musician.\u003c/p>\n\u003cp>“Somebody contacted me out of the blue searching for my whereabouts because they found this album by this guy named Prophet and they were trying to find me,” he remembers. “So they suggested that I move out here to L.A. because there were people excited about the \u003cem>Right on Time\u003c/em> record. So it was just a matter of me packing my bags and coming on out this way.”\u003c/p>\n\u003cfigure id=\"attachment_13876059\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13876059 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/prophet-frank-horn-2-800x533.jpg\" alt=\"After not releasing solo material for over 30 years, Prophet relocated to Los Angeles to work with influential indie label Stones Throw Records.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/prophet-frank-horn-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/prophet-frank-horn-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/prophet-frank-horn-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/prophet-frank-horn-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/prophet-frank-horn-2.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">After not releasing solo material for over 30 years, Prophet relocated to Los Angeles to work with influential indie label Stones Throw Records. \u003ccite>(Frank Horn)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That soon led to a meeting with Peanut Butter Wolf—at the Stones Throw booth at a record fair, appropriately enough—and various live shows in Southern California. In 2018, Prophet released his first album in 34 years: \u003cem>Wanna Be Your Man\u003c/em>, a collaboration with hip-hop producer and neo-soul singer-songwriter Mndsgn. \u003c/p>\n\u003cp>The project was an intriguing blend of Prophet’s continuing musical interests and Mndsgn’s beat explorations, but Prophet had some reservations.\u003c/p>\n\u003cp>“I never really actually worked with a record producer before,” Prophet recalls. “It’s alright, it’s just that it’s not totally you. It’s partially you.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=xUtV8TMGW6s\u003c/p>\n\u003cp>For \u003cem>Don’t Forget It\u003c/em>, Prophet decided to go it alone. “I knew it would be better for me eventually to just write and produce a record on my own because that way it’ll be me fully,” he continues.\u003c/p>\n\u003cp>The subtle power of Prophet’s arrangements stand out from his early work to the present day. On \u003cem>Don’t Forget It\u003c/em>, there’s the slick, precise way the keys rise and fall on “In My Ear”; his vocals have a gentle touch, backed up by a warm and sweetly sly organ on the chorus. His voice on “Think About It” rides a bubbling, murmuring mixture of pulses, with low tones and a sense of space. The album has a deeply human feel that’s comfortable among the technology but never subsumed by it. \u003cspan style=\"font-weight: 400\">[aside postID=\"arts_13869513,arts_13875256,arts_13875068\" label=\"More music stories\"]\u003c/span>\u003c/p>\n\u003cp>“I let the music actually dictate what I’m going to sing to it,” Prophet explains of his creative process. “I really don’t like dabbling and switching parts, thinking maybe I should do this or maybe I should do that. Once it’s there, it’s there, and it’s up to me to create everything else about the song.”\u003c/p>\n\u003cp>The strength of \u003cem>Don’t Forget It\u003c/em> lies in a steady work ethic: Prophet estimates he drew the track list from somewhere around 100 songs, something he attributes to his constant activity in his home studio.\u003c/p>\n\u003cp>His future goals (once California’s shelter-in-place ordinance is lifted) include doing more work on the live front, currently a stripped down affair with himself and a DJ, as well as continuing to record. He speaks of wanting to travel more and take his sound to different places he’s not yet been, but confesses that when it comes to big-picture plans, ultimately for him the focus remains on the sounds he wants to bring to life.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“As far as outside of the music business, I don’t know, man,” he reflects. “It’s really about just being able to take care of myself, basically. But outside of that, I haven’t really thought about it, because if I do think about it then I may start to feel like I’ve let myself down and [am] abandoning the music.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The first thing that may strike listeners about \u003ca href=\"https://www.stonesthrow.com/artist/prophet/\" target=\"_blank\" rel=\"noopener noreferrer\">Prophet\u003c/a>’s 2020 album, \u003cem>Don’t Forget It\u003c/em>, is how fresh, even young it sounds. There’s a sweet yearning to his voice that mixes with the electronic bite, shimmering guitar and crisp, funky punch. The sound suggests a new figure on the scene finding a path among a generation that happily mixes styles from further back.\u003c/p>\n\u003cp>But \u003cem>Don’t Forget It\u003c/em>, released at the end of January on the influential \u003ca href=\"https://www.stonesthrow.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Stones Throw Records\u003c/a>, isn’t the work of an industry newcomer, but of a veteran musician whose work was nearly forgotten for decades.\u003c/p>\n\u003cp>“I just try to stay young at heart basically,” Prophet says with easy confidence in a phone interview from Los Angeles. “I just stay in tune with music events that are going on with the youth, but doing it in my own way. They are the ones that are really supporting music in a large way right now.”\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=1771736739/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\u003cp>Prophet originally came to San Francisco in the mid 1970s from Baton Rouge, Louisiana, following up on an extensive classical music education at home with a growing love for bass guitar. His first gigs were with a military band and then a tour with a Top 40 cover group. His 1984 album \u003cem>Right On Time\u003c/em>, a home demo pressed into a short run on his own Treasure Records, didn’t get the major label attention he’d hoped for, leaving Prophet to continue work in a variety of Bay Area bands for the next decade and a half while the vinyl run disappeared into consignment at various record stores.