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"content": "\u003cfigure id=\"attachment_13938692\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/GettyImages-1389888090-scaled-e1701361416894.jpg\" alt=\"A thin white man with a beard, wearing sunglasses clutches a microphone on a stand, as he sings into it. He is backlit by stage lights.\" width=\"1920\" height=\"1262\" class=\"size-full wp-image-13938692\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1389888090-scaled-e1701361416894.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1389888090-scaled-e1701361416894-800x526.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1389888090-scaled-e1701361416894-1020x670.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1389888090-scaled-e1701361416894-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1389888090-scaled-e1701361416894-768x505.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1389888090-scaled-e1701361416894-1536x1010.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Shane MacGowan performs with The Pogues in Belgium, November 1989. The celebrated Irish songwriter and singer died Thursday at the age of 65. \u003ccite>(Gie Knaeps /Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Shane MacGowan, the boozy, rabble-rousing singer and chief songwriter of The Pogues, who infused traditional Irish music with the energy and spirit of punk, died Thursday, his family said. He was 65.\u003c/p>\n\u003cp>MacGowan’s songwriting and persona made him an iconic figure in contemporary Irish culture, and some of his compositions have become classics — most notably the bittersweet Christmas ballad “Fairytale of New York,” which Irish President Michael D. Higgins said “will be listened to every Christmas for the next century or more.”\u003c/p>\n\u003cp>“It is with the deepest sorrow and heaviest of hearts that we announce the passing of our most beautiful, darling and dearly beloved Shane MacGowan,” his wife Victoria Clarke, his sister Siobhan and father Maurice said in a statement.\u003c/p>\n\u003cp>The singer died peacefully with his family by his side, the statement added.\u003c/p>\n\u003cp>The musician had been hospitalized in Dublin for several months after being diagnosed with viral encephalitis in late 2022. He was discharged last week, ahead of his upcoming birthday on Christmas Day.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The Pogues melded Irish folk and rock ’n’ roll into a unique, intoxicating blend, though MacGowan became as famous for his sozzled, slurred performances as for his powerful songwriting.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=j9jbdgZidu8\u003c/p>\n\u003cp>His songs blended the scabrous and the sentimental, ranging from carousing anthems to snapshots of life in the gutter to unexpectedly tender love songs. The Pogues’ most famous song, “Fairytale of New York” is a tale of down-on-their-luck immigrant lovers that opens with the decidedly unfestive words: “It was Christmas Eve, babe, in the drunk tank.” The duet between the raspy-voiced MacGowan and the velvet tones of the late Kirsty MacColl is by far the most beloved Pogues song in both Ireland and the U.K.\u003c/p>\n\u003cp>Singer-songwriter Nick Cave called Shane MacGowan “a true friend and the greatest songwriter of his generation.”\u003c/p>\n\u003cp>Higgins, the Irish president, said “his songs capture within them, as Shane would put it, the measure of our dreams.”\u003c/p>\n\u003cp>“His words have connected Irish people all over the globe to their culture and history, encompassing so many human emotions in the most poetic of ways,” Higgins said.\u003c/p>\n\u003cp>Irish Prime Minister Leo Varadkar said MacGowan’s songs “beautifully captured the Irish experience, especially the experience of being Irish abroad.”\u003c/p>\n\u003cp>Sinn Fein President Mary Lou McDonald said: “Nobody told the Irish story like Shane — stories of emigration, heartache, dislocation, redemption, love and joy.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=T-kARXzpgtQ\u003c/p>\n\u003cp>Born on Christmas Day 1957 in England to Irish parents, MacGowan spent his early years in rural Ireland before the family moved back to London. Ireland remained the lifelong center of his imagination and his yearning. He grew up steeped in Irish music absorbed from family and neighbors, along with the sounds of rock, Motown, reggae and jazz.\u003c/p>\n\u003cp>He attended the elite Westminster School in London, from which he was expelled, and spent time in a psychiatric hospital after a breakdown in his teens.\u003c/p>\n\u003cp>MacGowan embraced the punk scene that exploded in Britain in the mid-1970s. He joined a band called the Nipple Erectors, performing under the name Shane O’Hooligan, before forming The Pogues alongside musicians including Jem Finer and Spider Stacey.\u003c/p>\n\u003cp>The Pogues — shortened from the original name Pogue Mahone, a rude Irish phrase — fused punk’s furious energy with traditional Irish melodies and instruments including banjo, tin whistle and accordion.\u003c/p>\n\u003cp>“It never occurred to me that you could play Irish music to a rock audience,” MacGowan recalled in \u003cem>A Drink with Shane MacGowan\u003c/em>, a 2001 memoir co-authored with Clarke. “Then it finally clicked. Start a London Irish band playing Irish music with a rock and roll beat. The original idea was just to rock up old ones but then I started writing.”\u003c/p>\n\u003cp>The band’s first album, \u003cem>Red Roses for Me\u003c/em>, was released in 1984 and featured raucous versions of Irish folk songs alongside originals including “Boys from the County Hell,” “Dark Streets of London” and “Streams of Whisky.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=mPpGp_J3z2A\u003c/p>\n\u003cp>Playing pubs and clubs in London and beyond, the band earned a loyal following and praise from music critics and fellow musicians from Bono to Bob Dylan.\u003c/p>\n\u003cp>MacGowan wrote many of the songs on the next two albums, \u003cem>Rum, Sodomy and the Lash\u003c/em> (1985) and \u003cem>If I Should Fall from Grace with God\u003c/em> (1988), ranging from rollicking rousers like the latter album’s title track to ballads like “A Pair of Brown Eyes” and “The Broad Majestic Shannon.”