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"content": "\u003cfigure id=\"attachment_13846469\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13846469 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/Tune_Yards_t1000-800x800.jpg\" alt=\"\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Tune_Yards_t1000-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Tune_Yards_t1000-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Tune_Yards_t1000-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Tune_Yards_t1000-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Tune_Yards_t1000-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Tune_Yards_t1000-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Tune_Yards_t1000-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Tune_Yards_t1000-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Tune_Yards_t1000-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Tune_Yards_t1000.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003cfigcaption class=\"wp-caption-text\">Tune-Yards, ‘I Can Feel You Creep Into My Private Life’\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>We’re posting our favorite Bay Area albums of 2018 every weekday through Dec. 14. \u003ca href=\"https://www.kqed.org/arts/tag/best-bay-area-albums-2018\" target=\"_blank\" rel=\"noopener\">Check back here\u003c/a> to see who else made the list.\u003c/em>\u003c/p>\n\u003cp>\u003cem>I can feel you creep into my private life\u003c/em> can be an uncomfortable album, but it’s meant to feel that way.\u003c/p>\n\u003cp>On “Colonizer,” the fulcrum of Merrill Garbus’s fourth \u003ca href=\"http://tune-yards.com/\" target=\"_blank\" rel=\"noopener\">Tune-Yards\u003c/a> LP, an Afro–pop-inspired beat drops and the Oakland vocalist, producer and multi-instrumentalist sings: “I use my white woman’s voice to interpret my travels with African men / I turn on my white woman’s voice to contextualize acts of my white women friends / I cry my white woman tears carving grooves in my cheeks to display what I meant.”\u003c/p>\n\u003cp>Awkward, right? Garbus prods at the nuances of her existence in a world of white privilege, and it can come across as a bit cringey. But in a year where Oakland once again galvanized a national conversation about racial equality (and a white woman virally enshrined as “\u003ca href=\"https://www.kqed.org/arts/13832886/were-still-here-bbqn-while-black-draws-out-oaklanders-in-force\" target=\"_blank\" rel=\"noopener\">BBQ Becky\u003c/a>” was reduced to tears when she couldn’t grapple with her own racism), Garbus’ self-reflective lyrics navigate her role as a white Oakland resident with audacity and wit. [contextly_sidebar id=”sFYYEd4xmikhxc7KHkF5zcx6h9ILllcS”]\u003c/p>\n\u003cp>It’s been a busy year for Garbus, who also scored Boots Riley’s influential film, \u003cem>Sorry To Bother You\u003c/em>. Before beginning to write and produce \u003cem>I can feel you\u003c/em> with longtime collaborator Nate Brenner, she attended a six month program at the East Bay Meditation Center called “White and Awakening,” which proved to be a catalyst for the album’s cental theme.\u003c/p>\n\u003cp>“Now As Then,” predicated on a drum beat reminiscent of Aphex Twin, expresses a mentality that white people don’t want to admit: “I am exceptional / I am an exception / I am the exception.” “Honesty,” with its refrain of “Honesty, honesty gone / Do you really wanna know?” alludes to Garbus’ self-inquiry throughout the project.\u003c/p>\n\u003cp>https://youtu.be/3-7je-jsuC4\u003c/p>\n\u003cp>Garbus’ throaty delivery is at its absolute richest on “Hammer,” where congas, claps, bass and a pipe flute unfold into layers that sound like a backing chorus of Merrill Garbuses—the hallmark Tune-Yards sound. Album opener “Heart Attack”—which features drum programming from Chance The Rapper affiliates Nico Segal and Nate Fox—sees Garbus paying homage to Detroit house and disco that she gravitated towards as a DJ.\u003c/p>\n\u003cp>While much of contemporary American pop (and Tune-Yards’ discography, one could argue) has roots in traditionally black genres like funk, soul, house and rap, we seldom see white artists acknowledging their privilege or influences. \u003cem>I can feel you creep into my private life\u003c/em> doesn’t just feel like mere acknowledgement, however, but an homage to the music’s lineage.\u003c/p>\n\u003cp>We’re living in an insane time within our functionally racist society, when, en lieu of challenging racism within our families and selves, liberal whites try to “out-woke” each other at cocktail parties and on Twitter. Garbus, who’s never explored a concept and not totally gone for it, refreshingly tells it like it is, willingly (and effectively) at her own expense.\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/08eRmv5QDqzFkLR0B8DhoO\" width=\"300\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>[ad fullwidth]\u003cbr />\n[ad floatright]\u003c/p>\n",
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Before beginning to write and produce \u003cem>I can feel you\u003c/em> with longtime collaborator Nate Brenner, she attended a six month program at the East Bay Meditation Center called “White and Awakening,” which proved to be a catalyst for the album’s cental theme.\u003c/p>\n\u003cp>“Now As Then,” predicated on a drum beat reminiscent of Aphex Twin, expresses a mentality that white people don’t want to admit: “I am exceptional / I am an exception / I am the exception.” “Honesty,” with its refrain of “Honesty, honesty gone / Do you really wanna know?” alludes to Garbus’ self-inquiry throughout the project.\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/3-7je-jsuC4'\n title='//www.youtube.com/embed/3-7je-jsuC4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Garbus’ throaty delivery is at its absolute richest on “Hammer,” where congas, claps, bass and a pipe flute unfold into layers that sound like a backing chorus of Merrill Garbuses—the hallmark Tune-Yards sound. 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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\">I\u003c/span>s there still room to innovate within a century-old genre? It all depends on who you ask.\u003c/p>\n\u003cp>In one sense, jazz is far from the mainstream dance music it once was in the 1930s and ’40s at the height of its big band era. Popular tastes have moved on to hip-hop and electronic music, and to some, jazz carries connotations of high-brow, out-of-touch intellectualism.\u003c/p>\n\u003cp>But 101 years since the first jazz recording, the genre is very much alive. In fact, it’s experiencing a transformation before our eyes. Pay no mind to the “jazz is dead” crowd, or get caught up in the fanfare when \u003ca href=\"https://www.newyorker.com/culture/cultural-comment/the-intoxicating-promise-of-john-coltranes-lost-album\" target=\"_blank\" rel=\"noopener\">unheard material\u003c/a> from Miles Davis or John Coltrane finds the light of day. Those vintage releases preserve notions of what the music should still sound like, when in 2018, jazz’s youthful innovators mold the art form in their image, integrating contemporary influences while continuing the music’s storied history of \u003ca href=\"https://www.thoughtco.com/jazz-and-the-civil-rights-movement-2039542\" target=\"_blank\" rel=\"noopener\">activism\u003c/a> and experimentation.\u003c/p>\n\u003cp>As leading jazz critic Nate Chinen writes in his new book, \u003cem>Playing Changes: Jazz for the New Century:\u003c/em> “Instead of a push for definition and one prevailing style, we have boundless permutations without fixed parameters. That multiplicity lies precisely at the heart of the new aesthetic—and is the engine of its greatest promise.”\u003c/p>\n\u003cp>https://youtu.be/LdyabrdFMC8\u003c/p>\n\u003cp>[ad fullwidth]\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\">L\u003c/span>os Angeles saxophonist Kamasi Washington is arguably the most visible artist in jazz’s recent flirtation with the mainstream. A horn and string arranger on Kendrick Lamar’s landmark 2015 album \u003cem>To Pimp a Butterfly,\u003c/em> Washington had a hand in opening new ears to jazz the same year he released his ambitious triple-disc solo debut, \u003cem>The Epic\u003c/em>.\u003c/p>\n\u003cp>In 2018, Washington demonstrated his creativity and ambitiousness with his \u003ca href=\"https://pitchfork.com/reviews/albums/kamasi-washington-heaven-and-earth/\" target=\"_blank\" rel=\"noopener\">critically acclaimed\u003c/a> \u003cem>Heaven and Earth\u003c/em>. It’s surprising the album manages to feel accessible: tracks often stretch past eight minutes, with a dense tapestry that includes a full band, an orchestra and a choir. Funk and gospel elements serve as guideposts for listeners who may not be accustomed to sitting through two-plus hours of jazz. Lead single “Street Fighter Mas,” for instance, starts with a funky drum break, a fat bass line with a West Coast rap thump, jittery strings and spare piano chords that lead into a massive, soaring chorus. Washington’s sax speaks in bursts, anxious yet precise, keeping things interesting throughout.\u003c/p>\n\u003cp>Washington’s label associations help broaden his cross-over appeal, which enabled him to attract an enthusiastic audience this year during his sunset slot at pop-forward Coachella this year. \u003cem>The Epic\u003c/em> came out on Brainfeeder, a Los Angeles label run by psychedelic beatmaker Stephen Ellison, better known as Flying Lotus. (The great nephew of the Alice Coltrane, Ellison also has deep jazz roots.) While known for experimental electronic music with a hip-hop backbone, the label is also a platform for Los Angeles’ new jazz scene, with Washington, virtuoso bassist Thundercat and the late piano prodigy Austin Peralta as three of its stars.\u003c/p>\n\u003cp>Washington’s \u003cem>Heaven and Earth \u003c/em>came out on Young Turks, where he sits on a roster alongside celebrated indie rock duo The xx and experimental pop singer FKA Twigs. Thanks to these unconventional associations, Washington’s music has stayed on the radar of outlets that don’t usually \u003ca href=\"https://www.thefader.com/2018/06/25/kamasi-washington-heaven-and-earth-interview\">touch\u003c/a> \u003ca href=\"https://pitchfork.com/reviews/albums/kamasi-washington-heaven-and-earth/\" target=\"_blank\" rel=\"noopener\">jazz\u003c/a>, like The Fader.\u003c/p>\n\u003cp>“It’s rare for a jazz saxophonist to make headlines from Pitchfork to Billboard, but the range of his success sunk in crazy when FlyLo and Washington shared the bill of North Sea Jazz Festival in 2016,” Kat Bein said about Washington in a recent \u003cem>\u003ca href=\"https://www.billboard.com/articles/news/dance/8486087/flying-lotus-brainfeeder-x-interview\" target=\"_blank\" rel=\"noopener\">Billboard\u003c/a>\u003c/em> interview with Flying Lotus.\u003c/p>\n\u003cp>https://youtu.be/hxzA6CrDIWg\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\">W\u003c/span>ashington helped usher jazz into the Black Lives Matter era with his work on \u003cem>To Pimp a Butterfly\u003c/em>, and he’s not the only contemporary artist to invoke the genre’s history of civil rights activism in his work. Amid the Bay Area’s politically charged creative scene, Oakland composer Ambrose Akinmusire’s evocative, hip–hop-inflected 2018 album \u003cem>Origami Harvest\u003c/em> made a powerful statement about police brutality and racial injustice.\u003c/p>\n\u003cp>\u003cem>Origami Harvest \u003c/em>brings to mind the work of bassist and 2018-2019 SFJAZZ Resident Artistic Director Marcus Shelby, whose compositions meditate on key figures and moments in African-American history, including Dr. Martin Luther King, Jr., Harriet Tubman and the Port Chicago disaster of 1944. Akinmusire’s \u003cem>Origami Harvest\u003c/em> also shares kinship with fellow Berkeley High grad Samora Pinderhuges’ \u003ca href=\"https://www.youtube.com/watch?v=XQ9Es-7kGaU\" target=\"_blank\" rel=\"noopener\">\u003cem>Transformations Suite\u003c/em>\u003c/a>, a 2016 multi-disciplinary project that examines “the radical history of resistance within communities of the African diaspora.”\u003c/p>\n\u003cp>The opening track on \u003cem>Origami Harvest, \u003c/em>“a blooming bloodfruit in a hoodie,” shifts gears like a classical suite, with 13 minutes comprised of a handful of mini-movements. One can feel heartbreak in the dissonance between the chamber music and Bay Area rapper Kool A.D.’s gun shot ad libs and “gang gang” refrains, his words deft yet impressionistic. Akinmusire’s message comes into clear focus on “Free, White and 21,” where he reads the names of African-American men and women killed by law enforcement.\u003c/p>\n\u003cp>“One thing I never normally say in interviews is that sometimes, I imagine my name being read out lout with that list of names. I imagine someone else reading it and unfortunately, it is an easily conceivable image,” the composer shared in a recent interview with \u003ca href=\"https://qwest.tv/magazine/music-genre/jazz-en/2018/ambrose-akinmusire-it-is-hard-to-dismiss-abstraction/\" target=\"_blank\" rel=\"noopener\">Qwest TV\u003c/a>. “The train I ride a few times a week goes right past the place where Oscar Grant was killed. So it plays a very active role in my life.”\u003c/p>\n\u003cp>https://youtu.be/swcSU71gixw\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\">T\u003c/span>his year also saw the rise of Chicago drummer Makaya McCraven, whose latest album, \u003ca href=\"https://intlanthem.bandcamp.com/album/universal-beings\" target=\"_blank\" rel=\"noopener\">\u003cem>Universal Beings\u003c/em>\u003c/a>, finds him behind the kit with ensembles assembled in separate sessions in New York, Chicago, London and Los Angeles. The heartbeat of McCraven’s music feels different; it’s suffused with contemporary influences like hip-hop and house music, and crafted, like an electronic beat, with layers of refrains. Like Akinmusire and Washington, McCraven treats more mainstream genres as additional shades on his musical canvas.\u003c/p>\n\u003cp>It’s hard to say that this music swings. It grooves, or perhaps more fittingly, it knocks. In that sense, McCraven’s work can feel alien at times to what one might classically describe as jazz. There’s a meditative quality to \u003cem>Universal Beings\u003c/em>: with the drums as the centerpiece, there are slow-burning builds and melodic runs that often revisit a prescient phrase once its found, repeating the moment like a beat on loop.\u003c/p>\n\u003cp>\u003cem>Universal Beings\u003c/em> and other releases on the label International Anthem draw connections to Chicago’s longstanding tradition of pushing the boundaries of jazz, dating back to the work of the \u003ca href=\"https://en.wikipedia.org/wiki/Association_for_the_Advancement_of_Creative_Musicians\" target=\"_blank\" rel=\"noopener\">Association for the Advancement of Creative Musicians\u003c/a> (AACM) in the 1960s and its outgrowth, \u003ca href=\"https://youtu.be/OZV6FzLeWeo\" target=\"_blank\" rel=\"noopener\">Art Ensemble of Chicago\u003c/a>.\u003c/p>\n\u003cp>International Anthem’s 2017 releases, like \u003cem>Fly or Die \u003c/em>by trumpeter Jaimie Branch and the self-titled debut of Irreversible Entanglements, deliver a raw musical intensity that stands apart from the spotless, sanitized recordings often heard in contemporary jazz. Rather than using the form to showcase virtuosity, McCraven, Branch and Irreversible Entanglements shift the focus back to thoughtful group interplay.\u003c/p>\n\u003cp>https://youtu.be/VifRr_P30uU\u003c/p>\n\u003cp>Jazz has outlasted the likes of disco, rock’n’roll and new jack swing because it’s always been able to update its framework to accommodate the influences of its present-day exponents. In their own ways, Washington, Akinmusire and McCraven are all showing what jazz is capable of in 2018, revealing the staying power of one of America’s greatest cultural exports. Over 100 years from its inception, jazz is still a springboard for inventing new sounds and addressing the most pressing issues of our time.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“Jazz is such a malleable form that whenever you get different spheres of influence meeting it or attaching themselves to it, then it becomes something else,” said British saxophonist \u003ca href=\"https://youtu.be/NwCCfWiYk2s\" target=\"_blank\" rel=\"noopener\">Shabaka Hutchings\u003c/a>, a leading light in London’s jazz resurgence, in the short documentary \u003cem>We Out Here\u003c/em>. “You can see a branch of the tree spiral into another direction. It doesn’t negate the course the original branches are going in. It just means there’s some other perspectives.”\u003c/p>\n\n",