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Prophet finally left San Francisco in 1999 to return to Baton Rouge to take care of his mother, and remained there for almost fifteen years. He regularly performed with Louisiana soul, funk and reggae legend \u003ca href=\"http://www.henryturnerjr.com/bio.htm\" target=\"_blank\" rel=\"noopener noreferrer\">Henry Turner Jr.\u003c/a> and his group & Flavor. Meanwhile, \u003cem>Right On Time\u003c/em>’s underground reputation grew with crate-digging record collectors—chief among them Stones Throw founder, \u003ca href=\"https://www.stonesthrow.com/artist/pbwolf/\" target=\"_blank\" rel=\"noopener noreferrer\">Peanut Butter Wolf\u003c/a>, who wondered what had happened to the talented musician.\u003c/p>\n\u003cp>“Somebody contacted me out of the blue searching for my whereabouts because they found this album by this guy named Prophet and they were trying to find me,” he remembers. “So they suggested that I move out here to L.A. because there were people excited about the \u003cem>Right on Time\u003c/em> record. So it was just a matter of me packing my bags and coming on out this way.”\u003c/p>\n\u003cfigure id=\"attachment_13876059\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13876059 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/prophet-frank-horn-2-800x533.jpg\" alt=\"After not releasing solo material for over 30 years, Prophet relocated to Los Angeles to work with influential indie label Stones Throw Records.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/prophet-frank-horn-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/prophet-frank-horn-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/prophet-frank-horn-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/prophet-frank-horn-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/prophet-frank-horn-2.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">After not releasing solo material for over 30 years, Prophet relocated to Los Angeles to work with influential indie label Stones Throw Records. \u003ccite>(Frank Horn)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That soon led to a meeting with Peanut Butter Wolf—at the Stones Throw booth at a record fair, appropriately enough—and various live shows in Southern California. In 2018, Prophet released his first album in 34 years: \u003cem>Wanna Be Your Man\u003c/em>, a collaboration with hip-hop producer and neo-soul singer-songwriter Mndsgn. \u003c/p>\n\u003cp>The project was an intriguing blend of Prophet’s continuing musical interests and Mndsgn’s beat explorations, but Prophet had some reservations.\u003c/p>\n\u003cp>“I never really actually worked with a record producer before,” Prophet recalls. “It’s alright, it’s just that it’s not totally you. It’s partially you.”\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/xUtV8TMGW6s'\n title='//www.youtube.com/embed/xUtV8TMGW6s'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>For \u003cem>Don’t Forget It\u003c/em>, Prophet decided to go it alone. “I knew it would be better for me eventually to just write and produce a record on my own because that way it’ll be me fully,” he continues.\u003c/p>\n\u003cp>The subtle power of Prophet’s arrangements stand out from his early work to the present day. On \u003cem>Don’t Forget It\u003c/em>, there’s the slick, precise way the keys rise and fall on “In My Ear”; his vocals have a gentle touch, backed up by a warm and sweetly sly organ on the chorus. His voice on “Think About It” rides a bubbling, murmuring mixture of pulses, with low tones and a sense of space. The album has a deeply human feel that’s comfortable among the technology but never subsumed by it. \u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>",
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"content": "\u003cp>Social distancing means it’s a good time to pick up new skills—like becoming an expert on classical music.\u003c/p>\n\u003cp>Because concerts are off for at least the next few weeks, the San Francisco Symphony has made all episodes of its \u003ca href=\"https://www.keepingscore.org/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Keeping Score\u003c/em>\u003c/a> docu-series free to watch on YouTube. Created in 2004 with musical director Michael Tilson Thomas, the show tells the stories of eight influential composers, including Pyotr Tchaikovsky, Ludwig van Beethoven, Gustav Mahler and Aaron Copland.\u003c/p>\n\u003cp>Delving into deeper narratives behind these household names, \u003cem>Keeping Score\u003c/em> answers questions like, how did Copland combine influences from jazz, blues and the European orchestral tradition to create a uniquely American sound? And, how did political censorship during the Soviet Union’s Stalinist era change the style of Dmitri Shostakovich? In addition to fascinating stories from the composers’ lives, the series features world-class performances from the San Francisco Symphony.\u003c/p>\n\u003cp>New episodes come out every Wednesday through April 8 on the San Francisco Symphony’s \u003ca href=\"https://www.youtube.com/user/sfsymphony\" target=\"_blank\" rel=\"noopener noreferrer\">YouTube channel\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Ix2xIl2XVro\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>San Francisco arts organizations anticipate losing up to $73 million in earned income and donations if the novel coronavirus crisis proceeds through the summer, the results of a new survey show. More than half of the 145 surveyed organizations have reduced or suspended contractor work, and 28 percent of them reported contemplating employee layoffs.