\u003c/p>\n\u003cp>The band also released a 1986 EP, \u003cem>Poguetry in Motion\u003c/em>, which contained two of MacGowan’s finest songs, “A Rainy Night in Soho” and “The Body of an American.” The latter featured prominently in early-2000s TV series \u003cem>The Wire\u003c/em>, sung at the wakes of Baltimore police officers.\u003c/p>\n\u003cp>“I wanted to make pure music that could be from any time, to make time irrelevant, to make generations and decades irrelevant,” he recalled in his memoir.\u003c/p>\n\u003cp>The Pogues were briefly on top of the world, with sold-out tours and appearances on U.S. television, but the band’s output and appearances grew more erratic, due in part to MacGowan’s struggles with alcohol and drugs. He was fired by the other band members in 1991 after they became fed up with a string of no-shows, including when The Pogues were opening for Dylan. The band briefly replaced MacGowan with Clash frontman Joe Strummer before breaking up.\u003c/p>\n\u003cp>MacGowan performed with a new band, Shane MacGowan and the Popes, with whom he put out two albums: \u003cem>The Snake\u003c/em> in 1995 and \u003cem>The Crock Of Gold\u003c/em> in 1997. He reunited with The Pogues in 2001 for a series of concerts and tours, despite his well-documented problems with drinking and performances that regularly included slurred lyrics and at least one fall on stage.\u003c/p>\n\u003cp>MacGowan had years of health problems and used a wheelchair after breaking his pelvis a decade ago. He was long famous for his broken, rotten teeth until receiving a full set of implants in 2015 from a dental surgeon who described the procedure as “the Everest of dentistry.”\u003c/p>\n\u003cp>MacGowan received a lifetime achievement award from the Irish president on his 60th birthday. The occasion was marked with a celebratory concert at the National Concert Hall in Dublin with performers including Bono, Nick Cave, Sinead O’Connor and Johnny Depp.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=BgYml2eokLA\u003c/p>\n\u003cp>Clarke wrote on Instagram that “there’s no way to describe the loss that I am feeling and the longing for just one more of his smiles that lit up my world.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“I am blessed beyond words to have met him and to have loved him and to have been so endlessly and unconditionally loved by him and to have had so many years of life and love and joy and fun and laughter and so many adventures,” she wrote.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13938692\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/GettyImages-1389888090-scaled-e1701361416894.jpg\" alt=\"A thin white man with a beard, wearing sunglasses clutches a microphone on a stand, as he sings into it. He is backlit by stage lights.\" width=\"1920\" height=\"1262\" class=\"size-full wp-image-13938692\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1389888090-scaled-e1701361416894.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1389888090-scaled-e1701361416894-800x526.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1389888090-scaled-e1701361416894-1020x670.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1389888090-scaled-e1701361416894-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1389888090-scaled-e1701361416894-768x505.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-1389888090-scaled-e1701361416894-1536x1010.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Shane MacGowan performs with The Pogues in Belgium, November 1989. The celebrated Irish songwriter and singer died Thursday at the age of 65. \u003ccite>(Gie Knaeps /Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Shane MacGowan, the boozy, rabble-rousing singer and chief songwriter of The Pogues, who infused traditional Irish music with the energy and spirit of punk, died Thursday, his family said. He was 65.\u003c/p>\n\u003cp>MacGowan’s songwriting and persona made him an iconic figure in contemporary Irish culture, and some of his compositions have become classics — most notably the bittersweet Christmas ballad “Fairytale of New York,” which Irish President Michael D. Higgins said “will be listened to every Christmas for the next century or more.”\u003c/p>\n\u003cp>“It is with the deepest sorrow and heaviest of hearts that we announce the passing of our most beautiful, darling and dearly beloved Shane MacGowan,” his wife Victoria Clarke, his sister Siobhan and father Maurice said in a statement.\u003c/p>\n\u003cp>The singer died peacefully with his family by his side, the statement added.\u003c/p>\n\u003cp>The musician had been hospitalized in Dublin for several months after being diagnosed with viral encephalitis in late 2022. He was discharged last week, ahead of his upcoming birthday on Christmas Day.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The Pogues melded Irish folk and rock ’n’ roll into a unique, intoxicating blend, though MacGowan became as famous for his sozzled, slurred performances as for his powerful songwriting.\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/j9jbdgZidu8'\n title='//www.youtube.com/embed/j9jbdgZidu8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>His songs blended the scabrous and the sentimental, ranging from carousing anthems to snapshots of life in the gutter to unexpectedly tender love songs. The Pogues’ most famous song, “Fairytale of New York” is a tale of down-on-their-luck immigrant lovers that opens with the decidedly unfestive words: “It was Christmas Eve, babe, in the drunk tank.” The duet between the raspy-voiced MacGowan and the velvet tones of the late Kirsty MacColl is by far the most beloved Pogues song in both Ireland and the U.K.\u003c/p>\n\u003cp>Singer-songwriter Nick Cave called Shane MacGowan “a true friend and the greatest songwriter of his generation.”\u003c/p>\n\u003cp>Higgins, the Irish president, said “his songs capture within them, as Shane would put it, the measure of our dreams.”