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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\">I\u003c/span>s there still room to innovate within a century-old genre? It all depends on who you ask.\u003c/p>\n\u003cp>In one sense, jazz is far from the mainstream dance music it once was in the 1930s and ’40s at the height of its big band era. Popular tastes have moved on to hip-hop and electronic music, and to some, jazz carries connotations of high-brow, out-of-touch intellectualism.\u003c/p>\n\u003cp>But 101 years since the first jazz recording, the genre is very much alive. In fact, it’s experiencing a transformation before our eyes. Pay no mind to the “jazz is dead” crowd, or get caught up in the fanfare when \u003ca href=\"https://www.newyorker.com/culture/cultural-comment/the-intoxicating-promise-of-john-coltranes-lost-album\" target=\"_blank\" rel=\"noopener\">unheard material\u003c/a> from Miles Davis or John Coltrane finds the light of day. Those vintage releases preserve notions of what the music should still sound like, when in 2018, jazz’s youthful innovators mold the art form in their image, integrating contemporary influences while continuing the music’s storied history of \u003ca href=\"https://www.thoughtco.com/jazz-and-the-civil-rights-movement-2039542\" target=\"_blank\" rel=\"noopener\">activism\u003c/a> and experimentation.\u003c/p>\n\u003cp>As leading jazz critic Nate Chinen writes in his new book, \u003cem>Playing Changes: Jazz for the New Century:\u003c/em> “Instead of a push for definition and one prevailing style, we have boundless permutations without fixed parameters. That multiplicity lies precisely at the heart of the new aesthetic—and is the engine of its greatest promise.”\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/LdyabrdFMC8'\n title='//www.youtube.com/embed/LdyabrdFMC8'\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>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">L\u003c/span>os Angeles saxophonist Kamasi Washington is arguably the most visible artist in jazz’s recent flirtation with the mainstream. A horn and string arranger on Kendrick Lamar’s landmark 2015 album \u003cem>To Pimp a Butterfly,\u003c/em> Washington had a hand in opening new ears to jazz the same year he released his ambitious triple-disc solo debut, \u003cem>The Epic\u003c/em>.\u003c/p>\n\u003cp>In 2018, Washington demonstrated his creativity and ambitiousness with his \u003ca href=\"https://pitchfork.com/reviews/albums/kamasi-washington-heaven-and-earth/\" target=\"_blank\" rel=\"noopener\">critically acclaimed\u003c/a> \u003cem>Heaven and Earth\u003c/em>. It’s surprising the album manages to feel accessible: tracks often stretch past eight minutes, with a dense tapestry that includes a full band, an orchestra and a choir. Funk and gospel elements serve as guideposts for listeners who may not be accustomed to sitting through two-plus hours of jazz. Lead single “Street Fighter Mas,” for instance, starts with a funky drum break, a fat bass line with a West Coast rap thump, jittery strings and spare piano chords that lead into a massive, soaring chorus. Washington’s sax speaks in bursts, anxious yet precise, keeping things interesting throughout.\u003c/p>\n\u003cp>Washington’s label associations help broaden his cross-over appeal, which enabled him to attract an enthusiastic audience this year during his sunset slot at pop-forward Coachella this year. \u003cem>The Epic\u003c/em> came out on Brainfeeder, a Los Angeles label run by psychedelic beatmaker Stephen Ellison, better known as Flying Lotus. (The great nephew of the Alice Coltrane, Ellison also has deep jazz roots.) While known for experimental electronic music with a hip-hop backbone, the label is also a platform for Los Angeles’ new jazz scene, with Washington, virtuoso bassist Thundercat and the late piano prodigy Austin Peralta as three of its stars.\u003c/p>\n\u003cp>Washington’s \u003cem>Heaven and Earth \u003c/em>came out on Young Turks, where he sits on a roster alongside celebrated indie rock duo The xx and experimental pop singer FKA Twigs. Thanks to these unconventional associations, Washington’s music has stayed on the radar of outlets that don’t usually \u003ca href=\"https://www.thefader.com/2018/06/25/kamasi-washington-heaven-and-earth-interview\">touch\u003c/a> \u003ca href=\"https://pitchfork.com/reviews/albums/kamasi-washington-heaven-and-earth/\" target=\"_blank\" rel=\"noopener\">jazz\u003c/a>, like The Fader.\u003c/p>\n\u003cp>“It’s rare for a jazz saxophonist to make headlines from Pitchfork to Billboard, but the range of his success sunk in crazy when FlyLo and Washington shared the bill of North Sea Jazz Festival in 2016,” Kat Bein said about Washington in a recent \u003cem>\u003ca href=\"https://www.billboard.com/articles/news/dance/8486087/flying-lotus-brainfeeder-x-interview\" target=\"_blank\" rel=\"noopener\">Billboard\u003c/a>\u003c/em> interview with Flying Lotus.\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/hxzA6CrDIWg'\n title='//www.youtube.com/embed/hxzA6CrDIWg'\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\">W\u003c/span>ashington helped usher jazz into the Black Lives Matter era with his work on \u003cem>To Pimp a Butterfly\u003c/em>, and he’s not the only contemporary artist to invoke the genre’s history of civil rights activism in his work. Amid the Bay Area’s politically charged creative scene, Oakland composer Ambrose Akinmusire’s evocative, hip–hop-inflected 2018 album \u003cem>Origami Harvest\u003c/em> made a powerful statement about police brutality and racial injustice.\u003c/p>\n\u003cp>\u003cem>Origami Harvest \u003c/em>brings to mind the work of bassist and 2018-2019 SFJAZZ Resident Artistic Director Marcus Shelby, whose compositions meditate on key figures and moments in African-American history, including Dr. Martin Luther King, Jr., Harriet Tubman and the Port Chicago disaster of 1944. Akinmusire’s \u003cem>Origami Harvest\u003c/em> also shares kinship with fellow Berkeley High grad Samora Pinderhuges’ \u003ca href=\"https://www.youtube.com/watch?v=XQ9Es-7kGaU\" target=\"_blank\" rel=\"noopener\">\u003cem>Transformations Suite\u003c/em>\u003c/a>, a 2016 multi-disciplinary project that examines “the radical history of resistance within communities of the African diaspora.”\u003c/p>\n\u003cp>The opening track on \u003cem>Origami Harvest, \u003c/em>“a blooming bloodfruit in a hoodie,” shifts gears like a classical suite, with 13 minutes comprised of a handful of mini-movements. One can feel heartbreak in the dissonance between the chamber music and Bay Area rapper Kool A.D.’s gun shot ad libs and “gang gang” refrains, his words deft yet impressionistic. Akinmusire’s message comes into clear focus on “Free, White and 21,” where he reads the names of African-American men and women killed by law enforcement.\u003c/p>\n\u003cp>“One thing I never normally say in interviews is that sometimes, I imagine my name being read out lout with that list of names. I imagine someone else reading it and unfortunately, it is an easily conceivable image,” the composer shared in a recent interview with \u003ca href=\"https://qwest.tv/magazine/music-genre/jazz-en/2018/ambrose-akinmusire-it-is-hard-to-dismiss-abstraction/\" target=\"_blank\" rel=\"noopener\">Qwest TV\u003c/a>. “The train I ride a few times a week goes right past the place where Oscar Grant was killed. So it plays a very active role in my life.”\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/swcSU71gixw'\n title='//www.youtube.com/embed/swcSU71gixw'\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\">T\u003c/span>his year also saw the rise of Chicago drummer Makaya McCraven, whose latest album, \u003ca href=\"https://intlanthem.bandcamp.com/album/universal-beings\" target=\"_blank\" rel=\"noopener\">\u003cem>Universal Beings\u003c/em>\u003c/a>, finds him behind the kit with ensembles assembled in separate sessions in New York, Chicago, London and Los Angeles. The heartbeat of McCraven’s music feels different; it’s suffused with contemporary influences like hip-hop and house music, and crafted, like an electronic beat, with layers of refrains. Like Akinmusire and Washington, McCraven treats more mainstream genres as additional shades on his musical canvas.\u003c/p>\n\u003cp>It’s hard to say that this music swings. It grooves, or perhaps more fittingly, it knocks. In that sense, McCraven’s work can feel alien at times to what one might classically describe as jazz. There’s a meditative quality to \u003cem>Universal Beings\u003c/em>: with the drums as the centerpiece, there are slow-burning builds and melodic runs that often revisit a prescient phrase once its found, repeating the moment like a beat on loop.\u003c/p>\n\u003cp>\u003cem>Universal Beings\u003c/em> and other releases on the label International Anthem draw connections to Chicago’s longstanding tradition of pushing the boundaries of jazz, dating back to the work of the \u003ca href=\"https://en.wikipedia.org/wiki/Association_for_the_Advancement_of_Creative_Musicians\" target=\"_blank\" rel=\"noopener\">Association for the Advancement of Creative Musicians\u003c/a> (AACM) in the 1960s and its outgrowth, \u003ca href=\"https://youtu.be/OZV6FzLeWeo\" target=\"_blank\" rel=\"noopener\">Art Ensemble of Chicago\u003c/a>.\u003c/p>\n\u003cp>International Anthem’s 2017 releases, like \u003cem>Fly or Die \u003c/em>by trumpeter Jaimie Branch and the self-titled debut of Irreversible Entanglements, deliver a raw musical intensity that stands apart from the spotless, sanitized recordings often heard in contemporary jazz. Rather than using the form to showcase virtuosity, McCraven, Branch and Irreversible Entanglements shift the focus back to thoughtful group interplay.\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/VifRr_P30uU'\n title='//www.youtube.com/embed/VifRr_P30uU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Jazz has outlasted the likes of disco, rock’n’roll and new jack swing because it’s always been able to update its framework to accommodate the influences of its present-day exponents. In their own ways, Washington, Akinmusire and McCraven are all showing what jazz is capable of in 2018, revealing the staying power of one of America’s greatest cultural exports. Over 100 years from its inception, jazz is still a springboard for inventing new sounds and addressing the most pressing issues of our time.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Jazz is such a malleable form that whenever you get different spheres of influence meeting it or attaching themselves to it, then it becomes something else,” said British saxophonist \u003ca href=\"https://youtu.be/NwCCfWiYk2s\" target=\"_blank\" rel=\"noopener\">Shabaka Hutchings\u003c/a>, a leading light in London’s jazz resurgence, in the short documentary \u003cem>We Out Here\u003c/em>. “You can see a branch of the tree spiral into another direction. It doesn’t negate the course the original branches are going in. It just means there’s some other perspectives.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "the-10-best-bay-area-albums-of-2018-voicehandler-light-from-another-light",
"title": "The 10 Best Bay Area Albums of 2018: Voicehandler, 'light from another light'",
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"headTitle": "The 10 Best Bay Area Albums of 2018: Voicehandler, ‘light from another light’ | KQED",
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"content": "\u003cfigure id=\"attachment_13846437\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13846437\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/voicehandler-800x800.jpg\" alt=\"Voicehandler, 'light from another light.'\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/voicehandler-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/voicehandler-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/voicehandler-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/voicehandler-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/voicehandler-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/voicehandler-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/voicehandler-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/voicehandler-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/voicehandler-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/voicehandler-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/voicehandler.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003cfigcaption class=\"wp-caption-text\">Voicehandler, ‘light from another light.’\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>We’re posting our favorite Bay Area albums of 2018 every weekday through Dec. 14. \u003ca href=\"https://www.kqed.org/arts/tag/best-bay-area-albums-2018\" target=\"_blank\" rel=\"noopener\">Check here\u003c/a> to see who else made the list.\u003c/em>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">A wealth of improvised music appeared from Bay Area experimentalists in 2018, often featuring electronic and acoustic instruments nestled together. Zachary Watkins and Marshall Trammell released their final project as Black Spirituals, and \u003ca href=\"https://www.kqed.org/arts/13844696/improviser-bill-orcutts-brace-up-marks-an-incredible-second-act\" target=\"_blank\" rel=\"noopener\">Bill Orcutt\u003c/a> partnered with Chris Corsano on the combustible \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Brace Up! \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">And among the local free music scene’s most inspired dispatches is \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">light from another light \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">(Humbler Records)\u003c/span>\u003cspan style=\"font-weight: 400\">, Danishta Rivero and Jacob Heule’s second full-length as \u003ca href=\"https://humbler.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Voicehandler\u003c/a>.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The two are fixtures in Oakland’s experimental set: Rivero, working with voice and modular electronics, is also one half of left-field reggaet\u003c/span>\u003cspan style=\"font-weight: 400\">ó\u003c/span>\u003cspan style=\"font-weight: 400\">n duo\u003c/span>\u003cspan style=\"font-weight: 400\"> Las Sucias, while Heule is an active show booker and serially collaborating percussionist. As Voicehandler, who last released \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Song Cycle \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">in 2015, Rivero and Heule have a sensitive, painterly rapport and a seemingly bottomless supply of technique and expressive ingenuity. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Light from another light\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> collects loose improvisations, free of easily discernible motifs but suffused with enchantment and otherworldly allure.\u003c/span>\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=935253021/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" 0=\"seamless\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Absent of blustery chaos, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">light from another light \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">feels at once free and focused. The album features three pieces, each recorded a week apart last summer. They’re strikingly divergent from one another in terms of tone and intensity: opener “June 8” is feverishly abuzz with manic scatting; “June 1” builds up a meditative drone with an air of suspense; closer “May 25″ is at first halting and spare, rendering Heule’s percussion with painstaking clarity. [contextly_sidebar id=”sS8gh6XyfkSTixt0FTvIsqE5Ukz1e0l2”]\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The album starts at its busiest point, with a rush of pinball percussion and spiraling cries, but upon repeat listens its softest and steadiest passages emerge as the most captivating: hushed breath and brushwork near the end of “May 25,” for instance, or the buzz-roll bobbing in static on “June 1.” Heule is a bravura drummer with a surgical sense for accents, stressing beats you forgot existed with timbres that might never reappear, but the music isn’t cluttered. Nor is it totally austere; in a quiet moment, Rivero playfully mimics the sound of a broken speaker. [contextly_sidebar id=”09EDgHNEZkYZmakOKRah3Lcd53y93tis”]\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The abstract album cover, a chemically distorted photograph by Brittany Nelson, looks organic but alien. The picture rhymes with the music: Nelson’s image is fibrous from afar and scratchy up close, just as Rivero’s fricative rasp morphs between mesh and daggers. Yet Voicehandler’s music, if it was represented on a canvas, would involve more negative space; Heule and Rivero seize every chance to make the void sing.\u003c/span>\u003cbr />\n[ad fullwidth]\u003cbr />\n[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13846437\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13846437\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/voicehandler-800x800.jpg\" alt=\"Voicehandler, 'light from another light.'\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/voicehandler-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/voicehandler-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/voicehandler-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/voicehandler-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/voicehandler-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/voicehandler-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/voicehandler-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/voicehandler-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/voicehandler-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/voicehandler-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/voicehandler.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003cfigcaption class=\"wp-caption-text\">Voicehandler, ‘light from another light.’\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>We’re posting our favorite Bay Area albums of 2018 every weekday through Dec. 14. \u003ca href=\"https://www.kqed.org/arts/tag/best-bay-area-albums-2018\" target=\"_blank\" rel=\"noopener\">Check here\u003c/a> to see who else made the list.