\u003c/p>\n\u003cp>Museums and performance venues are closed for the foreseeable future during a statewide shelter-in-place order. While some organizations \u003ca href=\"https://www.kqed.org/arts/13876676/livestreaming-through-the-pandemic-shuttered-bay-area-venues-get-inventive\" target=\"_blank\" rel=\"noopener noreferrer\">turn to livestreaming\u003c/a>, many more face at least a season’s worth of canceled or postponed programming. Now the San Francisco Arts Alliance survey shows how the sudden shutdown jeopardizes thousands of jobs in the cultural sector.\u003c/p>\n\u003cp>“It’s an unprecedented situation,” Deborah Cullinan, Yerba Buena Center for the Arts chief executive and co-chair of the SF Arts Alliance, an informal group of local arts leaders, said in an interview. “It requires us to really reconsider what we do and how we do it and who we do it for.”\u003c/p>\n\u003cp>[aside label=\"More Coverage\" tag=\"coronavirus\"]\u003c/p>\n\u003cp>The survey particularly impressed on Cullinan the art world’s reliance on independent contractors, and their unique vulnerability at a time of cutbacks. “We’re not alone in depending on contractors,” she said. “This is an opportunity for us to work across sectors with small businesses and other enterprises and push policy that benefits contractors at large.”\u003c/p>\n\u003cp>“We haven’t seen the worst,” Cullinan added. “All we can do is come out of this with new ideas.”\u003c/p>\n\u003cp>The San Francisco COVID-19 Arts Impact Survey results, which reflect large institutions and shoestring operations alike, as of Friday, Mar. 20 show anticipated losses of $47.8 million in earned income and $25.5 million in contributed income if the crisis proceeds until mid-September. Already, the survey respondents reported losses totaling tens of millions.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>More difficult than regaining visitors when the shelter orders lift will be recovering fundraising momentum. Individual and institutional donors tend to prioritize food, housing and other safety net services over arts and culture nonprofits, and arts fundraisers worry the declining stock market and likely economic recession will diminish the endowments of private foundations.\u003c/p>\n\u003cfigure id=\"attachment_13877357\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/Screen-Shot-2020-03-24-at-10.49.09-AM.png\" alt=\"The San Francisco Arts Alliance surveyed arts organizations about the novel coronavirus' impact on revenue.\" width=\"1920\" height=\"1081\" class=\"size-full wp-image-13877357\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-24-at-10.49.09-AM.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-24-at-10.49.09-AM-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-24-at-10.49.09-AM-800x450.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-24-at-10.49.09-AM-768x432.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-24-at-10.49.09-AM-1020x574.png 1020w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The San Francisco Arts Alliance surveyed arts organizations about the novel coronavirus’ impact on revenue. \u003ccite>(San Francisco Arts Alliance)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The immediate effects on arts workers have been unevenly distributed. Some major institutions, such as the San Francisco Museum of Modern Art, are currently paying regular wages to employees working remotely as well as most frontline staff, such as ticket takers, who cannot report to work. Yet even the San Francisco Symphony reported that it is considering hiring freezes and layoffs.\u003c/p>\n\u003cp>Contractors, though, such as audio-visual technicians and other event workers, have been the first to miss expected paychecks. The survey results show the 145 organizations employ 4,129 of these gig workers, twice the number of full-time staff, and because they lack benefits such as paid sick leave and healthcare, they’re especially threatened by the sudden loss of income.\u003c/p>\n\u003cp>Gabriel Nunez de Arco, 26, is a lighting designer and sound engineer who made some $2,000 a month working gigs at small theaters such as Joe Goode Annex and Counterpulse. Now his projected income is zero. He can pay his rent in April. After that, he’ll sell music gear. Otherwise he’s relying on community \u003ca href=\"https://www.kqed.org/arts/13876893/emergency-funds-for-freelancers-creatives-losing-income-during-coronavirus\">mutual aid\u003c/a> efforts: “Passing around the same $20,” as he put it. [aside postid='science_1957877']\u003c/p>\n\u003cp>De Arco was disappointed that the \u003ca href=\"https://www.kqed.org/arts/13877253/sf-pledges-2-5-million-to-new-arts-relief-program\">Arts Relief Program\u003c/a> announced by San Francisco Mayor London Breed on Monday didn’t appear to benefit freelance arts workers such as himself, and feels neglected by the organizations that once offered steady if low-paid gigs. “When shit hits the fan we’re disposable,” he said. “It’s very much parallel with all other kinds of gig workers.”\u003c/p>\n\u003cfigure id=\"attachment_10897951\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10897951\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2015/08/Davies-Full-Ext-Night-800x511.jpg\" alt=\"Davies Symphony Hall\" width=\"800\" height=\"511\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Davies-Full-Ext-Night-800x511.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Davies-Full-Ext-Night-400x255.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Davies-Full-Ext-Night-1180x753.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Davies-Full-Ext-Night-960x613.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Davies-Full-Ext-Night.jpg 1200w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The San Francisco Symphony is considering hiring freezes and layoffs. Pictured is Davies Symphony Hall. \u003ccite>(San Francisco Symphony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At SOMArts Cultural Center, technical event staff are furloughed, and a temporary worker was laid off, according to operations director Jena McRae Schwirtz. The organization is funneling cancellation fees to event staff. SOMArts is so far losing $20,000 due to cancellations, and expects the number to grow to $100,000, or 30% of projected annual rental revenue. Its annual spring fundraiser event, which last year brought in more than $20,000, is also cancelled.