\u003c/p>\n\u003cp>“His words have connected Irish people all over the globe to their culture and history, encompassing so many human emotions in the most poetic of ways,” Higgins said.\u003c/p>\n\u003cp>Irish Prime Minister Leo Varadkar said MacGowan’s songs “beautifully captured the Irish experience, especially the experience of being Irish abroad.”\u003c/p>\n\u003cp>Sinn Fein President Mary Lou McDonald said: “Nobody told the Irish story like Shane — stories of emigration, heartache, dislocation, redemption, love and joy.”\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/T-kARXzpgtQ'\n title='//www.youtube.com/embed/T-kARXzpgtQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Born on Christmas Day 1957 in England to Irish parents, MacGowan spent his early years in rural Ireland before the family moved back to London. Ireland remained the lifelong center of his imagination and his yearning. He grew up steeped in Irish music absorbed from family and neighbors, along with the sounds of rock, Motown, reggae and jazz.\u003c/p>\n\u003cp>He attended the elite Westminster School in London, from which he was expelled, and spent time in a psychiatric hospital after a breakdown in his teens.\u003c/p>\n\u003cp>MacGowan embraced the punk scene that exploded in Britain in the mid-1970s. He joined a band called the Nipple Erectors, performing under the name Shane O’Hooligan, before forming The Pogues alongside musicians including Jem Finer and Spider Stacey.\u003c/p>\n\u003cp>The Pogues — shortened from the original name Pogue Mahone, a rude Irish phrase — fused punk’s furious energy with traditional Irish melodies and instruments including banjo, tin whistle and accordion.\u003c/p>\n\u003cp>“It never occurred to me that you could play Irish music to a rock audience,” MacGowan recalled in \u003cem>A Drink with Shane MacGowan\u003c/em>, a 2001 memoir co-authored with Clarke. “Then it finally clicked. Start a London Irish band playing Irish music with a rock and roll beat. The original idea was just to rock up old ones but then I started writing.”\u003c/p>\n\u003cp>The band’s first album, \u003cem>Red Roses for Me\u003c/em>, was released in 1984 and featured raucous versions of Irish folk songs alongside originals including “Boys from the County Hell,” “Dark Streets of London” and “Streams of Whisky.”\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/mPpGp_J3z2A'\n title='//www.youtube.com/embed/mPpGp_J3z2A'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Playing pubs and clubs in London and beyond, the band earned a loyal following and praise from music critics and fellow musicians from Bono to Bob Dylan.\u003c/p>\n\u003cp>MacGowan wrote many of the songs on the next two albums, \u003cem>Rum, Sodomy and the Lash\u003c/em> (1985) and \u003cem>If I Should Fall from Grace with God\u003c/em> (1988), ranging from rollicking rousers like the latter album’s title track to ballads like “A Pair of Brown Eyes” and “The Broad Majestic Shannon.”\u003c/p>\n\u003cp>The band also released a 1986 EP, \u003cem>Poguetry in Motion\u003c/em>, which contained two of MacGowan’s finest songs, “A Rainy Night in Soho” and “The Body of an American.” The latter featured prominently in early-2000s TV series \u003cem>The Wire\u003c/em>, sung at the wakes of Baltimore police officers.\u003c/p>\n\u003cp>“I wanted to make pure music that could be from any time, to make time irrelevant, to make generations and decades irrelevant,” he recalled in his memoir.\u003c/p>\n\u003cp>The Pogues were briefly on top of the world, with sold-out tours and appearances on U.S. television, but the band’s output and appearances grew more erratic, due in part to MacGowan’s struggles with alcohol and drugs. He was fired by the other band members in 1991 after they became fed up with a string of no-shows, including when The Pogues were opening for Dylan. The band briefly replaced MacGowan with Clash frontman Joe Strummer before breaking up.\u003c/p>\n\u003cp>MacGowan performed with a new band, Shane MacGowan and the Popes, with whom he put out two albums: \u003cem>The Snake\u003c/em> in 1995 and \u003cem>The Crock Of Gold\u003c/em> in 1997. He reunited with The Pogues in 2001 for a series of concerts and tours, despite his well-documented problems with drinking and performances that regularly included slurred lyrics and at least one fall on stage.\u003c/p>\n\u003cp>MacGowan had years of health problems and used a wheelchair after breaking his pelvis a decade ago. He was long famous for his broken, rotten teeth until receiving a full set of implants in 2015 from a dental surgeon who described the procedure as “the Everest of dentistry.”\u003c/p>\n\u003cp>MacGowan received a lifetime achievement award from the Irish president on his 60th birthday. The occasion was marked with a celebratory concert at the National Concert Hall in Dublin with performers including Bono, Nick Cave, Sinead O’Connor and Johnny Depp.\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/BgYml2eokLA'\n title='//www.youtube.com/embed/BgYml2eokLA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Clarke wrote on Instagram that “there’s no way to describe the loss that I am feeling and the longing for just one more of his smiles that lit up my world.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I am blessed beyond words to have met him and to have loved him and to have been so endlessly and unconditionally loved by him and to have had so many years of life and love and joy and fun and laughter and so many adventures,” she wrote.