\u003c/em>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">A wealth of improvised music appeared from Bay Area experimentalists in 2018, often featuring electronic and acoustic instruments nestled together. Zachary Watkins and Marshall Trammell released their final project as Black Spirituals, and \u003ca href=\"https://www.kqed.org/arts/13844696/improviser-bill-orcutts-brace-up-marks-an-incredible-second-act\" target=\"_blank\" rel=\"noopener\">Bill Orcutt\u003c/a> partnered with Chris Corsano on the combustible \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Brace Up! \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">And among the local free music scene’s most inspired dispatches is \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">light from another light \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">(Humbler Records)\u003c/span>\u003cspan style=\"font-weight: 400\">, Danishta Rivero and Jacob Heule’s second full-length as \u003ca href=\"https://humbler.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Voicehandler\u003c/a>.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The two are fixtures in Oakland’s experimental set: Rivero, working with voice and modular electronics, is also one half of left-field reggaet\u003c/span>\u003cspan style=\"font-weight: 400\">ó\u003c/span>\u003cspan style=\"font-weight: 400\">n duo\u003c/span>\u003cspan style=\"font-weight: 400\"> Las Sucias, while Heule is an active show booker and serially collaborating percussionist. As Voicehandler, who last released \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Song Cycle \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">in 2015, Rivero and Heule have a sensitive, painterly rapport and a seemingly bottomless supply of technique and expressive ingenuity. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Light from another light\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> collects loose improvisations, free of easily discernible motifs but suffused with enchantment and otherworldly allure.\u003c/span>\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=935253021/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" 0=\"seamless\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Absent of blustery chaos, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">light from another light \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">feels at once free and focused. The album features three pieces, each recorded a week apart last summer. They’re strikingly divergent from one another in terms of tone and intensity: opener “June 8” is feverishly abuzz with manic scatting; “June 1” builds up a meditative drone with an air of suspense; closer “May 25″ is at first halting and spare, rendering Heule’s percussion with painstaking clarity. \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The album starts at its busiest point, with a rush of pinball percussion and spiraling cries, but upon repeat listens its softest and steadiest passages emerge as the most captivating: hushed breath and brushwork near the end of “May 25,” for instance, or the buzz-roll bobbing in static on “June 1.” Heule is a bravura drummer with a surgical sense for accents, stressing beats you forgot existed with timbres that might never reappear, but the music isn’t cluttered. 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"title": "Esa-Pekka Salonen Appointed Music Director at SF Symphony",
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"content": "\u003cp>The \u003ca href=\"https://www.sfsymphony.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Symphony\u003c/a> announced the appointment of Esa-Pekka Salonen as its new music director on Wednesday.\u003c/p>\n\u003cp>The lauded, 60-year-old Finnish conductor and composer previously served as the music director of the Los Angeles Philharmonic. He quit in 2009 to focus on composing and a less demanding conducting position with the Philharmonia Orchestra in London, where he will conclude his tenure in 2021.\u003c/p>\n\u003cp>In an interview with KQED at Davies Symphony Hall an hour after signing his new five-year contract, Salonen said the timing of the offer couldn’t have been better.\u003c/p>\n\u003cp>\u003cb>\u003c/b>\u003cem>“\u003c/em>I had got to a point in my life professionally where I felt that I could take on one more big thing,” Salonen said. “And I had in any case decided to step down in London in the near future. When the conversation with the San Francisco Symphony started last August, I thought the timing is perfect. The organization is perfect. The city is perfect. Everything makes sense.”\u003c/p>\n\u003cp>When he ceded the directorship of the Los Angeles Philharmonic to Venezuelan conductor Gustavo Dudamel, Salonen indicated he had no interest in another year-round music director job, so his appointment in San Francisco comes as a surprise to many.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“This is surprising in a very amazing and beautiful way,” said Jessica Bejarano, the director and conductor of the San Francisco Civic Symphony. “As far as I understood it, he retired from the L.A. Phil to focus on composition. I never thought he would return back to the podium as director. Great things are on the horizon for us.”\u003c/p>\n\u003cp>“Oh, really!” exclaimed Chris Lorway, executive director of Stanford Live, the arts presenter at Stanford. He then chuckled, “That’s exciting news.”\u003c/p>\n\u003cp>Lorway said Stanford Live, Cal Performances and the Salonen-led Philharmonia Orchestra collaborated on \u003ca href=\"https://live.stanford.edu/calendar/march-2019/philharmonia-orchestra-london\" target=\"_blank\" rel=\"noopener\">\u003cem>Dreamers\u003c/em>\u003c/a>, a project focused on young, undocumented immigrants. The piece debuts next March at UC Berkeley and Stanford.\u003c/p>\n\u003cp>\u003cem>The New York Times\u003c/em> described Salonen as a tech-forward conductor, referring to him as a “disruptor.” Indeed, he worked with the London Philharmonia Orchestra on an app, virtual reality projects and immersive installations. The \u003cem>Times\u003c/em> \u003ca href=\"https://www.nytimes.com/2018/12/05/arts/music/san-francisco-symphony-esa-pekka-salonen.html\" target=\"_blank\" rel=\"noopener\">reported\u003c/a> that one of the first meetings Salonen took in preparation for his new position was with roboticist Carol Reiley, whom he invited to serve as a collaborative partner for the symphony.\u003c/p>\n\u003cp>Yet Salonen’s appointment comes at a time when many corners of the arts community are chafing against the hiring of non-diverse leaders at major cultural institutions around the United States. A recent local example is the appointment of Thomas Campbell at the Fine Arts Museums of San Francisco. Campbell is an older, white man. So is Salonen.\u003c/p>\n\u003cp>\u003cb>\u003c/b>Lorway said the issue of diversity in the classical music world is an age-old question and a major challenge. “It’s an issue which has to be grappled with it systemically,” Lorway said. “And I don’t know how you seed the pipeline in a way that results in changes the immediate future.”\u003c/p>\n\u003cp>“Who would the diverse choice be?” said Michael Morgan, the music director and conductor of the Oakland Symphony, and one of a small number of black conductors leading symphony orchestras in this country today.\u003c/p>\n\u003cp>Morgan applauded the San Francisco Symphony for its choice. “It’s kind of ideal for a major orchestra right now \u003cb>\u003c/b>to have someone who’s an actual adult but has a youthful energy and spirit,” Morgan said. “This is a big thing with me: hiring conductors that are not too young, because it just takes so long to get to be any good at this.”\u003c/p>\n\u003cp>Morgan sees maturity as a more important consideration than ethnic background when it comes to the hiring of music directors.\u003c/p>\n\u003cp>“You don’t necessarily have to have diversity in the music director if you program with a diversity of approaches and outlooks in mind,” Morgan said. “The real test will be to see who shows up as guest conductors and composers and soloists at the San Francisco Symphony in the coming years.”\u003c/p>\n\u003cp>Lorway said he sees young conductors of diverse backgrounds starting to take up positions in orchestras around the world. “But I think for some of the major orchestras, especially in this country, I can see where there might be an inclination to go with the safer choice in some of these situations\u003ci>.\u003c/i>”\u003c/p>\n\u003cp>Bejarano said it would have been amazing to see a woman such as Finnish conductor Susanna Malkki get the job. But she said Salonen is a “legend” and the right choice for San Francisco right now.\u003c/p>\n\u003cp>She takes the long view when it comes to diversifying orchestra leadership. “It doesn’t mean that this is going to be the standard for the rest of of history,” Bejarano said. “Minority conductors have to continue to push forward and never ever give up. Change in this situation is slow and gradual, and we just have to patient with the process. But it will change.”\u003c/p>\n\u003cp>Salonen himself acknowledges the challenges.\u003c/p>\n\u003cp>“I’m fully aware of the fact that I’m an old, white guy who deals with an art form that has deep European roots and is essentially something that was imported to this country 150 years ago,” said Salonen. “So I’m fully invested in trying to widen the horizon of this organization, not only in terms of reaching out to segments of the audience that that haven’t been coming to the concerts frequently, but also trying to develop the actual artistic content of the orchestra and the institution in such a way that the community would feel that the orchestra is doing something more relevant in their lives.”\u003c/p>\n\u003cp>Salonen and the San Francisco Symphony are bringing in eight collaborative partners from a variety of cultural disciplines to help address outreach and diversity in the organization’s programming. The group includes pianist, film producer, and composer Nicholas Britell; singer Julia Bullock, flutist and educator Claire Chase, composer and guitarist for the rock band The National Bryce Dessner, Finnish violinist Pekka Kuusisto, composer Nico Muhly, tech entrepreneur and scientist Carol Reiley, and bassist and vocalist Esperanza Spalding.\u003c/p>\n\u003cp>\u003cb>\u003c/b>\u003cem>“\u003c/em>I have this team of young artists who will be helping me not only in shaping the programs and the content of the symphony, but also to help me in finding ways to connect with the community,” Salonen said.\u003c/p>\n\u003cp>Current music director Michael Tilson Thomas will hand over the baton to Salonen in September 2020, when he will begin an initial five-year contract. Starting immediately, Salonen steps in as music director designate, leading the orchestra in a January 2019 program that includes Icelandic composer Anna Thorvaldsdottir’s \u003cem>Metacosmos\u003c/em>, R. Strauss’ \u003cem>Also Sprach Zarathustra\u003c/em> and Sibelius’ \u003cem>Four Legends from the Kalevala\u003c/em>.\u003c/p>\n\u003cp>In 2020, Salonen will conduct the San Francisco Symphony for six subscription weeks and a tour of Asia. Starting in 2021, he will lead the orchestra for 12–14 weeks each season.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The \u003ca href=\"https://www.sfsymphony.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Symphony\u003c/a> announced the appointment of Esa-Pekka Salonen as its new music director on Wednesday.\u003c/p>\n\u003cp>The lauded, 60-year-old Finnish conductor and composer previously served as the music director of the Los Angeles Philharmonic. He quit in 2009 to focus on composing and a less demanding conducting position with the Philharmonia Orchestra in London, where he will conclude his tenure in 2021.\u003c/p>\n\u003cp>In an interview with KQED at Davies Symphony Hall an hour after signing his new five-year contract, Salonen said the timing of the offer couldn’t have been better.\u003c/p>\n\u003cp>\u003cb>\u003c/b>\u003cem>“\u003c/em>I had got to a point in my life professionally where I felt that I could take on one more big thing,” Salonen said. “And I had in any case decided to step down in London in the near future. When the conversation with the San Francisco Symphony started last August, I thought the timing is perfect. The organization is perfect. The city is perfect. Everything makes sense.”\u003c/p>\n\u003cp>When he ceded the directorship of the Los Angeles Philharmonic to Venezuelan conductor Gustavo Dudamel, Salonen indicated he had no interest in another year-round music director job, so his appointment in San Francisco comes as a surprise to many.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“This is surprising in a very amazing and beautiful way,” said Jessica Bejarano, the director and conductor of the San Francisco Civic Symphony. “As far as I understood it, he retired from the L.A. Phil to focus on composition. I never thought he would return back to the podium as director. Great things are on the horizon for us.”\u003c/p>\n\u003cp>“Oh, really!” exclaimed Chris Lorway, executive director of Stanford Live, the arts presenter at Stanford. He then chuckled, “That’s exciting news.”\u003c/p>\n\u003cp>Lorway said Stanford Live, Cal Performances and the Salonen-led Philharmonia Orchestra collaborated on \u003ca href=\"https://live.stanford.edu/calendar/march-2019/philharmonia-orchestra-london\" target=\"_blank\" rel=\"noopener\">\u003cem>Dreamers\u003c/em>\u003c/a>, a project focused on young, undocumented immigrants. The piece debuts next March at UC Berkeley and Stanford.\u003c/p>\n\u003cp>\u003cem>The New York Times\u003c/em> described Salonen as a tech-forward conductor, referring to him as a “disruptor.” Indeed, he worked with the London Philharmonia Orchestra on an app, virtual reality projects and immersive installations. The \u003cem>Times\u003c/em> \u003ca href=\"https://www.nytimes.com/2018/12/05/arts/music/san-francisco-symphony-esa-pekka-salonen.html\" target=\"_blank\" rel=\"noopener\">reported\u003c/a> that one of the first meetings Salonen took in preparation for his new position was with roboticist Carol Reiley, whom he invited to serve as a collaborative partner for the symphony.\u003c/p>\n\u003cp>Yet Salonen’s appointment comes at a time when many corners of the arts community are chafing against the hiring of non-diverse leaders at major cultural institutions around the United States. A recent local example is the appointment of Thomas Campbell at the Fine Arts Museums of San Francisco. Campbell is an older, white man. So is Salonen.\u003c/p>\n\u003cp>\u003cb>\u003c/b>Lorway said the issue of diversity in the classical music world is an age-old question and a major challenge. “It’s an issue which has to be grappled with it systemically,” Lorway said. “And I don’t know how you seed the pipeline in a way that results in changes the immediate future.”\u003c/p>\n\u003cp>“Who would the diverse choice be?” said Michael Morgan, the music director and conductor of the Oakland Symphony, and one of a small number of black conductors leading symphony orchestras in this country today.\u003c/p>\n\u003cp>Morgan applauded the San Francisco Symphony for its choice. “It’s kind of ideal for a major orchestra right now \u003cb>\u003c/b>to have someone who’s an actual adult but has a youthful energy and spirit,” Morgan said. “This is a big thing with me: hiring conductors that are not too young, because it just takes so long to get to be any good at this.”\u003c/p>\n\u003cp>Morgan sees maturity as a more important consideration than ethnic background when it comes to the hiring of music directors.\u003c/p>\n\u003cp>“You don’t necessarily have to have diversity in the music director if you program with a diversity of approaches and outlooks in mind,” Morgan said. “The real test will be to see who shows up as guest conductors and composers and soloists at the San Francisco Symphony in the coming years.”\u003c/p>\n\u003cp>Lorway said he sees young conductors of diverse backgrounds starting to take up positions in orchestras around the world. “But I think for some of the major orchestras, especially in this country, I can see where there might be an inclination to go with the safer choice in some of these situations\u003ci>.\u003c/i>”\u003c/p>\n\u003cp>Bejarano said it would have been amazing to see a woman such as Finnish conductor Susanna Malkki get the job. But she said Salonen is a “legend” and the right choice for San Francisco right now.\u003c/p>\n\u003cp>She takes the long view when it comes to diversifying orchestra leadership. “It doesn’t mean that this is going to be the standard for the rest of of history,” Bejarano said. “Minority conductors have to continue to push forward and never ever give up. Change in this situation is slow and gradual, and we just have to patient with the process. But it will change.”\u003c/p>\n\u003cp>Salonen himself acknowledges the challenges.\u003c/p>\n\u003cp>“I’m fully aware of the fact that I’m an old, white guy who deals with an art form that has deep European roots and is essentially something that was imported to this country 150 years ago,” said Salonen. “So I’m fully invested in trying to widen the horizon of this organization, not only in terms of reaching out to segments of the audience that that haven’t been coming to the concerts frequently, but also trying to develop the actual artistic content of the orchestra and the institution in such a way that the community would feel that the orchestra is doing something more relevant in their lives.”\u003c/p>\n\u003cp>Salonen and the San Francisco Symphony are bringing in eight collaborative partners from a variety of cultural disciplines to help address outreach and diversity in the organization’s programming. The group includes pianist, film producer, and composer Nicholas Britell; singer Julia Bullock, flutist and educator Claire Chase, composer and guitarist for the rock band The National Bryce Dessner, Finnish violinist Pekka Kuusisto, composer Nico Muhly, tech entrepreneur and scientist Carol Reiley, and bassist and vocalist Esperanza Spalding.\u003c/p>\n\u003cp>\u003cb>\u003c/b>\u003cem>“\u003c/em>I have this team of young artists who will be helping me not only in shaping the programs and the content of the symphony, but also to help me in finding ways to connect with the community,” Salonen said.\u003c/p>\n\u003cp>Current music director Michael Tilson Thomas will hand over the baton to Salonen in September 2020, when he will begin an initial five-year contract. Starting immediately, Salonen steps in as music director designate, leading the orchestra in a January 2019 program that includes Icelandic composer Anna Thorvaldsdottir’s \u003cem>Metacosmos\u003c/em>, R. Strauss’ \u003cem>Also Sprach Zarathustra\u003c/em> and Sibelius’ \u003cem>Four Legends from the Kalevala\u003c/em>.\u003c/p>\n\u003cp>In 2020, Salonen will conduct the San Francisco Symphony for six subscription weeks and a tour of Asia. Starting in 2021, he will lead the orchestra for 12–14 weeks each season.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "It's a Weird, Wonderful 'Life' at SF Opera",