\u003c/p>\n\u003cp>In notoriously costly San Francisco, many arts workers lack savings. Renae Moua, 28, was contracted with SOMArts as an interim community engagement and impact manager through May, but they were let go after the fundraiser cancellation. “I don’t know what to do,” Moua said. “Housing and basic necessities like food are at the forefront of my worries.” (A SOMArts spokesperson said Moua’s healthcare coverage has been extended for two additional months.)\u003c/p>\n\u003cp>Most performing arts organizations are encouraging ticket holders to donate the ticket cost, while many others have launched online fundraisers. Gray Area, which restored and operates the Mission District’s Grand Theater, derives 75% of its revenue from rentals and tickets, and stands to lose $350,000. The lapse in programming, executive director Barry Threw said in a letter soliciting contributions to its $300,000 crowdfunding campaign, is an existential threat to the organization.\u003c/p>\n\u003cp>Many write-in comments on the survey describe pivots to digital programming and pledges to pay employees during the closures. Others are more grim. One large museum wrote: “Looking for funds to keep the organization going.” A performing arts group explained: “Without programming we have no income revenue to pay our teaching artists and facility staff. They are currently NOT being paid.”\u003c/p>\n\u003cp>And an indie musician wrote one word in an other personnel decisions column: “Cry.”\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Francisco arts organizations anticipate losing up to $73 million in earned income and donations if the novel coronavirus crisis proceeds through the summer, the results of a new survey show. More than half of the 145 surveyed organizations have reduced or suspended contractor work, and 28 percent of them reported contemplating employee layoffs.\u003c/p>\n\u003cp>Museums and performance venues are closed for the foreseeable future during a statewide shelter-in-place order. While some organizations \u003ca href=\"https://www.kqed.org/arts/13876676/livestreaming-through-the-pandemic-shuttered-bay-area-venues-get-inventive\" target=\"_blank\" rel=\"noopener noreferrer\">turn to livestreaming\u003c/a>, many more face at least a season’s worth of canceled or postponed programming. Now the San Francisco Arts Alliance survey shows how the sudden shutdown jeopardizes thousands of jobs in the cultural sector.\u003c/p>\n\u003cp>“It’s an unprecedented situation,” Deborah Cullinan, Yerba Buena Center for the Arts chief executive and co-chair of the SF Arts Alliance, an informal group of local arts leaders, said in an interview. “It requires us to really reconsider what we do and how we do it and who we do it for.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The survey particularly impressed on Cullinan the art world’s reliance on independent contractors, and their unique vulnerability at a time of cutbacks. “We’re not alone in depending on contractors,” she said. “This is an opportunity for us to work across sectors with small businesses and other enterprises and push policy that benefits contractors at large.”\u003c/p>\n\u003cp>“We haven’t seen the worst,” Cullinan added. “All we can do is come out of this with new ideas.”\u003c/p>\n\u003cp>The San Francisco COVID-19 Arts Impact Survey results, which reflect large institutions and shoestring operations alike, as of Friday, Mar. 20 show anticipated losses of $47.8 million in earned income and $25.5 million in contributed income if the crisis proceeds until mid-September. Already, the survey respondents reported losses totaling tens of millions.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>More difficult than regaining visitors when the shelter orders lift will be recovering fundraising momentum. Individual and institutional donors tend to prioritize food, housing and other safety net services over arts and culture nonprofits, and arts fundraisers worry the declining stock market and likely economic recession will diminish the endowments of private foundations.\u003c/p>\n\u003cfigure id=\"attachment_13877357\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/Screen-Shot-2020-03-24-at-10.49.09-AM.png\" alt=\"The San Francisco Arts Alliance surveyed arts organizations about the novel coronavirus' impact on revenue.\" width=\"1920\" height=\"1081\" class=\"size-full wp-image-13877357\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-24-at-10.49.09-AM.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-24-at-10.49.09-AM-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-24-at-10.49.09-AM-800x450.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-24-at-10.49.09-AM-768x432.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Screen-Shot-2020-03-24-at-10.49.09-AM-1020x574.png 1020w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The San Francisco Arts Alliance surveyed arts organizations about the novel coronavirus’ impact on revenue. \u003ccite>(San Francisco Arts Alliance)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The immediate effects on arts workers have been unevenly distributed. Some major institutions, such as the San Francisco Museum of Modern Art, are currently paying regular wages to employees working remotely as well as most frontline staff, such as ticket takers, who cannot report to work. Yet even the San Francisco Symphony reported that it is considering hiring freezes and layoffs.\u003c/p>\n\u003cp>Contractors, though, such as audio-visual technicians and other event workers, have been the first to miss expected paychecks. The survey results show the 145 organizations employ 4,129 of these gig workers, twice the number of full-time staff, and because they lack benefits such as paid sick leave and healthcare, they’re especially threatened by the sudden loss of income.