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The organizers of BottleRock, the annual Napa music festival, have announced a new Latin music festival. \u003ca href=\"https://www.laondafest.com/\">Festival La Onda\u003c/a> will run June 1 and 2 — the weekend following BottleRock — at the same site, the Napa Valley Expo. \u003c/p>\n\u003cp>While the lineup of performers won’t be announced until Monday, Dec. 4, Festival La Onda promises two days of “major Latin touring artists,” including “regional Mexican, Latin pop, Spanish rock, reggaetón, banda, mariachi, rap, norteño, cumbia, bolero and more.” Judging by the size of the festival grounds and \u003ca href=\"https://www.bottlerocknapavalley.com/past-lineups/\">previous BottleRock headliners\u003c/a>, it’s safe to expect big names among the La Onda lineup. \u003c/p>\n\u003cp>[aside postID='arts_13936406']On Tuesday, \u003ca href=\"https://napavalleyregister.com/news/local/festival-la-onda-latin-music-bottlerock-napa-valley-latitude-38/article_1bdbbb8e-8e6d-11ee-aa2e-c340db734484.html\">the \u003cem>Napa Valley Register\u003c/em> reported\u003c/a> that in a community forum that evening, BottleRock organizers Latitude 38 met with Napa residents to announce Festival La Onda, explaining that it follows requests from the sizable local Latino population for a specialized music festival. The \u003ca href=\"https://www.laondafest.com/\">festival’s website\u003c/a> also promises local and regional Latin cuisine, specialty beverages, a spa, a silent disco and other amenities similar to BottleRock. \u003c/p>\n\u003cp>The announcement follows several trends, foremost among them the massively growing popularity of Latin music — especially in California, where nearly 40% of the state’s population is Latino. It also capitalizes on BottleRock’s on-site infrastructure for a second weekend of music, which has become routine at festivals like Coachella. And, in Napa, it follows this year’s inaugural Sabor Y Ritmo festival, with a lineup of Latin music acts, held at Silverado Resort in September. \u003c/p>\n\u003cp>Whether Festival La Onda will attract the large crowds of BottleRock, which organizers estimate at 120,000 people across three days, will be dependent largely on the performers. Going by some already announced tour dates, it may be safer to predict who \u003cem>won’t\u003c/em> be part of the lineup than who will. Gloria Trevi performs at the SAP Center in San Jose on Feb. 3, making it unlikely she’d return for Festival La Onda. Likewise, Pepe Aguilar will be at the SAP Center on July 19, and Hombres G on June 29. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As for reckless speculation: Currently, Bad Bunny’s last announced tour date in 2024, in Florida, is just five days before the festival. Peso Pluma has no conflicting plans on June 1 or 2, nor does Karol G, Fuerza Regida, Maluma or Rosalía. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The official La Onda Festival lineup will be announced at 8 a.m. on Monday, Dec. 4 at \u003ca href=\"https://www.laondafest.com/\">the festival site\u003c/a>; tickets will go on sale starting Friday, Dec. 8, at 10 a.m.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The organizers of BottleRock, the annual Napa music festival, have announced a new Latin music festival. \u003ca href=\"https://www.laondafest.com/\">Festival La Onda\u003c/a> will run June 1 and 2 — the weekend following BottleRock — at the same site, the Napa Valley Expo. \u003c/p>\n\u003cp>While the lineup of performers won’t be announced until Monday, Dec. 4, Festival La Onda promises two days of “major Latin touring artists,” including “regional Mexican, Latin pop, Spanish rock, reggaetón, banda, mariachi, rap, norteño, cumbia, bolero and more.” Judging by the size of the festival grounds and \u003ca href=\"https://www.bottlerocknapavalley.com/past-lineups/\">previous BottleRock headliners\u003c/a>, it’s safe to expect big names among the La Onda lineup. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>On Tuesday, \u003ca href=\"https://napavalleyregister.com/news/local/festival-la-onda-latin-music-bottlerock-napa-valley-latitude-38/article_1bdbbb8e-8e6d-11ee-aa2e-c340db734484.html\">the \u003cem>Napa Valley Register\u003c/em> reported\u003c/a> that in a community forum that evening, BottleRock organizers Latitude 38 met with Napa residents to announce Festival La Onda, explaining that it follows requests from the sizable local Latino population for a specialized music festival. The \u003ca href=\"https://www.laondafest.com/\">festival’s website\u003c/a> also promises local and regional Latin cuisine, specialty beverages, a spa, a silent disco and other amenities similar to BottleRock. \u003c/p>\n\u003cp>The announcement follows several trends, foremost among them the massively growing popularity of Latin music — especially in California, where nearly 40% of the state’s population is Latino. It also capitalizes on BottleRock’s on-site infrastructure for a second weekend of music, which has become routine at festivals like Coachella. And, in Napa, it follows this year’s inaugural Sabor Y Ritmo festival, with a lineup of Latin music acts, held at Silverado Resort in September. \u003c/p>\n\u003cp>Whether Festival La Onda will attract the large crowds of BottleRock, which organizers estimate at 120,000 people across three days, will be dependent largely on the performers. Going by some already announced tour dates, it may be safer to predict who \u003cem>won’t\u003c/em> be part of the lineup than who will. Gloria Trevi performs at the SAP Center in San Jose on Feb. 3, making it unlikely she’d return for Festival La Onda. Likewise, Pepe Aguilar will be at the SAP Center on July 19, and Hombres G on June 29. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As for reckless speculation: Currently, Bad Bunny’s last announced tour date in 2024, in Florida, is just five days before the festival. Peso Pluma has no conflicting plans on June 1 or 2, nor does Karol G, Fuerza Regida, Maluma or Rosalía. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The official La Onda Festival lineup will be announced at 8 a.m. on Monday, Dec. 4 at \u003ca href=\"https://www.laondafest.com/\">the festival site\u003c/a>; tickets will go on sale starting Friday, Dec. 8, at 10 a.m.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘Thriller 40’ Revels in the Magic of Early Michael Jackson — and Sidesteps His Controversies",
"headTitle": "‘Thriller 40’ Revels in the Magic of Early Michael Jackson — and Sidesteps His Controversies | KQED",