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"content": "\u003cp>\u003cem>It’s A Wonderful Life\u003c/em> at SF Opera is the sort of thing you recommend to your more experimental-minded friends. The ones who are willing to try any strange idea, just to see how it turns out. The ones who order a Mission-style burrito in Massachusetts, just to see what Massachusetts does with the concept of a burrito. The ones who watch Gus Van Sant’s shot-for-shot remake of \u003cem>Psycho\u003c/em>, just to see what Gus Van Sant does with the concept of \u003cem>Psycho\u003c/em>. \u003c/p>\n\u003cp>\u003cem>It’s a Wonderful Life\u003c/em> at SF Opera is for these people, who have two more chances to see what the opera does with a concept as beloved, well-worn, and seared into American consciousness as \u003cem>It’s a Wonderful Life\u003c/em>. I’ll give you a hint: it involves George Bailey standing over choppy waters, contemplating suicide, despondently singing, “Even the lasso around the moon has become a noose.”\u003c/p>\n\u003cfigure id=\"attachment_13846387\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/WonderfulLife.Set_-800x533.jpg\" alt=\"(L–R) Andriana Chuchman as Mary and William Burden as George in 'It's a Wonderful Life' at SF Opera.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13846387\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/WonderfulLife.Set_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/WonderfulLife.Set_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/WonderfulLife.Set_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/WonderfulLife.Set_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/WonderfulLife.Set_-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/WonderfulLife.Set_.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Andriana Chuchman as Mary and William Burden as George in ‘It’s a Wonderful Life’ at SF Opera. \u003ccite>(Cory Weaver / SF Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In other words, this retelling of the classic Christmas story is heavy on drama and light on humor. Part of this fact is just, well, opera. You can’t evoke the fun spontaneity of dozens of teenagers jumping into a swimming pool at a dance when each of them is laboriously narrating their inner thoughts. The exclamation “Hot dog!” is much less joyful when sung in rich baritone. Even the battles with Mr. Potter had some wit to them in the film; in the opera, a chorus of angels sings blithely: “Once again, dreams of travel denied! / Together they fight Potter side by side!” \u003c/p>\n\u003cp>All of this is far more fascinating than disappointing, and forces the viewer inside the heads of Jake Heggie and Gene Scheer, who had the unenviable task of adapting a widely watched classic film for the opera stage. Why did they eliminate the character of Violet? Why did they decide, in George’s reverie, that Mary simply “went away to college” and never came back, instead of becoming the town librarian? Why did they incorporate a recurring dance, the Me-kee Me-kee, in place of “Buffalo Gals”?\u003c/p>\n\u003cfigure id=\"attachment_13846385\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/WonderfulLife.Angel_-800x533.jpg\" alt=\"Golda Schultz as Clara (center) with Sarah Cambidge, Amitai Pati, Christian Pursell and Ashley Dixon as Angels First Class in 'It's a Wonderful Life' at SF Opera.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13846385\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/WonderfulLife.Angel_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/WonderfulLife.Angel_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/WonderfulLife.Angel_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/WonderfulLife.Angel_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/WonderfulLife.Angel_-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/WonderfulLife.Angel_.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Golda Schultz as Clara (center) with Sarah Cambidge, Amitai Pati, Christian Pursell and Ashley Dixon as Angels First Class in ‘It’s a Wonderful Life’ at SF Opera. \u003ccite>(Cory Weaver / SF Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The cast does well with the material; Golda Schultz as the angel Clara, Andriana Chuchman as Mary and William Burden as George Bailey fill the lead roles strongly—and, where there’s room, bring out the annual warm feelings the movie evokes. The scene with the most emotional resonance, oddly, is the run on the Savings and Loan after the Stock Market Crash, when George negotiates desperately with customers who want their money. (Coincidentally, it’s the scene where the libretto hews closest to the film’s dialogue.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>By the show’s end, after the townsfolk arrive in the Bailey living room to save the day and to drive home the point, in operatic chorus, that “No one is a failure who has friends,” a strange sort of appreciation for the offbeat sets in, like \u003ca href=\"https://www.womansday.com/food-recipes/food-drinks/a2176/10-unusual-eggnog-flavored-foods-114050/\" rel=\"noopener\" target=\"_blank\">egg nog-flavored bubble gum\u003c/a>. \u003cem>The Nutcracker\u003c/em> is coming to the same stage next week, like it does year after year after year. Savor this oddity while you can.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘It’s a Wonderful Life’ runs for two more performances, Dec. 7 and 9, at the War Memorial Opera House. \u003ca href=\"https://sfopera.com/1819season/wonderful/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>It’s A Wonderful Life\u003c/em> at SF Opera is the sort of thing you recommend to your more experimental-minded friends. The ones who are willing to try any strange idea, just to see how it turns out. The ones who order a Mission-style burrito in Massachusetts, just to see what Massachusetts does with the concept of a burrito. The ones who watch Gus Van Sant’s shot-for-shot remake of \u003cem>Psycho\u003c/em>, just to see what Gus Van Sant does with the concept of \u003cem>Psycho\u003c/em>. \u003c/p>\n\u003cp>\u003cem>It’s a Wonderful Life\u003c/em> at SF Opera is for these people, who have two more chances to see what the opera does with a concept as beloved, well-worn, and seared into American consciousness as \u003cem>It’s a Wonderful Life\u003c/em>. I’ll give you a hint: it involves George Bailey standing over choppy waters, contemplating suicide, despondently singing, “Even the lasso around the moon has become a noose.”\u003c/p>\n\u003cfigure id=\"attachment_13846387\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/WonderfulLife.Set_-800x533.jpg\" alt=\"(L–R) Andriana Chuchman as Mary and William Burden as George in 'It's a Wonderful Life' at SF Opera.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13846387\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/WonderfulLife.Set_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/WonderfulLife.Set_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/WonderfulLife.Set_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/WonderfulLife.Set_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/WonderfulLife.Set_-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/WonderfulLife.Set_.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Andriana Chuchman as Mary and William Burden as George in ‘It’s a Wonderful Life’ at SF Opera. \u003ccite>(Cory Weaver / SF Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In other words, this retelling of the classic Christmas story is heavy on drama and light on humor. Part of this fact is just, well, opera. You can’t evoke the fun spontaneity of dozens of teenagers jumping into a swimming pool at a dance when each of them is laboriously narrating their inner thoughts. The exclamation “Hot dog!” is much less joyful when sung in rich baritone. Even the battles with Mr. Potter had some wit to them in the film; in the opera, a chorus of angels sings blithely: “Once again, dreams of travel denied! / Together they fight Potter side by side!” \u003c/p>\n\u003cp>All of this is far more fascinating than disappointing, and forces the viewer inside the heads of Jake Heggie and Gene Scheer, who had the unenviable task of adapting a widely watched classic film for the opera stage. Why did they eliminate the character of Violet? Why did they decide, in George’s reverie, that Mary simply “went away to college” and never came back, instead of becoming the town librarian? Why did they incorporate a recurring dance, the Me-kee Me-kee, in place of “Buffalo Gals”?\u003c/p>\n\u003cfigure id=\"attachment_13846385\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/WonderfulLife.Angel_-800x533.jpg\" alt=\"Golda Schultz as Clara (center) with Sarah Cambidge, Amitai Pati, Christian Pursell and Ashley Dixon as Angels First Class in 'It's a Wonderful Life' at SF Opera.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13846385\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/WonderfulLife.Angel_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/WonderfulLife.Angel_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/WonderfulLife.Angel_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/WonderfulLife.Angel_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/WonderfulLife.Angel_-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/WonderfulLife.Angel_.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Golda Schultz as Clara (center) with Sarah Cambidge, Amitai Pati, Christian Pursell and Ashley Dixon as Angels First Class in ‘It’s a Wonderful Life’ at SF Opera. \u003ccite>(Cory Weaver / SF Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The cast does well with the material; Golda Schultz as the angel Clara, Andriana Chuchman as Mary and William Burden as George Bailey fill the lead roles strongly—and, where there’s room, bring out the annual warm feelings the movie evokes. The scene with the most emotional resonance, oddly, is the run on the Savings and Loan after the Stock Market Crash, when George negotiates desperately with customers who want their money. (Coincidentally, it’s the scene where the libretto hews closest to the film’s dialogue.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>By the show’s end, after the townsfolk arrive in the Bailey living room to save the day and to drive home the point, in operatic chorus, that “No one is a failure who has friends,” a strange sort of appreciation for the offbeat sets in, like \u003ca href=\"https://www.womansday.com/food-recipes/food-drinks/a2176/10-unusual-eggnog-flavored-foods-114050/\" rel=\"noopener\" target=\"_blank\">egg nog-flavored bubble gum\u003c/a>. \u003cem>The Nutcracker\u003c/em> is coming to the same stage next week, like it does year after year after year. Savor this oddity while you can.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘It’s a Wonderful Life’ runs for two more performances, Dec. 7 and 9, at the War Memorial Opera House. \u003ca href=\"https://sfopera.com/1819season/wonderful/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cfigure id=\"attachment_13846324\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13846324\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/all4nia-800x800.jpg\" alt=\"Girlz N The Hood, 'All 4 Nia.'\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/all4nia-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/all4nia-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/all4nia-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/all4nia-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/all4nia-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/all4nia-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/all4nia-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/all4nia-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/all4nia-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/all4nia.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Girlz N The Hood, ‘All 4 Nia.’\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>We’re posting our favorite Bay Area albums of 2018 every weekday through Dec. 14. \u003ca href=\"https://www.kqed.org/arts/tag/best-bay-area-albums-2018\" target=\"_blank\" rel=\"noopener\">Check back here\u003c/a> to see who else made the list.\u003c/em>\u003c/p>\n\u003cp>This year, \u003ca href=\"https://www.instagram.com/girlznthehood_/\" target=\"_blank\" rel=\"noopener\">Girlz N The Hood\u003c/a> faced the biggest tragedy that could befall a tight-knit group of friends: their bestie and bandmate, Nia Wilson, was gruesomely murdered on the platform at MacArthur BART station. Some media reports called it a random act of violence, but for many Oaklanders, the murder felt like yet \u003ca href=\"https://www.kqed.org/arts/13837639/nia-wilson-and-the-war-on-black-women\" target=\"_blank\" rel=\"noopener\">another attack\u003c/a> on young, black lives amid our country’s racially fraught climate.\u003c/p>\n\u003cp>If tragedy is a test of character, then Girlz N The Hood’s album \u003cem>All 4 Nia \u003c/em>demonstrates the tremendous resilience and grace of Nia’s girl squad. Comprised of Nia’s sister Shi (Tashiya Wilson, who witnessed the attack) and friends Mylly, Shotta and Ty, Girlz N The Hood channel their vitriol and sadness into a fiery project with the distinct knock and funky bass of Bay Area mob music. (Parts Unknown, who produced SOB x RBE’s breakout hits, has credits on the project.)[contextly_sidebar id=”gGWZWXfuFb4TtuyRoNfAH9wEmBobJvRb”]\u003c/p>\n\u003cp>With uptempo beats and tough-talking bars, the girls wrangle a fierce determination to make the most of life in Nia’s honor. Touchingly, the project features Nia herself. The laidback, G-funk “Run Yo Mouth,” a diss track by Nia and Shi about a rival girl gang, initially brought Girlz N The Hood together. The music video shows Nia, a camera-shy 18-year-old, following her older sister’s lead, goofing around while trying to look tough in the studio. Hearing the song, one can’t help but imagine what Nia could’ve become had she been allowed to blossom as a woman and artist.\u003c/p>\n\u003cp>https://youtu.be/bcXY1Lls_Y8\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In an \u003ca href=\"https://www.thefader.com/2018/11/21/nia-wilson-oakland-girlz-n-the-hood-all-4-nia-interview\" target=\"_blank\" rel=\"noopener\">interview\u003c/a> with Ruth Gebreyesus in The Fader, the girls described Nia as a loyal friend, blunt truth-teller and eternal optimist. Mylly’s nickname for her was “Turnt Cuz” for her ability to smile and keep it pushing no matter what she was going through. Nia’s personality, sweet yet unafraid to stand up for herself, inspired the girls to grit their teeth and turn up for their friend through the hurt.\u003c/p>\n\u003cp>On the wistful closing track, “\u003ca href=\"https://youtu.be/M0Cfp-oeJIo\" target=\"_blank\" rel=\"noopener\">All 4 Nia\u003c/a>,” Ty sums it up best: “It’s kind of crazy how you gone, you was a real one / You my dawg, you gon’ always shine in peace / Never folded on a n-gga, always ready for the beef.”\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/4Iv7KZK0Nlac7zzOd1mqFx\" width=\"300\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\n\n",
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"title": "Ian Kelly and the Role of the Bay Area Expatriate",
"headTitle": "Ian Kelly and the Role of the Bay Area Expatriate | KQED",