\u003c/p>\n\u003cp>Gabriel Nunez de Arco, 26, is a lighting designer and sound engineer who made some $2,000 a month working gigs at small theaters such as Joe Goode Annex and Counterpulse. Now his projected income is zero. He can pay his rent in April. After that, he’ll sell music gear. Otherwise he’s relying on community \u003ca href=\"https://www.kqed.org/arts/13876893/emergency-funds-for-freelancers-creatives-losing-income-during-coronavirus\">mutual aid\u003c/a> efforts: “Passing around the same $20,” as he put it. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>De Arco was disappointed that the \u003ca href=\"https://www.kqed.org/arts/13877253/sf-pledges-2-5-million-to-new-arts-relief-program\">Arts Relief Program\u003c/a> announced by San Francisco Mayor London Breed on Monday didn’t appear to benefit freelance arts workers such as himself, and feels neglected by the organizations that once offered steady if low-paid gigs. “When shit hits the fan we’re disposable,” he said. “It’s very much parallel with all other kinds of gig workers.”\u003c/p>\n\u003cfigure id=\"attachment_10897951\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10897951\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2015/08/Davies-Full-Ext-Night-800x511.jpg\" alt=\"Davies Symphony Hall\" width=\"800\" height=\"511\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Davies-Full-Ext-Night-800x511.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Davies-Full-Ext-Night-400x255.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Davies-Full-Ext-Night-1180x753.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Davies-Full-Ext-Night-960x613.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Davies-Full-Ext-Night.jpg 1200w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The San Francisco Symphony is considering hiring freezes and layoffs. Pictured is Davies Symphony Hall. \u003ccite>(San Francisco Symphony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At SOMArts Cultural Center, technical event staff are furloughed, and a temporary worker was laid off, according to operations director Jena McRae Schwirtz. The organization is funneling cancellation fees to event staff. SOMArts is so far losing $20,000 due to cancellations, and expects the number to grow to $100,000, or 30% of projected annual rental revenue. Its annual spring fundraiser event, which last year brought in more than $20,000, is also cancelled.\u003c/p>\n\u003cp>In notoriously costly San Francisco, many arts workers lack savings. Renae Moua, 28, was contracted with SOMArts as an interim community engagement and impact manager through May, but they were let go after the fundraiser cancellation. “I don’t know what to do,” Moua said. “Housing and basic necessities like food are at the forefront of my worries.” (A SOMArts spokesperson said Moua’s healthcare coverage has been extended for two additional months.)\u003c/p>\n\u003cp>Most performing arts organizations are encouraging ticket holders to donate the ticket cost, while many others have launched online fundraisers. Gray Area, which restored and operates the Mission District’s Grand Theater, derives 75% of its revenue from rentals and tickets, and stands to lose $350,000. The lapse in programming, executive director Barry Threw said in a letter soliciting contributions to its $300,000 crowdfunding campaign, is an existential threat to the organization.\u003c/p>\n\u003cp>Many write-in comments on the survey describe pivots to digital programming and pledges to pay employees during the closures. Others are more grim. One large museum wrote: “Looking for funds to keep the organization going.” A performing arts group explained: “Without programming we have no income revenue to pay our teaching artists and facility staff. They are currently NOT being paid.”\u003c/p>\n\u003cp>And an indie musician wrote one word in an other personnel decisions column: “Cry.”\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Venues all over California are closed right now due to the state’s shelter-in-place ordinance, but one San Francisco institution will stay that way permanently. Boz Scaggs, the owner of Slim’s, revealed today that the storied San Francisco nightclub will not reopen after over 30 years in business.\u003c/p>\n\u003cp>“Slim’s had its day,” Scaggs \u003ca href=\"https://datebook.sfchronicle.com/music/slims-to-close-after-more-than-three-decades-at-heart-of-sfs-music-scene#\" target=\"_blank\" rel=\"noopener noreferrer\">told the \u003cem>San Francisco Chronicle\u003c/em>\u003c/a>, explaining that plans to close had been in the works since last year.\u003c/p>\n\u003cp>“It was a long-term decision based on things that had nothing to do with the current situation,” he added.\u003c/p>\n\u003cp>Slim’s opened in 1988 as a juke joint that focused on R&B, jazz and blues, and quickly became one of San Francisco’s most famous clubs with an ever-evolving repertoire of genres. Sun Ra, Pearl Jam, Green Day, Radiohead, Prince and Snoop Dogg were just some of the greats who performed there, and the mid-sized venue became known as an intimate setting where fans could catch touring acts and up-and-coming local bands alike.\u003c/p>\n\u003cp>An era ended at the club when longtime manager Dawn Holliday retired in 2017. In 2018, promotions giant Goldenvoice, which presents Coachella, \u003ca href=\"https://www.kqed.org/arts/13850185/slims-great-american-music-hall-workers-axed-as-goldenvoice-expands\" target=\"_blank\" rel=\"noopener noreferrer\">took control of booking\u003c/a> at Slim’s as well as at sister venue the Great American Music Hall, laying off some longtime staff.\u003c/p>\n\u003cp>Scaggs told the \u003cem>Chronicle\u003c/em> that the Great American Music Hall will remain open, where Slim’s staff will have jobs once the shelter-in-place order is lifted.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Venues all over California are closed right now due to the state’s shelter-in-place ordinance, but one San Francisco institution will stay that way permanently. Boz Scaggs, the owner of Slim’s, revealed today that the storied San Francisco nightclub will not reopen after over 30 years in business.