"content": "\u003cfigure id=\"attachment_13938565\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/GettyImages-88696481-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13938565\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/GettyImages-88696481-800x664.jpg\" alt=\"\" width=\"800\" height=\"664\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-88696481-800x664.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-88696481-1020x847.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-88696481-160x133.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-88696481-768x637.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-88696481-1536x1275.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-88696481-2048x1700.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-88696481-1920x1594.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Michael Jackson about to win 12 Grammys for ‘Thriller’ at the 1984 awards. At his side is his date Brooke Shields. At the time, says Mary J. Blige in a new documentary, Jackson was considered ‘super-duper-duper sexy.’ \u003ccite>(Ron Galella/ Ron Galella Collection via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 2023, thinking about Michael Jackson in any kind of meaningful way is thoroughly depressing. There are the \u003ca href=\"https://www.kqed.org/pop/108623/why-the-new-michael-jackson-documentary-wont-have-the-impact-surviving-r-kelly-did\">sexual abuse allegations against him\u003c/a>, the strange and isolated life he led, the way he died, the grief of the children he left behind, his extraordinary \u003ca href=\"https://www.newsweek.com/was-michael-jackson-debt-he-died-look-king-pops-finances-1349255#:~:text=The%20musician's%20extreme%20debt%20started,of%20his%20famous%20Neverland%20Ranch.\">amassing of debts\u003c/a> despite a lifetime of success. All of it is sad. So sad, in fact, that sometimes it’s tough to remember the sheer amount of joy that Jackson brought audiences during his early solo career.\u003c/p>\n\u003cp>In a choice that’s sure to anger some viewers and delight others, \u003ca href=\"https://www.sho.com/titles/3524363/thriller-40\">\u003cem>Thriller 40\u003c/em>\u003c/a>, a new documentary from Showtime and Paramount+, willfully sidesteps all of the most discomfiting elements about Jackson. Instead, the film takes us back to that time — roughly 1979 to 1984 — when he was still in the middle of transforming himself into the King of Pop. The biggest challenges Jackson faced back then were escaping the shadow of The Jackson 5, winning as many Grammys as he thought he deserved and dealing with MTV at a time when the channel refused to play videos by Black artists.\u003c/p>\n\u003cp>[aside postid='arts_13910810']That final hurdle is particularly astonishing when one considers the lasting cultural jolt provided by the videos that eventually emerged from 1982’s \u003cem>Thriller\u003c/em> album — and just how much they boosted MTV’s audience. (If you ask anyone who was alive in the ’80s where they were when they first saw Michael Jackson’s “Thriller” video, they can usually tell you. That degree of impact — usually reserved for national tragedies — had never happened before \u003cem>Thriller,\u003c/em> and it hasn’t happened on that scale since.)\u003c/p>\n\u003cp>\u003cem>Thriller 40\u003c/em> explains the infuriating lengths to which Jackson and his team had to go to get his videos played. At one point, Walter Yetnikoff — then group president of CBS Records — threatened to pull all of the label’s artists from the channel if MTV didn’t start playing Jackson. Yetnikoff is heard in the film explaining in voiceover: “I screamed bloody murder when MTV refused to air his videos. They argued that their format, white rock, excluded Michael’s music. I argued that they were racist assholes. I’ve never been more forceful or obnoxious.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=YlPxt33aC_4\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Between this and other telling anecdotes, \u003cem>Thriller 40 \u003c/em>illustrates what it took for Jackson to be considered a true “crossover artist” — a mainstream pop star rather than an R&B one — at a time when racial divisions in the industry were uncompromising, to put it mildly. His duet with Paul McCartney, “The Girl Is Mine,” wasn’t just the first single released from \u003cem>Thriller\u003c/em> because of McCartney’s musical cache; it was about what the Beatle represented and the demographics of his audience. When Jackson asked Jane Fonda to introduce him at a press conference in 1983, she was chosen for similar reasons.\u003c/p>\n\u003cp>\u003cem>Thriller 40\u003c/em> is first and foremost, however, a documentary about the \u003cem>Thriller\u003c/em> album. That means a wealth of behind-the-scenes footage, the chance to hear a few original demos (the one for “Billie Jean” is a particular treat) and present-day interviews with the session musicians involved in making it. There are also reflections on how influential the album was from artists including Mary J. Blige, Usher, Maxwell, Mark Ronson and Tony! Toni! Toné!’s Raphael Saddiq.\u003c/p>\n\u003cp>For younger generations, \u003cem>Thriller 40\u003c/em> is a modern history lesson in how pop music once worked: how it was controlled by a small group of gatekeepers, but also had the power to seep into every aspect of the culture. For those who lived through that period, \u003cem>Thriller 40\u003c/em> offers an immersive nostalgia and a reminder of one of the last points in pop culture before it felt like we’d seen everything. For me — a childhood Jackson fan who hasn’t willingly listened to his music since the sexual assault allegations first started — there was something soothing about revisiting this very specific, more innocent moment in time.\u003c/p>\n\u003cp>[aside postid='pop_97337']Regardless of how you feel about what Jackson became later in his life, there is no escaping the fact that \u003cem>Thriller\u003c/em> was and remains the best-selling album of all time — a record unlikely to ever be beaten. According to the film, 100 million copies have been sold around the world, and the album is now streamed over 2.6 billion times annually. There’s also no denying what Jackson’s extraordinary talent, tenacity and (borderline maniacal) ambition yielded for other Black artists and the wider culture.