"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\">A\u003c/span> few days ago Ian Kelly texted me.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>“Bruh I actually wanted to pick your brain about this,” he wrote. “So I got signed to Jamla Records, a label \u003ca href=\"https://twitter.com/jamlarecords?lang=en\" target=\"_blank\" rel=\"noopener noreferrer\">started\u003c/a> by 9th Wonder, and have been featured on \u003ca href=\"https://www.amazon.com/9th-Wonder-Presents-Jamla-Explicit/dp/B07KBCLHWM\" target=\"_blank\" rel=\"noopener noreferrer\">an album\u003c/a> with the likes of Cole and Busta Rhymes. Why do you think back home doesn’t show as much love?”\u003c/p>\n\u003cp>A valid question from someone who came up in the Bay and recently moved away. He followed up to clarify. “Also I’m not speaking from a tone of entitlement,” he texted. “I’m very much understanding I could be doing something wrong too.”\u003c/p>\n\u003cp>It got me thinking about the dichotomy of the rap game. On one hand, a major part of hip-hop is representing where you’re from—of course, along with representing it, you have to \u003cem>actually\u003c/em> be there. On the other hand, as an artist, you \u003cem>have\u003c/em> to get out and see the world in order for the world to see you.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>How can you do both?\u003c/p>\n\u003cfigure id=\"attachment_13846180\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13846180\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/IMG_7859-800x800.jpg\" alt=\"Cover art for Ian Kelly's Champian album ( by Anshil Popli)\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_7859-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_7859-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_7859-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_7859-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_7859-1200x1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_7859-1920x1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_7859-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_7859-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_7859-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_7859-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_7859-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_7859-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_7859.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cover art for Ian Kelly’s ‘ChampIan’ album. (Anshil Popli and Daniel Lint)\u003c/figcaption>\u003c/figure>\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\">O\u003c/span>n Dec. 7, Ian Kelly drops his album, \u003cem>ChampIan\u003c/em>, his first for Jamla Records. It’s also his first project since he relocated to North Carolina 18 months ago.\u003c/p>\n\u003cp>I remember when Ian told me he was going to move, and how his mother didn’t necessarily approve of him quitting his job and pursuing a rap career. I knew he’d be OK. I mean, I’ve known Kelly for over a decade, and I’ve seen him go (and grow) through a number of transitions.\u003c/p>\n\u003cp>When our common friend Aaron Harris passed in 2013, Kelly hit a low and then grew from that; only for Kelly’s father to pass the same year. Nonetheless, he persevered and continued to make music, often honoring their memory in his lyrics.\u003c/p>\n\u003cp>Hell, I was even there when Kelly learned to maneuver through Howard University’s campus in 2008. I was a resident assistant in the dorm where he resided, but he never really needed much assistance.\u003c/p>\n\u003cp>Kelly, who turns 29 on Dec. 4, is a natural sponge, and he has no problem regurgitating necessary information in story form. His ability to describe situations and paint pictures has always been his strongpoint, evident throughout \u003cem>ChampIan\u003c/em>. The song ‘Story Tellin’ is probably the best example, allowing the listener to stare at the speaker and be fully engulfed in a tale of dubious deeds. On another track called ‘Better,’ he takes his storytelling to the world of romance, showing his versatility.\u003c/p>\n\u003cp>Kelly’s only downfall is that he kind of sounds like this guy named Kendrick Lamar. But if you’re going to be compared to anyone, why not him, right?\u003c/p>\n\u003cp>I don’t know if it’s the Kendrick comparison or what, but Kelly didn’t see his rap career flourishing out here. So he took a leap of faith and ended up under the tutelage of producer \u003ca href=\"https://en.wikipedia.org/wiki/9th_Wonder\" target=\"_blank\" rel=\"noopener noreferrer\">9th Wonder\u003c/a>, Rapsody and Oakland’s GQ while living in North Carolina.\u003c/p>\n\u003cp>“Honestly, being out here it kind of helped me gain a peace of mind,” Kelly told me. “Back home, I feel like a lot of things go on and I feel like I lose focus. But being out here I was able to center myself, and grow as an artist.”\u003c/p>\n\u003cp>I could relate to finding clarity in new spaces. The same thing happened for me when I went away to college at Howard in D.C. Or even in high school, when I lived in Danville for a semester while attending the Athenian boarding school. I fell deeper in love with writing. I gained focus and confidence. I mean, I had bad case of FOMO, and I really missed Oakland. Damn, now that I think about it, I missed a lot of things while I was away.\u003c/p>\n\u003cp>I asked Kelly if he’d experienced any setbacks being away from the Town.\u003c/p>\n\u003cp>“A month ago or two months ago, I’d say yeah. But now, I see it as another stepping stone,” Kelly said. “The way you have to move as an artist: wherever my heart is, is really home.”\u003c/p>\n\u003cp>I sat with that comment. It brought to mind all the other artists I know who’ve relocated, been sent to prison for long periods of time, moved away for family reasons, or left because they couldn’t afford rent. I even thought about the artists who are constantly on the road, sharing their art with the world. Don’t they miss home?\u003c/p>\n\u003cfigure id=\"attachment_13846178\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13846178\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/IMG_7865-800x450.jpg\" alt=\"Ian Kelly posted up (photo by Anshil Popli)\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_7865-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_7865-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_7865-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_7865-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_7865-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_7865.jpg 1334w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ian Kelly posted up. (Anshil Popli)\u003c/figcaption>\u003c/figure>\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\">A\u003c/span>neesa Strings, who Kelly introduced me to earlier this year, is \u003ca href=\"http://www.aneesastrings.com\" target=\"_blank\" rel=\"noopener noreferrer\">a bassist and vocalist\u003c/a> who grew up in Oakland. She was a part of a band that played NPR’s \u003ca href=\"https://www.youtube.com/watch?v=OXPfeg09IOE\">Tiny Desk Concert\u003c/a> with Ill Camille earlier this year. And she’s currently on a European tour with Duckwrth.\u003c/p>\n\u003cp>Somewhere between Switzerland and Vienna, she responded to my inquiry about an artists’ need to travel. “Most people have to leave the comforts of their own hometown to get nationwide recognition,” she said. She then paraphrased the Book of Matthew: “A hero isn’t without honor except for in his own country, in his own home.”\u003c/p>\n\u003cp>She ended by writing, “The Bay isn’t any different, except that it’s not LA or NY, which are entertainment capitals of the world. You have to leave the Bay to have access to the star-makers. Music is a worldwide territory, so if an artist wants their music to go all over the world, so do they.”\u003c/p>\n\u003cp>That’s kind of what well-known tour manager Tim House said when I called him to ask how an artist should balance time spent at home versus being out in the world.\u003c/p>\n\u003cp>“Infrastructure, that’s what’s missing in the Bay,” House told me as he was on tour, somewhere between Orlando and Miami. “I can’t tell you how many people from the Bay in the industry—not just artists—have moved to LA or New York for work.”\u003c/p>\n\u003cp>House, who’s bounced back and forth between the LA and the Bay his whole life, made sure to mention that there are some examples of people building their own infrastructure here in the Bay—namely E-40. “But even E-40 went to school in the South,” House said.\u003c/p>\n\u003cp>Along with the lack of industry infrastructure, another major variable artists consider before leaving the Bay is the cost of housing.\u003c/p>\n\u003cp>“Music money will only get you so much in the Bay Area,” House told me. “You can get a nice spot in LA, but still be 30 minutes outside of downtown. You could get something nice in New York, but you wouldn’t have a yard. In Atlanta, you could get a really nice house with a moat!”\u003c/p>\n\u003cp>After a slight laugh, House brought up a serious point I hadn’t considered: the vacancies created by artists leaving the Bay Area to seek greener pastures create an opportunity for others to move in and dictate the culture.\u003c/p>\n\u003cp>And I’ve seen it. I could name a bunch of artists who’ve moved here, and have found a way to flourish on a local scale. Not a good or bad thing in my opinion, it’s just a thing to note.\u003c/p>\n\u003cp>Nonetheless, the question remains: How do you go and chase your dream, while still holding it down for the home team?\u003c/p>\n\u003cfigure id=\"attachment_13846179\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13846179\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/IMG_7867-800x450.jpg\" alt=\"Ian Kelly in the Town (photo by Anshil Popli)\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_7867-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_7867-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_7867-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_7867-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_7867-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_7867.jpg 1334w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ian Kelly in the Town. (Anshil Popli) \u003ccite>(Anshil Popli)\u003c/cite>\u003c/figcaption>\u003c/figure>\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\">T\u003c/span>here are so many rap lyrics that address this issue:\u003c/p>\n\u003cp>“I’m hardly home, but always repping,” said Drake.\u003c/p>\n\u003cp>“They said I couldn’t go back home, you know when I heard that? When I was back home,” said Jay-Z.\u003c/p>\n\u003cp>“I heard it’s not where you from, but where you pay rent/ then I heard it’s not how much you make, but how much you spent/ you got me bent, like elbows,” said Big Boi of Outkast.\u003c/p>\n\u003cp>The debate isn’t new. And I don’t think there’s a real answer. There’s no way to be two places at once. But Ian Kelly might’ve been on to something when he said, \u003cem>“The way you have to move as an artist: wherever my heart is, is really home.”\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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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\">A\u003c/span> few days ago Ian Kelly texted me.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>“Bruh I actually wanted to pick your brain about this,” he wrote. “So I got signed to Jamla Records, a label \u003ca href=\"https://twitter.com/jamlarecords?lang=en\" target=\"_blank\" rel=\"noopener noreferrer\">started\u003c/a> by 9th Wonder, and have been featured on \u003ca href=\"https://www.amazon.com/9th-Wonder-Presents-Jamla-Explicit/dp/B07KBCLHWM\" target=\"_blank\" rel=\"noopener noreferrer\">an album\u003c/a> with the likes of Cole and Busta Rhymes. Why do you think back home doesn’t show as much love?”\u003c/p>\n\u003cp>A valid question from someone who came up in the Bay and recently moved away. He followed up to clarify. “Also I’m not speaking from a tone of entitlement,” he texted. “I’m very much understanding I could be doing something wrong too.”\u003c/p>\n\u003cp>It got me thinking about the dichotomy of the rap game. On one hand, a major part of hip-hop is representing where you’re from—of course, along with representing it, you have to \u003cem>actually\u003c/em> be there. On the other hand, as an artist, you \u003cem>have\u003c/em> to get out and see the world in order for the world to see you.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>How can you do both?\u003c/p>\n\u003cfigure id=\"attachment_13846180\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13846180\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/IMG_7859-800x800.jpg\" alt=\"Cover art for Ian Kelly's Champian album ( by Anshil Popli)\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_7859-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_7859-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_7859-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_7859-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_7859-1200x1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_7859-1920x1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_7859-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_7859-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_7859-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_7859-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_7859-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_7859-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_7859.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cover art for Ian Kelly’s ‘ChampIan’ album. (Anshil Popli and Daniel Lint)\u003c/figcaption>\u003c/figure>\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\">O\u003c/span>n Dec. 7, Ian Kelly drops his album, \u003cem>ChampIan\u003c/em>, his first for Jamla Records. It’s also his first project since he relocated to North Carolina 18 months ago.\u003c/p>\n\u003cp>I remember when Ian told me he was going to move, and how his mother didn’t necessarily approve of him quitting his job and pursuing a rap career. I knew he’d be OK. I mean, I’ve known Kelly for over a decade, and I’ve seen him go (and grow) through a number of transitions.\u003c/p>\n\u003cp>When our common friend Aaron Harris passed in 2013, Kelly hit a low and then grew from that; only for Kelly’s father to pass the same year. Nonetheless, he persevered and continued to make music, often honoring their memory in his lyrics.\u003c/p>\n\u003cp>Hell, I was even there when Kelly learned to maneuver through Howard University’s campus in 2008. I was a resident assistant in the dorm where he resided, but he never really needed much assistance.\u003c/p>\n\u003cp>Kelly, who turns 29 on Dec. 4, is a natural sponge, and he has no problem regurgitating necessary information in story form. His ability to describe situations and paint pictures has always been his strongpoint, evident throughout \u003cem>ChampIan\u003c/em>. The song ‘Story Tellin’ is probably the best example, allowing the listener to stare at the speaker and be fully engulfed in a tale of dubious deeds. On another track called ‘Better,’ he takes his storytelling to the world of romance, showing his versatility.\u003c/p>\n\u003cp>Kelly’s only downfall is that he kind of sounds like this guy named Kendrick Lamar. But if you’re going to be compared to anyone, why not him, right?\u003c/p>\n\u003cp>I don’t know if it’s the Kendrick comparison or what, but Kelly didn’t see his rap career flourishing out here. So he took a leap of faith and ended up under the tutelage of producer \u003ca href=\"https://en.wikipedia.org/wiki/9th_Wonder\" target=\"_blank\" rel=\"noopener noreferrer\">9th Wonder\u003c/a>, Rapsody and Oakland’s GQ while living in North Carolina.\u003c/p>\n\u003cp>“Honestly, being out here it kind of helped me gain a peace of mind,” Kelly told me. “Back home, I feel like a lot of things go on and I feel like I lose focus. But being out here I was able to center myself, and grow as an artist.”\u003c/p>\n\u003cp>I could relate to finding clarity in new spaces. The same thing happened for me when I went away to college at Howard in D.C. Or even in high school, when I lived in Danville for a semester while attending the Athenian boarding school. I fell deeper in love with writing. I gained focus and confidence. I mean, I had bad case of FOMO, and I really missed Oakland. Damn, now that I think about it, I missed a lot of things while I was away.\u003c/p>\n\u003cp>I asked Kelly if he’d experienced any setbacks being away from the Town.\u003c/p>\n\u003cp>“A month ago or two months ago, I’d say yeah. But now, I see it as another stepping stone,” Kelly said. “The way you have to move as an artist: wherever my heart is, is really home.”\u003c/p>\n\u003cp>I sat with that comment. It brought to mind all the other artists I know who’ve relocated, been sent to prison for long periods of time, moved away for family reasons, or left because they couldn’t afford rent. I even thought about the artists who are constantly on the road, sharing their art with the world. Don’t they miss home?\u003c/p>\n\u003cfigure id=\"attachment_13846178\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13846178\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/IMG_7865-800x450.jpg\" alt=\"Ian Kelly posted up (photo by Anshil Popli)\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_7865-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_7865-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_7865-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_7865-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_7865-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_7865.jpg 1334w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ian Kelly posted up. (Anshil Popli)\u003c/figcaption>\u003c/figure>\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\">A\u003c/span>neesa Strings, who Kelly introduced me to earlier this year, is \u003ca href=\"http://www.aneesastrings.com\" target=\"_blank\" rel=\"noopener noreferrer\">a bassist and vocalist\u003c/a> who grew up in Oakland. She was a part of a band that played NPR’s \u003ca href=\"https://www.youtube.com/watch?v=OXPfeg09IOE\">Tiny Desk Concert\u003c/a> with Ill Camille earlier this year. And she’s currently on a European tour with Duckwrth.