\u003c/p>\n\u003cp>“Slim’s had its day,” Scaggs \u003ca href=\"https://datebook.sfchronicle.com/music/slims-to-close-after-more-than-three-decades-at-heart-of-sfs-music-scene#\" target=\"_blank\" rel=\"noopener noreferrer\">told the \u003cem>San Francisco Chronicle\u003c/em>\u003c/a>, explaining that plans to close had been in the works since last year.\u003c/p>\n\u003cp>“It was a long-term decision based on things that had nothing to do with the current situation,” he added.\u003c/p>\n\u003cp>Slim’s opened in 1988 as a juke joint that focused on R&B, jazz and blues, and quickly became one of San Francisco’s most famous clubs with an ever-evolving repertoire of genres. Sun Ra, Pearl Jam, Green Day, Radiohead, Prince and Snoop Dogg were just some of the greats who performed there, and the mid-sized venue became known as an intimate setting where fans could catch touring acts and up-and-coming local bands alike.\u003c/p>\n\u003cp>An era ended at the club when longtime manager Dawn Holliday retired in 2017. In 2018, promotions giant Goldenvoice, which presents Coachella, \u003ca href=\"https://www.kqed.org/arts/13850185/slims-great-american-music-hall-workers-axed-as-goldenvoice-expands\" target=\"_blank\" rel=\"noopener noreferrer\">took control of booking\u003c/a> at Slim’s as well as at sister venue the Great American Music Hall, laying off some longtime staff.\u003c/p>\n\u003cp>Scaggs told the \u003cem>Chronicle\u003c/em> that the Great American Music Hall will remain open, where Slim’s staff will have jobs once the shelter-in-place order is lifted.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "5 Albums to Buy on Bandcamp When 100% of Sales Go To Artists on Friday",
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"content": "\u003cp>[aside postID='arts_13876893,arts_13876314' label='Read More']With tours canceled because of COVID-19, independent musicians are facing a sudden loss of income right now. That’s why it’s more important than ever for fans to show up for them to purchase their music and merch—or just donate directly.\u003c/p>\n\u003cp>Bandcamp, the streaming service and marketplace based in Oakland, is waiving its revenue share from midnight to midnight Pacific Daylight Time this Friday, March 20. So now is a good time to log on to support your favorite artists—and get new music in your library while you’re at it. If you’re feeling particularly generous, Bandcamp also offers the option of paying more than the asking price.\u003c/p>\n\u003cp>Below, KQED Arts & Culture staff rounded up five releases on our Bandcamp wish lists. We kept it short, and we hope you use our suggestions as a jumping-off point to browse Bandcamp’s treasure troves of independent music. \u003cem>—Nastia Voynovskaya, associate editor\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=983504168/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\u003cp>\u003cstrong>The Seshen, \u003cem>CYAN\u003c/em>\u003c/strong>\u003cbr>\nOn their new album, \u003cem>CYAN\u003c/em>, the Seshen’s refreshing, synth-driven pop conjures early-morning dew drops on flower petals, glittering waters and tropical forests after rain. There’s something uplifting and enchanting about the way singer Lalin St. Juste’s vocals dance around the band’s textured, playful synths and bouncy neo-soul instrumentation. The six-piece ensemble’s songwriting has always been ambitious, and on \u003cem>CYAN\u003c/em>, St. Juste and producer-bassist Aki Ehara hone in on their vision and center St. Juste’s autobiographical lyrics over a sleeker sound. In addition to digital download, \u003cem>CYAN\u003c/em> is available on CD and vinyl. \u003cem>—Nastia Voynovskaya, associate editor\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\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=2747173676/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\u003cp>\u003cstrong>Matt Robidoux, \u003cem>Brief Candles\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>On the last weekend before the cancellations, before the venues shuttered and gathering in a room to experience live music emerged as a threat to public health, I went to a show at Adobe Books in the Mission District of San Francisco. Nine musicians set up on the floor, with mismatched chairs and benches bringing observers within inches of the performers. There was brass and guitar, percussion and strings, and it was intimate enough to hear fingers meet frets. Leading the winsome baroque pop ensemble was Matt Robidoux, a San Francisco composer and improviser steeped in the experimental music community orbiting Mills College. That night at Adobe they were playing material from Robidoux’s latest album, \u003ci>Brief Candles\u003c/i>, which evokes the mix of pop and new music created by earlier Mills figures such as “Blue” Gene Tyranny. \u003cem>—Sam Lefebvre, reporter\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=2726433880/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\u003cp>\u003cstrong>Juanny Depp, \u003cem>Emergencia\u003c/em> and \u003cem>Golpe De Estado\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Reggaeton, dembow and club music live together in harmony at Amor Digital, the Bay Area dance party helmed by Juanny Depp, 99% Lean and Namaste Shawty. Over the past year, Amor Digital has become a platform for forward-thinking Latinx sounds, with DJs spinning tracks by the likes of Bad Bunny and El Alfa alongside house, footwork, techno and their own original production. Juanny Depp, who works at the San Francisco arts education nonprofit Youth Art Exchange by day, recently released two new projects: his \u003ci>Golpe De Estado\u003c/i> EP features a collection of high-energy perreo instrumentals to twerk to while self-isolating. Danceable with a tinge of melancholy, \u003ci>Golpe De Estado\u003c/i> thumps with hip-winding Caribbean rhythms and pulses with house beats enveloped in dreamy, downcast synths. And his new project, \u003ci>Emergencia\u003c/i> (out today), features remixes of tracks by Kamaiyah and Nicki Minaj. \u003cem>—Nastia Voynovskaya, associate editor\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=230220690/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\u003cp>\u003cstrong>William