\u003c/p>\n\u003cp>Producer Nelson George — who also directed the documentary — sums up \u003cem>Thriller’\u003c/em>s impact perfectly just before the movie comes to an end. “That idea,” George says, “that I can take dance, music and visuals and turn the world on its ear? That idea that [Jackson] crystalized with \u003cem>Thriller\u003c/em> has not gone away. I don’t think it’s ever going to go away.”\u003c/p>\n\u003cp>\u003cem>Thriller 40\u003c/em> is a gentle reminder of where it came from in the first place.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Thriller 40’ begins streaming on Showtime and Paramount+ on Dec. 2, 2023.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13938565\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/GettyImages-88696481-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13938565\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/GettyImages-88696481-800x664.jpg\" alt=\"\" width=\"800\" height=\"664\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-88696481-800x664.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-88696481-1020x847.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-88696481-160x133.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-88696481-768x637.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-88696481-1536x1275.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-88696481-2048x1700.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-88696481-1920x1594.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Michael Jackson about to win 12 Grammys for ‘Thriller’ at the 1984 awards. At his side is his date Brooke Shields. At the time, says Mary J. Blige in a new documentary, Jackson was considered ‘super-duper-duper sexy.’ \u003ccite>(Ron Galella/ Ron Galella Collection via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 2023, thinking about Michael Jackson in any kind of meaningful way is thoroughly depressing. There are the \u003ca href=\"https://www.kqed.org/pop/108623/why-the-new-michael-jackson-documentary-wont-have-the-impact-surviving-r-kelly-did\">sexual abuse allegations against him\u003c/a>, the strange and isolated life he led, the way he died, the grief of the children he left behind, his extraordinary \u003ca href=\"https://www.newsweek.com/was-michael-jackson-debt-he-died-look-king-pops-finances-1349255#:~:text=The%20musician's%20extreme%20debt%20started,of%20his%20famous%20Neverland%20Ranch.\">amassing of debts\u003c/a> despite a lifetime of success. All of it is sad. So sad, in fact, that sometimes it’s tough to remember the sheer amount of joy that Jackson brought audiences during his early solo career.\u003c/p>\n\u003cp>In a choice that’s sure to anger some viewers and delight others, \u003ca href=\"https://www.sho.com/titles/3524363/thriller-40\">\u003cem>Thriller 40\u003c/em>\u003c/a>, a new documentary from Showtime and Paramount+, willfully sidesteps all of the most discomfiting elements about Jackson. Instead, the film takes us back to that time — roughly 1979 to 1984 — when he was still in the middle of transforming himself into the King of Pop. The biggest challenges Jackson faced back then were escaping the shadow of The Jackson 5, winning as many Grammys as he thought he deserved and dealing with MTV at a time when the channel refused to play videos by Black artists.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>That final hurdle is particularly astonishing when one considers the lasting cultural jolt provided by the videos that eventually emerged from 1982’s \u003cem>Thriller\u003c/em> album — and just how much they boosted MTV’s audience. (If you ask anyone who was alive in the ’80s where they were when they first saw Michael Jackson’s “Thriller” video, they can usually tell you. That degree of impact — usually reserved for national tragedies — had never happened before \u003cem>Thriller,\u003c/em> and it hasn’t happened on that scale since.)\u003c/p>\n\u003cp>\u003cem>Thriller 40\u003c/em> explains the infuriating lengths to which Jackson and his team had to go to get his videos played. At one point, Walter Yetnikoff — then group president of CBS Records — threatened to pull all of the label’s artists from the channel if MTV didn’t start playing Jackson. Yetnikoff is heard in the film explaining in voiceover: “I screamed bloody murder when MTV refused to air his videos. They argued that their format, white rock, excluded Michael’s music. I argued that they were racist assholes. I’ve never been more forceful or obnoxious.”\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/YlPxt33aC_4'\n title='//www.youtube.com/embed/YlPxt33aC_4'\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>Between this and other telling anecdotes, \u003cem>Thriller 40 \u003c/em>illustrates what it took for Jackson to be considered a true “crossover artist” — a mainstream pop star rather than an R&B one — at a time when racial divisions in the industry were uncompromising, to put it mildly. His duet with Paul McCartney, “The Girl Is Mine,” wasn’t just the first single released from \u003cem>Thriller\u003c/em> because of McCartney’s musical cache; it was about what the Beatle represented and the demographics of his audience. When Jackson asked Jane Fonda to introduce him at a press conference in 1983, she was chosen for similar reasons.\u003c/p>\n\u003cp>\u003cem>Thriller 40\u003c/em> is first and foremost, however, a documentary about the \u003cem>Thriller\u003c/em> album. That means a wealth of behind-the-scenes footage, the chance to hear a few original demos (the one for “Billie Jean” is a particular treat) and present-day interviews with the session musicians involved in making it. There are also reflections on how influential the album was from artists including Mary J. Blige, Usher, Maxwell, Mark Ronson and Tony! Toni! Toné!’s Raphael Saddiq.