\u003c/p>\n\u003cp>Somewhere between Switzerland and Vienna, she responded to my inquiry about an artists’ need to travel. “Most people have to leave the comforts of their own hometown to get nationwide recognition,” she said. She then paraphrased the Book of Matthew: “A hero isn’t without honor except for in his own country, in his own home.”\u003c/p>\n\u003cp>She ended by writing, “The Bay isn’t any different, except that it’s not LA or NY, which are entertainment capitals of the world. You have to leave the Bay to have access to the star-makers. Music is a worldwide territory, so if an artist wants their music to go all over the world, so do they.”\u003c/p>\n\u003cp>That’s kind of what well-known tour manager Tim House said when I called him to ask how an artist should balance time spent at home versus being out in the world.\u003c/p>\n\u003cp>“Infrastructure, that’s what’s missing in the Bay,” House told me as he was on tour, somewhere between Orlando and Miami. “I can’t tell you how many people from the Bay in the industry—not just artists—have moved to LA or New York for work.”\u003c/p>\n\u003cp>House, who’s bounced back and forth between the LA and the Bay his whole life, made sure to mention that there are some examples of people building their own infrastructure here in the Bay—namely E-40. “But even E-40 went to school in the South,” House said.\u003c/p>\n\u003cp>Along with the lack of industry infrastructure, another major variable artists consider before leaving the Bay is the cost of housing.\u003c/p>\n\u003cp>“Music money will only get you so much in the Bay Area,” House told me. “You can get a nice spot in LA, but still be 30 minutes outside of downtown. You could get something nice in New York, but you wouldn’t have a yard. In Atlanta, you could get a really nice house with a moat!”\u003c/p>\n\u003cp>After a slight laugh, House brought up a serious point I hadn’t considered: the vacancies created by artists leaving the Bay Area to seek greener pastures create an opportunity for others to move in and dictate the culture.\u003c/p>\n\u003cp>And I’ve seen it. I could name a bunch of artists who’ve moved here, and have found a way to flourish on a local scale. Not a good or bad thing in my opinion, it’s just a thing to note.\u003c/p>\n\u003cp>Nonetheless, the question remains: How do you go and chase your dream, while still holding it down for the home team?\u003c/p>\n\u003cfigure id=\"attachment_13846179\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13846179\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/IMG_7867-800x450.jpg\" alt=\"Ian Kelly in the Town (photo by Anshil Popli)\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_7867-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_7867-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_7867-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_7867-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_7867-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_7867.jpg 1334w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ian Kelly in the Town. (Anshil Popli) \u003ccite>(Anshil Popli)\u003c/cite>\u003c/figcaption>\u003c/figure>\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\">T\u003c/span>here are so many rap lyrics that address this issue:\u003c/p>\n\u003cp>“I’m hardly home, but always repping,” said Drake.\u003c/p>\n\u003cp>“They said I couldn’t go back home, you know when I heard that? When I was back home,” said Jay-Z.\u003c/p>\n\u003cp>“I heard it’s not where you from, but where you pay rent/ then I heard it’s not how much you make, but how much you spent/ you got me bent, like elbows,” said Big Boi of Outkast.\u003c/p>\n\u003cp>The debate isn’t new. And I don’t think there’s a real answer. There’s no way to be two places at once. But Ian Kelly might’ve been on to something when he said, \u003cem>“The way you have to move as an artist: wherever my heart is, is really home.”\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cfigure id=\"attachment_13846215\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13846215\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/shannon-in-nashville--800x800.jpg\" alt=\"\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/shannon-in-nashville--800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/shannon-in-nashville--160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/shannon-in-nashville--768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/shannon-in-nashville--1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/shannon-in-nashville--32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/shannon-in-nashville--50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/shannon-in-nashville--64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/shannon-in-nashville--96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/shannon-in-nashville--128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/shannon-in-nashville--150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/shannon-in-nashville-.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003cfigcaption class=\"wp-caption-text\">Album art for Shannon Shaw’s ‘Shannon in Nashville.’\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>We’re posting our favorite Bay Area albums of 2018 every weekday through Dec. 14. \u003ca href=\"https://www.kqed.org/arts/tag/best-bay-area-albums-2018\" target=\"_blank\" rel=\"noopener\">Check back here\u003c/a> to see who else made the list. \u003c/em>\u003c/p>\n\u003cp>With their campy, countercultural take on retro Americana, Shannon and the Clams look like they walked right off a \u003ca href=\"https://www.kqed.org/forum/201406091000/john-waters-guide-to-the-hitchhiking-galaxy\" target=\"_blank\" rel=\"noopener\">John Waters\u003c/a> movie set. And even Waters, the “\u003ca href=\"https://noisey.vice.com/en_us/article/kzaajx/john-waters-is-the-filthy-uncle-of-punk\" target=\"_blank\" rel=\"noopener\">Filthy Uncle of Punk\u003c/a>” himself, is a \u003ca href=\"http://larecord.com/archive/2015/09/15/shannon-and-the-clams-interview-gone-by-the-dawn\" target=\"_blank\" rel=\"noopener\">fan\u003c/a> of the Oakland garage-rock revivalists, who’ve been a mainstay of the East Bay’s underground scene for nearly a decade.\u003c/p>\n\u003cp>2018 marked an evolution for bandleader Shannon Shaw, whose \u003ca href=\"https://www.kqed.org/arts/13823414/dan-auerbach-brings-a-rippin-band-to-the-fillmore\" target=\"_blank\" rel=\"noopener\">Dan Auerbach\u003c/a>-produced solo debut, \u003cem>Shannon in Nashville \u003c/em>(Easy Eye Sound), showcases a more personal and courageous side to her songwriting. [contextly_sidebar id=”9RhvtDZ8Um4C6kXdKqScOLcJCLLVX83R”]\u003c/p>\n\u003cp>\u003cem>Shannon in Nashville\u003c/em> shimmies into cathartic rock’n’roll about tragic love, self-reflection and heartbreak, with all of the raw emotion of the final wail in Roy Orbison’s “Crying.” Old-school session musicians who played with legends like Elvis and Orbison, Shaw’s hero, assisted on the project, which masterfully blends gut-wrenching blues, doo-wop harmonies, country croons and punk percussion into an album that cuts straight to the heart. But what stands out is the singularity of Shaw’s well-loved rasp and tenacity that lingers with every syllable.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Shannon Shaw - Freddies 'n' Teddies [Official Video]\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/cixEFBfYSOQ?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>With a vocal intensity comparable to Motown stalwart Mary Wells, Shaw nails a danceable bop spattered with pangs of sorrow on “Cryin’ My Eyes Out”: “Here I am, cryin’ my eyes out / Wonderin’ when things will change / When will they change?” “Broke My Own,” with its crescendo of crashing cymbals, bursts open like a raw wound, landing on the agonizing realization: “My worst enemy is my own flesh and bone\u003cem>.”\u003c/em>\u003c/p>\n\u003cp>“Leather, Metal, Steel” conjures the liberating feeling of smashing on the gas with the windows down on a solo road trip, belting at the top of one’s lungs. Accompanied by the wail of a loan trumpet, Shaw evokes a rugged independence, her raspy timbre pacing over the lines: “(She’s leavin’) before she forgets how to feel / (She’s leavin’) with leather, metal and steel.”\u003c/p>\n\u003cp>“Freddies ‘n’ Teddies” evokes the soulful rhythm and mystique of Dusty Springfield’s “Spooky,” another one of Shaw’s inspirations (\u003cem>Shannon In Nashville\u003c/em> gets its name from \u003cem>Dusty in Memphis\u003c/em>). The track courses with self-empowerment as Shaw casts off insincere men wasting her time.\u003c/p>\n\u003cp>Nostalgic yet imaginative, \u003cem>Shannon in Nashville\u003c/em> gets its strength from Shaw’s rich arc of storytelling. Resist temptation to tap “shuffle” when you listen to this album: it’s meant to be played like vinyl. A side, flip, B side. Repeat as necessary.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr />\n\u003ciframe loading=\"lazy\" src=\"https://embed.spotify.com/?uri=spotify%3Aalbum%3A4M9uQm7mOVQkwYa2iRP7Tt\" width=\"300\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>[ad fullwidth]\u003cbr />\n[ad floatright] \u003c/p>\n",
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And even Waters, the “\u003ca href=\"https://noisey.vice.com/en_us/article/kzaajx/john-waters-is-the-filthy-uncle-of-punk\" target=\"_blank\" rel=\"noopener\">Filthy Uncle of Punk\u003c/a>” himself, is a \u003ca href=\"http://larecord.com/archive/2015/09/15/shannon-and-the-clams-interview-gone-by-the-dawn\" target=\"_blank\" rel=\"noopener\">fan\u003c/a> of the Oakland garage-rock revivalists, who’ve been a mainstay of the East Bay’s underground scene for nearly a decade.\u003c/p>\n\u003cp>2018 marked an evolution for bandleader Shannon Shaw, whose \u003ca href=\"https://www.kqed.org/arts/13823414/dan-auerbach-brings-a-rippin-band-to-the-fillmore\" target=\"_blank\" rel=\"noopener\">Dan Auerbach\u003c/a>-produced solo debut, \u003cem>Shannon in Nashville \u003c/em>(Easy Eye Sound), showcases a more personal and courageous side to her songwriting. \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cem>Shannon in Nashville\u003c/em> shimmies into cathartic rock’n’roll about tragic love, self-reflection and heartbreak, with all of the raw emotion of the final wail in Roy Orbison’s “Crying.” Old-school session musicians who played with legends like Elvis and Orbison, Shaw’s hero, assisted on the project, which masterfully blends gut-wrenching blues, doo-wop harmonies, country croons and punk percussion into an album that cuts straight to the heart. But what stands out is the singularity of Shaw’s well-loved rasp and tenacity that lingers with every syllable.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Shannon Shaw - Freddies 'n' Teddies [Official Video]\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/cixEFBfYSOQ?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>With a vocal intensity comparable to Motown stalwart Mary Wells, Shaw nails a danceable bop spattered with pangs of sorrow on “Cryin’ My Eyes Out”: “Here I am, cryin’ my eyes out / Wonderin’ when things will change / When will they change?” “Broke My Own,” with its crescendo of crashing cymbals, bursts open like a raw wound, landing on the agonizing realization: “My worst enemy is my own flesh and bone\u003cem>.”\u003c/em>\u003c/p>\n\u003cp>“Leather, Metal, Steel” conjures the liberating feeling of smashing on the gas with the windows down on a solo road trip, belting at the top of one’s lungs. Accompanied by the wail of a loan trumpet, Shaw evokes a rugged independence, her raspy timbre pacing over the lines: “(She’s leavin’) before she forgets how to feel / (She’s leavin’) with leather, metal and steel.”\u003c/p>\n\u003cp>“Freddies ‘n’ Teddies” evokes the soulful rhythm and mystique of Dusty Springfield’s “Spooky,” another one of Shaw’s inspirations (\u003cem>Shannon In Nashville\u003c/em> gets its name from \u003cem>Dusty in Memphis\u003c/em>). The track courses with self-empowerment as Shaw casts off insincere men wasting her time.\u003c/p>\n\u003cp>Nostalgic yet imaginative, \u003cem>Shannon in Nashville\u003c/em> gets its strength from Shaw’s rich arc of storytelling. Resist temptation to tap “shuffle” when you listen to this album: it’s meant to be played like vinyl. A side, flip, B side. Repeat as necessary.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr />\n\u003ciframe loading=\"lazy\" src=\"https://embed.spotify.com/?uri=spotify%3Aalbum%3A4M9uQm7mOVQkwYa2iRP7Tt\" width=\"300\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Drake Never Paid Rappin' 4-Tay For Stolen Lyrics, Manager Says",
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"content": "\u003cp>The Bay Area’s Rappin’ 4-Tay is still hoping to get paid for a verse Drake stole in 2014.\u003c/p>\n\u003cp>After an auction for royalties from Rappin’ 4-Tay’s song “Playaz Club” surfaced this week, his manager, Franky J, told KQED that Drake still hasn’t made good on a $100,000 payment he’d reportedly promised for lifting the lyrics for his verse on YG’s “Who Do You Love?”\u003c/p>\n\u003cp>Portions of the song royalties from YG’s “\u003ca href=\"https://www.youtube.com/watch?v=VN4upVaDFFs\" target=\"_blank\" rel=\"noopener\">Who Do You Love?\u003c/a>,” which includes Drake’s verse, are currently for sale on \u003ca href=\"https://auctions.royaltyexchange.com/auctions/2pac-drake-rappin-4-tay/?origin=listings&filter_value=listings&_ga=2.79625171.675871050.1543542552-1307536351.1543542552\" target=\"_blank\" rel=\"noopener\">Royalty Exchange\u003c/a>, an auction site for royalties. The auction also includes royalties for “\u003ca href=\"https://youtu.be/2daXghqHgjQ\" target=\"_blank\" rel=\"noopener\">Playaz Club\u003c/a>” and Tupac’s “\u003ca href=\"https://www.youtube.com/watch?v=rh9S4vLDDOI\" target=\"_blank\" rel=\"noopener\">Only God Can Judge Me\u003c/a>,” which all list Rappin’ 4-Tay, a.k.a. Anthony Forte, as a songwriter. Though the seller is not publicly named, in a phone interview on Friday, Franky J confirmed that it is indeed the San Francisco rapper behind the auction.\u003c/p>\n\u003cp>As fans quickly pointed out when “Who Do You Love?” climbed the Billboard Hot 100 in 2014, Drake’s bars sound almost identical to 4-Tay’s. Asked if Drake ever followed through with his 2014 promise to compensate 4-Tay for the verse, Franky J responded: “HEEEEEEEELLL NO!”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=lZfAxJTSgGo\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Franky J, who produced “Playaz Club,” said that he and 4-Tay have been reluctant to call out Drake publicly and wanted to give him a chance to make things right. But, as Franky J told KQED, Drake never made so much as a courtesy phone call.\u003c/p>\n\u003cp>“You jack a person’s lyrics and you don’t even make a phone call? What kind of game is that? That’s not hip-hop,” he said.\u003c/p>\n\u003cp>On May 31, Rappin’ 4-Tay tweeted an invoice to Drake for the $100,000. Franky J says Rappin’ 4-Tay plans to address the situation on his next album, due out in January.\u003c/p>\n\u003cp>Franky J’s revelation isn’t the first time Drake has been accused of promising to compensate someone for their labor and not following through. Earlier this year, Drake said that he’d pay Shiggy, the creator of a viral dance that propelled the success of his song “In My Feelings,” $250,000. \u003ca href=\"https://www.complex.com/music/2018/07/shiggy-responds-claims-drake-paid-him-250000-in-my-feelings-success\" target=\"_blank\" rel=\"noopener\">In a video\u003c/a>, Shiggy said that payment never happened.\u003c/p>\n\u003cp>https://twitter.com/rappin_4tay/status/1002337046730379264\u003c/p>\n\u003cp>Bidding for Rappin’ 4-Tay’s songwriting royalties is currently at $38,250. The auction does not include copyright, nor mechanical or sync royalties, but public performance royalties paid most commonly for internet streaming, AM/FM and satellite radio, and performances in TV and film. Estimated combined royalties from the songs brought in $7,545 the last 12 months.\u003c/p>\n\u003cp>Franky J says that Rappin’ 4-Tay wants to use proceeds from the royalties for a new business venture: a nationwide series of events called Playaz Clubs, functioning like a private social club for hip-hop clientele.\u003c/p>\n\u003cp>The auction, \u003ca href=\"https://auctions.royaltyexchange.com/auctions/2pac-drake-rappin-4-tay/?origin=buyorbid&filter_value=listings\" target=\"_blank\" rel=\"noopener\">viewable here\u003c/a>, ends Sunday.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://youtu.be/2daXghqHgjQ\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Franky J, who produced “Playaz Club,” said that he and 4-Tay have been reluctant to call out Drake publicly and wanted to give him a chance to make things right. But, as Franky J told KQED, Drake never made so much as a courtesy phone call.\u003c/p>\n\u003cp>“You jack a person’s lyrics and you don’t even make a phone call? What kind of game is that? That’s not hip-hop,” he said.\u003c/p>\n\u003cp>On May 31, Rappin’ 4-Tay tweeted an invoice to Drake for the $100,000. Franky J says Rappin’ 4-Tay plans to address the situation on his next album, due out in January.\u003c/p>\n\u003cp>Franky J’s revelation isn’t the first time Drake has been accused of promising to compensate someone for their labor and not following through. Earlier this year, Drake said that he’d pay Shiggy, the creator of a viral dance that propelled the success of his song “In My Feelings,” $250,000. \u003ca href=\"https://www.complex.com/music/2018/07/shiggy-responds-claims-drake-paid-him-250000-in-my-feelings-success\" target=\"_blank\" rel=\"noopener\">In a video\u003c/a>, Shiggy said that payment never happened.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Bidding for Rappin’ 4-Tay’s songwriting royalties is currently at $38,250. The auction does not include copyright, nor mechanical or sync royalties, but public performance royalties paid most commonly for internet streaming, AM/FM and satellite radio, and performances in TV and film. Estimated combined royalties from the songs brought in $7,545 the last 12 months.\u003c/p>\n\u003cp>Franky J says that Rappin’ 4-Tay wants to use proceeds from the royalties for a new business venture: a nationwide series of events called Playaz Clubs, functioning like a private social club for hip-hop clientele.\u003c/p>\n\u003cp>The auction, \u003ca href=\"https://auctions.royaltyexchange.com/auctions/2pac-drake-rappin-4-tay/?origin=buyorbid&filter_value=listings\" target=\"_blank\" rel=\"noopener\">viewable here\u003c/a>, ends Sunday.\u003c/p>\n\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/2daXghqHgjQ'\n title='//www.youtube.com/embed/2daXghqHgjQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\n\u003c/div>\u003c/p>",