Parker, \u003cem>I Plan To Stay A Believer: The Inside Songs Of Curtis Mayfield\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>After the 2016 election, I listened to nothing but Curtis Mayfield for two weeks. Part political, part personal, Mayfield’s music was the perfect salve in that time of unease. Acknowledging turmoil, corruption and racism, and the effects they have on the individual, his songs also offer a beacon of hope, love and unity. Now, with another crisis on our hands, I’m glad to see a historic concert of Curtis Mayfield’s songs made available in this 2xLP vinyl reissue. Led by bassist William Parker, the group of New York jazz musicians approach songs like “If There’s a Hell Below” and “I Plan to Stay a Believer” with passion and grit. Poet and author Amiri Baraka provides a depth to the set, and the New Life Tabernacle choir elevates Mayfield’s signature song “People Get Ready” to celestial heights. If you’re looking to be transported away from the news in a non-\u003ca href=\"https://www.kqed.org/arts/13877066/imagine-and-all-the-other-ways-celebrities-are-making-lockdown-worse\" target=\"_blank\" rel=\"noopener noreferrer\">celebrities-singing-“Imagine”\u003c/a> way, this one will help. \u003cem>—Gabe Meline, senior editor\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=3296104478/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\u003cp>\u003cstrong>No Lovely Thing, \u003cem>She Be\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The band No Lovely Thing was set to perform at Oakland’s Starline Social Club this Saturday, but that event is no longer happening. Fortunately, their latest album, the 2019 release \u003cem>She Be\u003c/em>, is available for purchase on Bandcamp. It features tracks like “Grapevine,” where R&B meets rock, the slower sultry sounds of “Mangoes” and a track that one might describe as the bridge between gospel and funk, “I Can’t Breathe.” The band’s lead singer, East Oakland’s own Melissa Jones, is a vocalist and poet who, in addition to this band, also performs as a solo act. Even in the face of all that’s going on, she doesn’t plan on slowing down. In fact, next week, she’s planning on dropping a snippet of her latest work, as she’s recently teamed up with guitarist-producer \u003ca href=\"https://www.instagram.com/atmosound/\" target=\"_blank\" rel=\"noopener noreferrer\">Marcos Brooks\u003c/a> for a new duo, \u003ca href=\"https://www.instagram.com/freshfeelofficial/\" target=\"_blank\" rel=\"noopener noreferrer\">FreshFeel\u003c/a>. They’ll be debuting a song called “Colors” on March 27, and will release one track every last Friday of the month for the next five months. \u003cem>—Pendarvis Harshaw, columnist and host of \u003c/em>Rightnowish\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>With tours canceled because of COVID-19, independent musicians are facing a sudden loss of income right now. That’s why it’s more important than ever for fans to show up for them to purchase their music and merch—or just donate directly.\u003c/p>\n\u003cp>Bandcamp, the streaming service and marketplace based in Oakland, is waiving its revenue share from midnight to midnight Pacific Daylight Time this Friday, March 20. So now is a good time to log on to support your favorite artists—and get new music in your library while you’re at it. If you’re feeling particularly generous, Bandcamp also offers the option of paying more than the asking price.\u003c/p>\n\u003cp>Below, KQED Arts & Culture staff rounded up five releases on our Bandcamp wish lists. We kept it short, and we hope you use our suggestions as a jumping-off point to browse Bandcamp’s treasure troves of independent music. \u003cem>—Nastia Voynovskaya, associate editor\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=983504168/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\u003cp>\u003cstrong>The Seshen, \u003cem>CYAN\u003c/em>\u003c/strong>\u003cbr>\nOn their new album, \u003cem>CYAN\u003c/em>, the Seshen’s refreshing, synth-driven pop conjures early-morning dew drops on flower petals, glittering waters and tropical forests after rain. There’s something uplifting and enchanting about the way singer Lalin St. Juste’s vocals dance around the band’s textured, playful synths and bouncy neo-soul instrumentation. The six-piece ensemble’s songwriting has always been ambitious, and on \u003cem>CYAN\u003c/em>, St. Juste and producer-bassist Aki Ehara hone in on their vision and center St. Juste’s autobiographical lyrics over a sleeker sound. In addition to digital download, \u003cem>CYAN\u003c/em> is available on CD and vinyl. \u003cem>—Nastia Voynovskaya, associate editor\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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=2747173676/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\u003cp>\u003cstrong>Matt Robidoux, \u003cem>Brief Candles\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>On the last weekend before the cancellations, before the venues shuttered and gathering in a room to experience live music emerged as a threat to public health, I went to a show at Adobe Books in the Mission District of San Francisco. Nine musicians set up on the floor, with mismatched chairs and benches bringing observers within inches of the performers. There was brass and guitar, percussion and strings, and it was intimate enough to hear fingers meet frets. Leading the winsome baroque pop ensemble was Matt Robidoux, a San Francisco composer and improviser steeped in the experimental music community orbiting Mills College. That night at Adobe they were playing material from Robidoux’s latest album, \u003ci>Brief Candles\u003c/i>, which evokes the mix of pop and new music created by earlier Mills figures such as “Blue” Gene Tyranny. \u003cem>—Sam Lefebvre, reporter\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=2726433880/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\u003cp>\u003cstrong>Juanny Depp, \u003cem>Emergencia\u003c/em> and \u003cem>Golpe De