\u003c/p>\n\u003cp>For younger generations, \u003cem>Thriller 40\u003c/em> is a modern history lesson in how pop music once worked: how it was controlled by a small group of gatekeepers, but also had the power to seep into every aspect of the culture. For those who lived through that period, \u003cem>Thriller 40\u003c/em> offers an immersive nostalgia and a reminder of one of the last points in pop culture before it felt like we’d seen everything. For me — a childhood Jackson fan who hasn’t willingly listened to his music since the sexual assault allegations first started — there was something soothing about revisiting this very specific, more innocent moment in time.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Regardless of how you feel about what Jackson became later in his life, there is no escaping the fact that \u003cem>Thriller\u003c/em> was and remains the best-selling album of all time — a record unlikely to ever be beaten. According to the film, 100 million copies have been sold around the world, and the album is now streamed over 2.6 billion times annually. There’s also no denying what Jackson’s extraordinary talent, tenacity and (borderline maniacal) ambition yielded for other Black artists and the wider culture.\u003c/p>\n\u003cp>Producer Nelson George — who also directed the documentary — sums up \u003cem>Thriller’\u003c/em>s impact perfectly just before the movie comes to an end. “That idea,” George says, “that I can take dance, music and visuals and turn the world on its ear? That idea that [Jackson] crystalized with \u003cem>Thriller\u003c/em> has not gone away. I don’t think it’s ever going to go away.”\u003c/p>\n\u003cp>\u003cem>Thriller 40\u003c/em> is a gentle reminder of where it came from in the first place.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Thriller 40’ begins streaming on Showtime and Paramount+ on Dec. 2, 2023.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Fill Your Holiday With New Albums by Cher, Andrea Bocelli, Brandy and More",
"headTitle": "Fill Your Holiday With New Albums by Cher, Andrea Bocelli, Brandy and More | KQED",
"content": "\u003cp>What is a holiday season without festive music? The classics are great, but the classics performed by some of the best performers across pop, R&B, rock, opera, soul and beyond? That’s a real reason to celebrate.\u003c/p>\n\u003cp>In honor of the most wonderful time of the year, The Associated Press’ Music Writer Maria Sherman has compiled some of the best new holiday releases for your listening pleasure. Because sometimes the best thing that can happen to an old classic is revitalizing it with a new performance.\u003c/p>\n\u003ch2>Ella Fitzgerald, \u003cem>Ella Wishes You a Swinging Christmas\u003c/em>\u003c/h2>\n\u003cfigure id=\"attachment_13938431\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938431\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.04.22-PM.png\" alt=\"\" width=\"1280\" height=\"1276\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.04.22-PM.png 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.04.22-PM-800x798.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.04.22-PM-1020x1017.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.04.22-PM-160x160.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.04.22-PM-768x766.png 768w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">Ella Fitzgerald, ‘Ella Wishes You A Swinging Christmas.’ \u003ccite>(UMG via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Don’t bore us, get to the chorus — or in the case of this collectible vinyl release of \u003cem>Ella Wishes You A Swinging Christmas\u003c/em>, give us the hits! Ella Fitzgerald ‘s 1960 holiday record is largely considered by critics to be one of the greatest of all time — so why not celebrate the best of the best on a new piece of wax? It’s not a bad gift idea, either.\u003c/p>\n\u003ch2>Cher, \u003cem>Christmas\u003c/em>\u003c/h2>\n\u003cfigure id=\"attachment_13938432\" class=\"wp-caption aligncenter\" style=\"max-width: 1274px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938432\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.06.53-PM.png\" alt=\"\" width=\"1274\" height=\"1276\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.06.53-PM.png 1274w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.06.53-PM-800x801.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.06.53-PM-1020x1022.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.06.53-PM-160x160.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.06.53-PM-768x769.png 768w\" sizes=\"(max-width: 1274px) 100vw, 1274px\">\u003cfigcaption class=\"wp-caption-text\">Cher, ‘Christmas.’ \u003ccite>(Warner via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Somehow, \u003cem>Christmas\u003c/em> is Cher’s first holiday album — not that she hasn’t been asked to do one in the past. “I just didn’t want to do one,” she told the AP. “I didn’t know how I was going to make it a ‘Cher Christmas album.’” The secret, it turns out, was to get a bunch of A-list collaborators on her album, something she’s never done before. There’s Cyndi Lauper on “Put a Little Holiday In Your Heart,” Stevie Wonder on “What Christmas Means to Me,” Darlene Love on “Christmas (Baby, Please Come Home),” Michael Bublé on “Home,” and even the rapper Tyga on “Drop Top Sleigh Ride.” There’s something for everyone, and then some.\u003c/p>\n\u003ch2>Brandy, \u003cem>Christmas With Brandy\u003c/em>\u003c/h2>\n\u003cfigure id=\"attachment_13938433\" class=\"wp-caption aligncenter\" style=\"max-width: 1278px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938433\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.08.31-PM.png\" alt=\"\" width=\"1278\" height=\"1278\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.08.31-PM.png 1278w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.08.31-PM-800x800.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.08.31-PM-1020x1020.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.08.31-PM-160x160.