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"title": "NYT Names Brontez Purnell, Ishmael Reed Among Top Black Male Writers",
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"content": "\u003cp>Bay Area writers Brontez Purnell and Ishmael Reed have been honored as part of a giant feature in the New York Times’ style magazine titled “\u003ca href=\"https://www.nytimes.com/interactive/2018/11/30/t-magazine/black-authors.html\" rel=\"noopener\" target=\"_blank\">Black Male Writers of Our Time\u003c/a>.”\u003c/p>\n\u003cp>With 32 writers both established and upcoming, the feature spread also includes creative direction by Oakland’s Boots Riley in a books-laden photo spread of suited-up black excellence. The list of writers honored also includes Rickey Laurentiis, Nathan Alan Davis, Brian Keith Jackson, Marcus Burke, James McBride and 25 others. \u003c/p>\n\u003cp>https://www.instagram.com/p/Bqz_-fOBT0Y/\u003c/p>\n\u003cp>Purnell, from Oakland, is the author of \u003cem>The Cruising Diaries\u003c/em>, \u003cem>Johnny Would You Love Me If My Dick Were Bigger\u003c/em>, and \u003cem>Since I Laid My Burden Down\u003c/em>. A member of the ’00s band Gravy Train!!!, he now fronts the punk band the Younger Lovers. In March, \u003ca href=\"https://www.theparisreview.org/blog/2018/03/21/2018-whiting-awards-brontez-purnell-fiction/\" rel=\"noopener\" target=\"_blank\">he won\u003c/a> the Whiting Award for fiction. \u003c/p>\n\u003cp>Reed moved to the Bay Area in 1970 after living in New York, where he co-founded the underground paper the \u003cem>East Village Other\u003c/em> and wrote the acclaimed novel \u003cem>Mumbo Jumbo\u003c/em>, among others. He taught at UC Berkeley for 25 years before moving to California College of the Arts. His collaborations with jazz musicians are plentiful; he was SFJAZZ’s poet laureate from 2012-2016.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>See the \u003cem>New York Times\u003c/em> feature \u003ca href=\"https://www.nytimes.com/interactive/2018/11/30/t-magazine/black-authors.html\" rel=\"noopener\" target=\"_blank\">here\u003c/a>. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Bay Area writers Brontez Purnell and Ishmael Reed have been honored as part of a giant feature in the New York Times’ style magazine titled “\u003ca href=\"https://www.nytimes.com/interactive/2018/11/30/t-magazine/black-authors.html\" rel=\"noopener\" target=\"_blank\">Black Male Writers of Our Time\u003c/a>.”\u003c/p>\n\u003cp>With 32 writers both established and upcoming, the feature spread also includes creative direction by Oakland’s Boots Riley in a books-laden photo spread of suited-up black excellence. The list of writers honored also includes Rickey Laurentiis, Nathan Alan Davis, Brian Keith Jackson, Marcus Burke, James McBride and 25 others. \u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Purnell, from Oakland, is the author of \u003cem>The Cruising Diaries\u003c/em>, \u003cem>Johnny Would You Love Me If My Dick Were Bigger\u003c/em>, and \u003cem>Since I Laid My Burden Down\u003c/em>. A member of the ’00s band Gravy Train!!!, he now fronts the punk band the Younger Lovers. In March, \u003ca href=\"https://www.theparisreview.org/blog/2018/03/21/2018-whiting-awards-brontez-purnell-fiction/\" rel=\"noopener\" target=\"_blank\">he won\u003c/a> the Whiting Award for fiction. \u003c/p>\n\u003cp>Reed moved to the Bay Area in 1970 after living in New York, where he co-founded the underground paper the \u003cem>East Village Other\u003c/em> and wrote the acclaimed novel \u003cem>Mumbo Jumbo\u003c/em>, among others. He taught at UC Berkeley for 25 years before moving to California College of the Arts. His collaborations with jazz musicians are plentiful; he was SFJAZZ’s poet laureate from 2012-2016.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "After a High-Speed Police Chase, A Female Rapper Endures Rap's Double Standard",
"headTitle": "After a High-Speed Police Chase, A Female Rapper Endures Rap’s Double Standard | KQED",
"content": "\u003cp>In \u003cem>The Autobiography of Gucci Mane\u003c/em>, the Atlanta rap star details his numerous stints in DeKalb County Jail and how they bolstered his street cred. When the Bay Area’s Mac Dre was locked up for conspiracy to commit robbery in 1992, he recorded an album over the jail phone that became legendary. This past year, Brooklyn rapper 6ix9ine’s various legal troubles—including a guilty plea for a child sex crime, and an arrest for firearms—propelled him into the Billboard Hot 100 and brought collaborations with Kanye West and Nicki Minaj.\u003c/p>\n\u003cp>But the reaction was noticeably different when Oakland rapper \u003ca href=\"https://www.kqed.org/arts/13832451/qing-qi-rapper-and-thizzler-host-calls-out-scrubs-takes-no-prisoners\" target=\"_blank\" rel=\"noopener noreferrer\">Qing Qi\u003c/a> (Nikia Durgin) was booked in Nevada County Jail last week for an alleged burglary and high-speed getaway chase from police.\u003c/p>\n\u003cp>[contextly_sidebar id=”F6piqvMX5hkxFHGwhGJArqCagQfzxmOr”]\u003c/p>\n\u003cp>According to police, Qing Qi sped off at 120 miles per hour with her headlights off after officers stopped her on suspicion of burglarizing a CVS in Grass Valley. She nearly got away, but crashed in nearby Auburn, and was caught attempting to hail an Uber back to Oakland. \u003cem>The Union\u003c/em> \u003ca href=\"https://www.theunion.com/news/local-news/burglary-suspects-accused-of-fleeing-officers-wrecking-in-auburn-out-on-bond/\" target=\"_blank\" rel=\"noopener noreferrer\">reported\u003c/a> that officers found several thousand dollars of hair-care products and makeup in her car.\u003c/p>\n\u003cp>Qing Qi now faces two felony counts of second-degree burglary, one felony count of evading a peace officer and one misdemeanor count of obstructing a peace officer. Pending sentencing, she could spend up to nine years in jail.\u003c/p>\n\u003cp>All of which would ordinarily mean, by the rap rulebook, a surge in a rapper’s career. Except when Qing Qi’s mugshot appeared on the homepage of \u003ca href=\"https://www.kron4.com/news/bay-area/san-francisco-women-arrested-for-burglary-after-high-speed-pursuit/1604372781\" target=\"_blank\" rel=\"noopener noreferrer\">KRON4\u003c/a> on Nov. 17 and spread through Bay Area social media, the local rap community didn’t celebrate her outlaw status. Nor was there the type of sympathy that’s usually expressed for male rappers who get caught and put behind bars. Instead, the majority of the \u003ca href=\"https://www.instagram.com/p/BqT8dODDE-J/\" target=\"_blank\" rel=\"noopener noreferrer\">comments\u003c/a> took jabs at Qing Qi’s hair and weight.\u003c/p>\n\u003cfigure id=\"attachment_13845979\" class=\"wp-caption alignright\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13845979\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/IMG_4648.jpg\" alt=\"A screen shot of a screen shot of Mozzy's Instagram post with Qing Qi's mugshot. \" width=\"750\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IMG_4648.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IMG_4648-160x285.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IMG_4648-675x1200.jpg 675w\" sizes=\"(max-width: 750px) 100vw, 750px\" />\u003cfigcaption class=\"wp-caption-text\">A screen shot of a screen shot of Mozzy’s Instagram post with Qing Qi’s mugshot. \u003ccite>(@allhailtheqing/Instagram)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Reactions escalated when Sacramento rapper \u003ca href=\"https://www.kqed.org/arts/13842545/mozzy-on-gangland-landlord-kendrick-and-how-a-persistent-grind-pays-off\" target=\"_blank\" rel=\"noopener noreferrer\">Mozzy\u003c/a>, who has over 828,000 Instagram followers (and, ironically, is Qing Qi’s labelmate on San Francisco imprint \u003ca href=\"https://www.empi.re/\" target=\"_blank\" rel=\"noopener noreferrer\">Empire\u003c/a>), posted her and her alleged accomplice’s mugshots with the caption “Lil petty thievery n thingz” and numerous laugh-cry emojis. (The post has since been deleted.)\u003c/p>\n\u003cp>Following Mozzy’s lead, his followers responded with taunts, many commenting that she deserved arrest after dissing Sacramento during her time as co-host of Thizzler’s YouTube talk show, \u003cem>That’s My Word.\u003c/em> (While \u003ca href=\"https://youtu.be/aC-6QSiQz7E?t=8\" target=\"_blank\" rel=\"noopener noreferrer\">debating\u003c/a> whether Sacramento is culturally part of the Bay Area, Qing Qi quipped that “Sacramento people are weird,” to which her co-host DNas replied, “They’re 2005 Oakland,” implying that Sacramento is behind the times.)\u003c/p>\n\u003cp>Mozzy’s manager, DavO, told KQED through a publicist that Mozzy was trying to make a point. “He just wanted to show people how things can quickly turn around for you,” he wrote in an email, adding that Mozzy had planned to post Qing Qi’s bond, “just to show you that the same people who you put down, that you do not know from a can of paint, can be the same ones that you may need later in life. He deleted [his post] because he didn’t want to humiliate her.” (Qing Qi’s rap crew, Pu Tang Clan, posted her bond before Mozzy had the opportunity.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Still, regardless of Mozzy’s intentions, his Instagram post provided a springboard for thousands of followers to mock Qing Qi’s misfortune and appearance. Other prominent Bay Area artists, including \u003ca href=\"https://www.kqed.org/arts/13825052/kamaiyah-surprises-hayward-high-school-with-black-panther-tickets\" target=\"_blank\" rel=\"noopener noreferrer\">Kamaiyah\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13838218/on-the-ranch-with-nef-the-pharaoh\" target=\"_blank\" rel=\"noopener noreferrer\">Nef the Pharaoh\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13811392/behind-the-beats-p-lo\" target=\"_blank\" rel=\"noopener noreferrer\">P-Lo\u003c/a>, appeared to laugh along in the comments.\u003c/p>\n\u003cp>Such response was markedly different than the hero worship lavished on Los Angeles rapper \u003ca href=\"https://www.latimes.com/entertainment/music/la-et-ms-03greedo-20180617-story.html\" target=\"_blank\" rel=\"noopener noreferrer\">03 Greedo\u003c/a>, for example, when he was sentenced to 20 years for trafficking meth this summer. Other than the other female rappers in Qing Qi’s Pu Tang Clan, few people stuck their necks out to \u003ca href=\"https://www.instagram.com/p/BqV54MOAY5l/\" target=\"_blank\" rel=\"noopener noreferrer\">defend her\u003c/a>.\u003c/p>\n\u003cp>Reached by phone, Qing Qi’s Thizzler co-host DNas addressed the double standard.\u003c/p>\n\u003cp>“If anything happens to anybody else, we ain’t makin’ these jokes,” he said, adding that he himself hasn’t gotten nearly as much backlash for his Sacramento comments as Qing Qi. “I’m supporting Qi.”\u003c/p>\n\u003cfigure id=\"attachment_13846004\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13846004\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/MG_5390-qing-qi-800x1266.jpeg\" alt=\"\" width=\"800\" height=\"1266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/MG_5390-qing-qi-800x1266.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/MG_5390-qing-qi-160x253.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/MG_5390-qing-qi-768x1215.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/MG_5390-qing-qi-758x1200.jpeg 758w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/MG_5390-qing-qi.jpeg 809w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003cfigcaption class=\"wp-caption-text\">Qing Qi.\u003c/figcaption>\u003c/figure>\n\u003cp>In a phone interview a week after her arrest, Qi acknowledged that, as an outspoken woman who is far from the narrow, socially acceptable mold of what a female rapper should be, her charges were received differently.\u003c/p>\n\u003cp>“For some reason, people are really upset by me. There are so many people, rappers, who have mugshots for bipping,” Qing Qi told me, using a slang term for breaking car windows. “But when I do something, they put it everywhere and everybody has to talk about it.”\u003c/p>\n\u003cp>Indeed, Qing Qi does rub some people the wrong way. She’s a single mom who raps about her sexuality, she’s full-figured and wears lingerie with her belly out, she often wears an afro, and she’s brashly outspoken about gender inequality in her music. Her 2018 mixtape \u003cem>\u003ca href=\"https://soundcloud.com/qingqi/sets/if-the-niggah-aint-shit-play-this-for-his-bitch\" target=\"_blank\" rel=\"noopener noreferrer\">ITNASPTFHB\u003c/a>\u003c/em> calls out male entitlement with hilarious punchlines that undoubtedly bruise some men’s egos.\u003c/p>\n\u003cp>In other words, if you’re a man with any amount of insecurity, she’s easy to hate.\u003c/p>\n\u003cp>“I think I’m very scary. If what I’m trying to do, and the music I’m trying to push and the image I’m trying to push is successful, I think it would bother a lot of people because it would change things drastically,” Qing Qi told me. “Because then you wouldn’t have to be skinny to show your stomach in a music video, or wear a lot of makeup, or get a long-ass weave to go to an interview.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Qing Qi’s court case is ongoing, and at press time, her public defender Tamara Zaromskis wasn’t sure when the case would go to trial—only that her plea, entered Thursday, would not be a guilty plea. But Qing Qi is optimistic. Upon her release, she put out a diss track called “\u003ca href=\"https://soundcloud.com/qingqi/tangy-qing-qi-pu-tang-clan\" target=\"_blank\" rel=\"noopener noreferrer\">Tangy\u003c/a>” to the beat of Kelis’ “Bossy”: “I got way too much shit goin’ on to be concerned with you weird internet thugs,” she raps.\u003c/p>\n\u003cp>As she summed it up in our interview: “It seems like controversy is my biggest ally.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003c/p>\n\u003cp>\u003cem>Correction: This article originally attributed the quote from Mozzy’s manager DavO to his publicist Aishah White, who passed along the information.\u003c/em>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In \u003cem>The Autobiography of Gucci Mane\u003c/em>, the Atlanta rap star details his numerous stints in DeKalb County Jail and how they bolstered his street cred. When the Bay Area’s Mac Dre was locked up for conspiracy to commit robbery in 1992, he recorded an album over the jail phone that became legendary. This past year, Brooklyn rapper 6ix9ine’s various legal troubles—including a guilty plea for a child sex crime, and an arrest for firearms—propelled him into the Billboard Hot 100 and brought collaborations with Kanye West and Nicki Minaj.\u003c/p>\n\u003cp>But the reaction was noticeably different when Oakland rapper \u003ca href=\"https://www.kqed.org/arts/13832451/qing-qi-rapper-and-thizzler-host-calls-out-scrubs-takes-no-prisoners\" target=\"_blank\" rel=\"noopener noreferrer\">Qing Qi\u003c/a> (Nikia Durgin) was booked in Nevada County Jail last week for an alleged burglary and high-speed getaway chase from police.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>According to police, Qing Qi sped off at 120 miles per hour with her headlights off after officers stopped her on suspicion of burglarizing a CVS in Grass Valley. She nearly got away, but crashed in nearby Auburn, and was caught attempting to hail an Uber back to Oakland. \u003cem>The Union\u003c/em> \u003ca href=\"https://www.theunion.com/news/local-news/burglary-suspects-accused-of-fleeing-officers-wrecking-in-auburn-out-on-bond/\" target=\"_blank\" rel=\"noopener noreferrer\">reported\u003c/a> that officers found several thousand dollars of hair-care products and makeup in her car.\u003c/p>\n\u003cp>Qing Qi now faces two felony counts of second-degree burglary, one felony count of evading a peace officer and one misdemeanor count of obstructing a peace officer. Pending sentencing, she could spend up to nine years in jail.\u003c/p>\n\u003cp>All of which would ordinarily mean, by the rap rulebook, a surge in a rapper’s career. Except when Qing Qi’s mugshot appeared on the homepage of \u003ca href=\"https://www.kron4.com/news/bay-area/san-francisco-women-arrested-for-burglary-after-high-speed-pursuit/1604372781\" target=\"_blank\" rel=\"noopener noreferrer\">KRON4\u003c/a> on Nov. 17 and spread through Bay Area social media, the local rap community didn’t celebrate her outlaw status. Nor was there the type of sympathy that’s usually expressed for male rappers who get caught and put behind bars. Instead, the majority of the \u003ca href=\"https://www.instagram.com/p/BqT8dODDE-J/\" target=\"_blank\" rel=\"noopener noreferrer\">comments\u003c/a> took jabs at Qing Qi’s hair and weight.