Estado\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Reggaeton, dembow and club music live together in harmony at Amor Digital, the Bay Area dance party helmed by Juanny Depp, 99% Lean and Namaste Shawty. Over the past year, Amor Digital has become a platform for forward-thinking Latinx sounds, with DJs spinning tracks by the likes of Bad Bunny and El Alfa alongside house, footwork, techno and their own original production. Juanny Depp, who works at the San Francisco arts education nonprofit Youth Art Exchange by day, recently released two new projects: his \u003ci>Golpe De Estado\u003c/i> EP features a collection of high-energy perreo instrumentals to twerk to while self-isolating. Danceable with a tinge of melancholy, \u003ci>Golpe De Estado\u003c/i> thumps with hip-winding Caribbean rhythms and pulses with house beats enveloped in dreamy, downcast synths. And his new project, \u003ci>Emergencia\u003c/i> (out today), features remixes of tracks by Kamaiyah and Nicki Minaj. \u003cem>—Nastia Voynovskaya, associate editor\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=230220690/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\u003cp>\u003cstrong>William Parker, \u003cem>I Plan To Stay A Believer: The Inside Songs Of Curtis Mayfield\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>After the 2016 election, I listened to nothing but Curtis Mayfield for two weeks. Part political, part personal, Mayfield’s music was the perfect salve in that time of unease. Acknowledging turmoil, corruption and racism, and the effects they have on the individual, his songs also offer a beacon of hope, love and unity. Now, with another crisis on our hands, I’m glad to see a historic concert of Curtis Mayfield’s songs made available in this 2xLP vinyl reissue. Led by bassist William Parker, the group of New York jazz musicians approach songs like “If There’s a Hell Below” and “I Plan to Stay a Believer” with passion and grit. Poet and author Amiri Baraka provides a depth to the set, and the New Life Tabernacle choir elevates Mayfield’s signature song “People Get Ready” to celestial heights. If you’re looking to be transported away from the news in a non-\u003ca href=\"https://www.kqed.org/arts/13877066/imagine-and-all-the-other-ways-celebrities-are-making-lockdown-worse\" target=\"_blank\" rel=\"noopener noreferrer\">celebrities-singing-“Imagine”\u003c/a> way, this one will help. \u003cem>—Gabe Meline, senior editor\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=3296104478/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\u003cp>\u003cstrong>No Lovely Thing, \u003cem>She Be\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The band No Lovely Thing was set to perform at Oakland’s Starline Social Club this Saturday, but that event is no longer happening. Fortunately, their latest album, the 2019 release \u003cem>She Be\u003c/em>, is available for purchase on Bandcamp. It features tracks like “Grapevine,” where R&B meets rock, the slower sultry sounds of “Mangoes” and a track that one might describe as the bridge between gospel and funk, “I Can’t Breathe.” The band’s lead singer, East Oakland’s own Melissa Jones, is a vocalist and poet who, in addition to this band, also performs as a solo act. Even in the face of all that’s going on, she doesn’t plan on slowing down. In fact, next week, she’s planning on dropping a snippet of her latest work, as she’s recently teamed up with guitarist-producer \u003ca href=\"https://www.instagram.com/atmosound/\" target=\"_blank\" rel=\"noopener noreferrer\">Marcos Brooks\u003c/a> for a new duo, \u003ca href=\"https://www.instagram.com/freshfeelofficial/\" target=\"_blank\" rel=\"noopener noreferrer\">FreshFeel\u003c/a>. They’ll be debuting a song called “Colors” on March 27, and will release one track every last Friday of the month for the next five months. \u003cem>—Pendarvis Harshaw, columnist and host of \u003c/em>Rightnowish\u003c/p>\n\n\u003c/div>\u003c/p>",
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"id": "baycurious",
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"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
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},
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},
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"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"order": 8
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"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"order": 1
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
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"source": "Commonwealth Club of California"
},
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"title": "Forum",
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"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"order": 9
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"meta": {
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"source": "WNYC"
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"id": "fresh-air",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
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"source": "NPR"
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"how-i-built-this": {
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"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"hyphenacion": {
"id": "hyphenacion",
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"tagline": "Where conversation and cultura meet",
"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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"jerrybrown": {
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"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
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},
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"id": "latino-usa",
"title": "Latino USA",
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"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"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>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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