\u003c/p>\n\u003cfigure id=\"attachment_13845979\" class=\"wp-caption alignright\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13845979\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/IMG_4648.jpg\" alt=\"A screen shot of a screen shot of Mozzy's Instagram post with Qing Qi's mugshot. \" width=\"750\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IMG_4648.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IMG_4648-160x285.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IMG_4648-675x1200.jpg 675w\" sizes=\"(max-width: 750px) 100vw, 750px\" />\u003cfigcaption class=\"wp-caption-text\">A screen shot of a screen shot of Mozzy’s Instagram post with Qing Qi’s mugshot. \u003ccite>(@allhailtheqing/Instagram)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Reactions escalated when Sacramento rapper \u003ca href=\"https://www.kqed.org/arts/13842545/mozzy-on-gangland-landlord-kendrick-and-how-a-persistent-grind-pays-off\" target=\"_blank\" rel=\"noopener noreferrer\">Mozzy\u003c/a>, who has over 828,000 Instagram followers (and, ironically, is Qing Qi’s labelmate on San Francisco imprint \u003ca href=\"https://www.empi.re/\" target=\"_blank\" rel=\"noopener noreferrer\">Empire\u003c/a>), posted her and her alleged accomplice’s mugshots with the caption “Lil petty thievery n thingz” and numerous laugh-cry emojis. (The post has since been deleted.)\u003c/p>\n\u003cp>Following Mozzy’s lead, his followers responded with taunts, many commenting that she deserved arrest after dissing Sacramento during her time as co-host of Thizzler’s YouTube talk show, \u003cem>That’s My Word.\u003c/em> (While \u003ca href=\"https://youtu.be/aC-6QSiQz7E?t=8\" target=\"_blank\" rel=\"noopener noreferrer\">debating\u003c/a> whether Sacramento is culturally part of the Bay Area, Qing Qi quipped that “Sacramento people are weird,” to which her co-host DNas replied, “They’re 2005 Oakland,” implying that Sacramento is behind the times.)\u003c/p>\n\u003cp>Mozzy’s manager, DavO, told KQED through a publicist that Mozzy was trying to make a point. “He just wanted to show people how things can quickly turn around for you,” he wrote in an email, adding that Mozzy had planned to post Qing Qi’s bond, “just to show you that the same people who you put down, that you do not know from a can of paint, can be the same ones that you may need later in life. He deleted [his post] because he didn’t want to humiliate her.” (Qing Qi’s rap crew, Pu Tang Clan, posted her bond before Mozzy had the opportunity.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Still, regardless of Mozzy’s intentions, his Instagram post provided a springboard for thousands of followers to mock Qing Qi’s misfortune and appearance. Other prominent Bay Area artists, including \u003ca href=\"https://www.kqed.org/arts/13825052/kamaiyah-surprises-hayward-high-school-with-black-panther-tickets\" target=\"_blank\" rel=\"noopener noreferrer\">Kamaiyah\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13838218/on-the-ranch-with-nef-the-pharaoh\" target=\"_blank\" rel=\"noopener noreferrer\">Nef the Pharaoh\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13811392/behind-the-beats-p-lo\" target=\"_blank\" rel=\"noopener noreferrer\">P-Lo\u003c/a>, appeared to laugh along in the comments.\u003c/p>\n\u003cp>Such response was markedly different than the hero worship lavished on Los Angeles rapper \u003ca href=\"https://www.latimes.com/entertainment/music/la-et-ms-03greedo-20180617-story.html\" target=\"_blank\" rel=\"noopener noreferrer\">03 Greedo\u003c/a>, for example, when he was sentenced to 20 years for trafficking meth this summer. Other than the other female rappers in Qing Qi’s Pu Tang Clan, few people stuck their necks out to \u003ca href=\"https://www.instagram.com/p/BqV54MOAY5l/\" target=\"_blank\" rel=\"noopener noreferrer\">defend her\u003c/a>.\u003c/p>\n\u003cp>Reached by phone, Qing Qi’s Thizzler co-host DNas addressed the double standard.\u003c/p>\n\u003cp>“If anything happens to anybody else, we ain’t makin’ these jokes,” he said, adding that he himself hasn’t gotten nearly as much backlash for his Sacramento comments as Qing Qi. “I’m supporting Qi.”\u003c/p>\n\u003cfigure id=\"attachment_13846004\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13846004\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/MG_5390-qing-qi-800x1266.jpeg\" alt=\"\" width=\"800\" height=\"1266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/MG_5390-qing-qi-800x1266.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/MG_5390-qing-qi-160x253.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/MG_5390-qing-qi-768x1215.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/MG_5390-qing-qi-758x1200.jpeg 758w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/MG_5390-qing-qi.jpeg 809w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003cfigcaption class=\"wp-caption-text\">Qing Qi.\u003c/figcaption>\u003c/figure>\n\u003cp>In a phone interview a week after her arrest, Qi acknowledged that, as an outspoken woman who is far from the narrow, socially acceptable mold of what a female rapper should be, her charges were received differently.\u003c/p>\n\u003cp>“For some reason, people are really upset by me. There are so many people, rappers, who have mugshots for bipping,” Qing Qi told me, using a slang term for breaking car windows. “But when I do something, they put it everywhere and everybody has to talk about it.”\u003c/p>\n\u003cp>Indeed, Qing Qi does rub some people the wrong way. She’s a single mom who raps about her sexuality, she’s full-figured and wears lingerie with her belly out, she often wears an afro, and she’s brashly outspoken about gender inequality in her music. Her 2018 mixtape \u003cem>\u003ca href=\"https://soundcloud.com/qingqi/sets/if-the-niggah-aint-shit-play-this-for-his-bitch\" target=\"_blank\" rel=\"noopener noreferrer\">ITNASPTFHB\u003c/a>\u003c/em> calls out male entitlement with hilarious punchlines that undoubtedly bruise some men’s egos.\u003c/p>\n\u003cp>In other words, if you’re a man with any amount of insecurity, she’s easy to hate.\u003c/p>\n\u003cp>“I think I’m very scary. If what I’m trying to do, and the music I’m trying to push and the image I’m trying to push is successful, I think it would bother a lot of people because it would change things drastically,” Qing Qi told me. “Because then you wouldn’t have to be skinny to show your stomach in a music video, or wear a lot of makeup, or get a long-ass weave to go to an interview.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Qing Qi’s court case is ongoing, and at press time, her public defender Tamara Zaromskis wasn’t sure when the case would go to trial—only that her plea, entered Thursday, would not be a guilty plea. But Qing Qi is optimistic. Upon her release, she put out a diss track called “\u003ca href=\"https://soundcloud.com/qingqi/tangy-qing-qi-pu-tang-clan\" target=\"_blank\" rel=\"noopener noreferrer\">Tangy\u003c/a>” to the beat of Kelis’ “Bossy”: “I got way too much shit goin’ on to be concerned with you weird internet thugs,” she raps.\u003c/p>\n\u003cp>As she summed it up in our interview: “It seems like controversy is my biggest ally.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003c/p>\n\u003cp>\u003cem>Correction: This article originally attributed the quote from Mozzy’s manager DavO to his publicist Aishah White, who passed along the information.\u003c/em>\u003c/p>\n\u003c/div>\u003c/p>",
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"title": "28 Trombonists Play 'Bohemian Rhapsody,' Will Send Shivers Down Your Spine",
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"content": "\u003cp>Amid all the Internet is capable of — instant news updates, ranking everything from \u003ca href=\"https://www.npr.org/series/534681404/best-music-of-2018\">albums \u003c/a>to \u003ca href=\"https://www.npr.org/2018/11/20/668372321/turning-the-tables-your-list-of-the-21st-centurys-most-influential-women-musicia\">influential artists\u003c/a>, \u003ca href=\"https://www.npr.org/2017/05/02/526514168/why-social-media-isnt-always-very-social\">exacerbating our FOMO\u003c/a> — a pure-hearted collaboration occasionally arises to remind us why we’re all still here, clicking around. \u003ca href=\"https://www.npr.org/artists/90283085/queen\">Queen\u003c/a>‘s “Bohemian Rhapsody,” performed by 28 trombonists, is the Internet content you didn’t know you needed today.\u003c/p>\n\u003cp>[contextly_sidebar id=”xhFw1hWbN6SJGMUW5E0yJQYd1TVToFAy”]\u003c/p>\n\u003cp>“Bohemian Rhapsody” covers are plentiful enough that choosing only a few to highlight would be impossible, although \u003ca href=\"https://www.youtube.com/watch?v=eOU6UAjmVIk\">this toddler\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=cZnBNuqqz5g\">this Green Day concert\u003c/a> come to mind. Recorded during the 2018 \u003ca href=\"https://trombonefestival.net/\">International Trombone Festival\u003c/a>, this brass choir elevates the cover game. The mournful slide of the trombone — a highlight during the ballad-like verses — and the brassy, anthemic crescendo after the head-banging bridge creates a unexpectedly heartening rendition of the rocking original.\u003c/p>\n\u003cp>[contextly_sidebar id=”D3dkZcvZ9fVL9a3KKZGoY8RKdppLFLie”]\u003c/p>\n\u003cp>The video was produced by \u003ca href=\"https://classicaltrombone.com/about/\">Christopher Bill\u003c/a>, a trombonist and \u003ca href=\"https://www.youtube.com/channel/UCr-U9BPniu4AQA16baIPHYQ\">prolific YouTuber\u003c/a>, to draw attention to next year’s International Trombone Festival. How effective is this video as a call to enroll? Let’s just say the organizers might find a few beginners in the mix this summer, newly inspired to take up the instrument.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=28+Trombonists+Play+%27Bohemian+Rhapsody%2C%27+Will+Send+Shivers+Down+Your+Spine&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>Amid all the Internet is capable of — instant news updates, ranking everything from \u003ca href=\"https://www.npr.org/series/534681404/best-music-of-2018\">albums \u003c/a>to \u003ca href=\"https://www.npr.org/2018/11/20/668372321/turning-the-tables-your-list-of-the-21st-centurys-most-influential-women-musicia\">influential artists\u003c/a>, \u003ca href=\"https://www.npr.org/2017/05/02/526514168/why-social-media-isnt-always-very-social\">exacerbating our FOMO\u003c/a> — a pure-hearted collaboration occasionally arises to remind us why we’re all still here, clicking around. \u003ca href=\"https://www.npr.org/artists/90283085/queen\">Queen\u003c/a>‘s “Bohemian Rhapsody,” performed by 28 trombonists, is the Internet content you didn’t know you needed today.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“Bohemian Rhapsody” covers are plentiful enough that choosing only a few to highlight would be impossible, although \u003ca href=\"https://www.youtube.com/watch?v=eOU6UAjmVIk\">this toddler\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=cZnBNuqqz5g\">this Green Day concert\u003c/a> come to mind. Recorded during the 2018 \u003ca href=\"https://trombonefestival.net/\">International Trombone Festival\u003c/a>, this brass choir elevates the cover game. The mournful slide of the trombone — a highlight during the ballad-like verses — and the brassy, anthemic crescendo after the head-banging bridge creates a unexpectedly heartening rendition of the rocking original.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The video was produced by \u003ca href=\"https://classicaltrombone.com/about/\">Christopher Bill\u003c/a>, a trombonist and \u003ca href=\"https://www.youtube.com/channel/UCr-U9BPniu4AQA16baIPHYQ\">prolific YouTuber\u003c/a>, to draw attention to next year’s International Trombone Festival. How effective is this video as a call to enroll? Let’s just say the organizers might find a few beginners in the mix this summer, newly inspired to take up the instrument.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=28+Trombonists+Play+%27Bohemian+Rhapsody%2C%27+Will+Send+Shivers+Down+Your+Spine&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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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.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Bay Curious",
"officialWebsiteLink": "/news/series/baycurious",
"meta": {
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"source": "kqed",
"order": 3
},
"link": "/podcasts/baycurious",
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"npr": "https://www.npr.org/podcasts/500557090/bay-curious",
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}
},
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"id": "bbc-world-service",
"title": "BBC World Service",
"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
"airtime": "MON-FRI 9pm-10pm, TUE-FRI 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.bbc.co.uk/sounds/play/live:bbc_world_service",
"meta": {
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"source": "BBC World Service"
},
"link": "/radio/program/bbc-world-service",
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"apple": "https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2",
"tuneIn": "https://tunein.com/radio/BBC-World-Service-p455581/",
"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report",
"officialWebsiteLink": "/californiareport",
"meta": {
"site": "news",
"source": "kqed",
"order": 8
},
"link": "/californiareport",
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"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
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"rss": "https://ww2.kqed.org/news/tag/tcram/feed/podcast"
}
},
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"id": "californiareportmagazine",
"title": "The California Report Magazine",
"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.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"officialWebsiteLink": "/californiareportmagazine",
"meta": {
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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"rss": "https://ww2.kqed.org/news/tag/tcrmag/feed/podcast"
}
},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/02/CAT_2_Tile-scaled.jpg",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"source": "kqed",
"order": 1
},
"link": "/podcasts/closealltabs",
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"code-switch-life-kit": {
"id": "code-switch-life-kit",
"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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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/code-switch-life-kit",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
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"rss": "https://feeds.npr.org/510312/podcast.xml"
}
},
"commonwealth-club": {
"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",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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}
},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
"officialWebsiteLink": "/forum",
"meta": {
"site": "news",
"source": "kqed",
"order": 9
},
"link": "/forum",
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"apple": "https://podcasts.apple.com/us/podcast/kqeds-forum/id73329719",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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}
},
"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
"airtime": "MON-FRI 7pm-8pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Fresh-Air-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "npr"
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
}
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"here-and-now": {
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"title": "Here & Now",
"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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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"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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"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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"tuneIn": "https://tunein.com/podcasts/Science-Podcasts/Hidden-Brain-p787503/",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"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.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"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. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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},
"jerrybrown": {
"id": "jerrybrown",
"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. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"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/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
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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"
}
},
"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)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"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": {
"site": "news",
"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
"spotify": "https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"
}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
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