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.08.31-PM-768x768.png 768w\" sizes=\"(max-width: 1278px) 100vw, 1278px\">\u003cfigcaption class=\"wp-caption-text\">Brandy, ‘Christmas with Brandy.’ \u003ccite>(Motown via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For those looking for a seductive holiday album: the search is over. R&B great Brandy has released \u003cem>Christmas with Brandy\u003c/em>, a collection of sultry — and in other moments, soulful — imaginations of Christmas classics and originals. Like on “Christmas Gift,” which features her daughter Sy’Rai, and “Feels Different.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postid='arts_13938263']Elsewhere, Brandy offers a PG-13 holiday special. “Help me undress, oh, yes / I’ll be your present / Just give me your presence / That’s all that I’m askin’ of you,” she sings on chorus of the lead single, “Christmas Party for Two.” “Take my body / Boy, you know you got it / Just look what you started / It’s a Christmas party for two.”\u003c/p>\n\u003ch2>Chicago, \u003cem>Chicago Greatest Christmas Hits\u003c/em>\u003c/h2>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13938434\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.11.44-PM.png\" alt=\"\" width=\"956\" height=\"958\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.11.44-PM.png 956w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.11.44-PM-800x802.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.11.44-PM-160x160.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.11.44-PM-768x770.png 768w\" sizes=\"(max-width: 956px) 100vw, 956px\">\u003c/p>\n\u003cp>Lifelong fans of the rock band with horns are familiar with Chicago’s extensive holiday discography: starting with 1998’s \u003cem>Chicago XXV: The Christmas Album\u003c/em>, (reissued in 2003 as \u003cem>Chicago Christmas: What’s It Gonna Be Santa\u003c/em> with six additional tracks), 2011’s \u003cem>Chicago XXXIII: O Christmas Three\u003c/em>, and 2019’s \u003cem>Chicago XXXVII: Chicago Christmas\u003c/em>. But the only way to complete the collection — or begin your own, and with just the singles — is to check out \u003cem>Chicago Greatest Christmas Hits\u003c/em>, which pulls from all those releases and is sold in festive red and green vinyl.\u003c/p>\n\u003ch2>Andrea, Matteo and Virginia Bocelli, \u003cem>A Family Christmas\u003c/em>\u003c/h2>\n\u003cfigure id=\"attachment_13938435\" class=\"wp-caption aligncenter\" style=\"max-width: 1278px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938435\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.13.24-PM.png\" alt=\"\" width=\"1278\" height=\"1266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.13.24-PM.png 1278w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.13.24-PM-800x792.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.13.24-PM-1020x1010.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.13.24-PM-160x158.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.13.24-PM-768x761.png 768w\" sizes=\"(max-width: 1278px) 100vw, 1278px\">\u003cfigcaption class=\"wp-caption-text\">Andrea, Matteo and Virginia Bocelli, ‘A Family Christmas.’ \u003ccite>(Decca/ Capitol/ UMG via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Italian opera singer Andrea Bocelli got the whole family together for a new, deluxe edition of their first album together, \u003cem>A Family Christmas\u003c/em>. Andrea, his 26-year-old son Matteo and his 11-year-old daughter Virginia teamed up for the release, adding four new recordings to the collection: “Let It Snow,” “Silver Bells,” “E’ Natale!” and “Winter Wonderland.” If you can listen to the famed tenor harmonize with his children and not shed a tear, you’re a stronger person than most.\u003c/p>\n\u003ch2>Wheatus, \u003cem>Just a Dirtbag Christmas\u003c/em>\u003c/h2>\n\u003cfigure id=\"attachment_13938436\" class=\"wp-caption aligncenter\" style=\"max-width: 1276px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938436\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.15.37-PM.png\" alt=\"\" width=\"1276\" height=\"1276\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.15.37-PM.png 1276w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.15.37-PM-800x800.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.15.37-PM-1020x1020.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.15.37-PM-160x160.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.15.37-PM-768x768.png 768w\" sizes=\"(max-width: 1276px) 100vw, 1276px\">\u003cfigcaption class=\"wp-caption-text\">Wheatus, ‘Just A Dirtbag Christmas.’ \u003ccite>(Sony via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Far too often, holiday albums carry an air of seriousness. But the most wonderful time of the year requires moments of levity — as well as deep existential thought about the nature of love and family and what really matters on this Earth. Enter Wheatus, the ‘90s radio rock band best known for their ubiquitous hit, “Teenage Dirtbag.” \u003cem>Just a Dirtbag Christmas\u003c/em> plays into the single’s popularity, featuring a string quartet version of “Teenage Dirtbag,” as well as a rewritten, holiday-appropriate version of the song. Humor abounds, like in the pop-rocking comedic additions of “You Made Me Believe in Christmas,” “Feels Like Christmas,” “Mean Christmas.” Break out the bucket hat and the Yule log for this one.\u003c/p>\n\u003ch2>David Foster and Katharine McPhee, \u003cem>Christmas Songs\u003c/em>\u003c/h2>\n\u003cfigure id=\"attachment_13938437\" class=\"wp-caption aligncenter\" style=\"max-width: 1278px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938437\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.17.20-PM.png\" alt=\"\" width=\"1278\" height=\"1278\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.17.20-PM.png 1278w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.17.20-PM-800x800.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.17.20-PM-1020x1020.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.17.20-PM-160x160.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.17.20-PM-768x768.png 768w\" sizes=\"(max-width: 1278px) 100vw, 1278px\">\u003cfigcaption class=\"wp-caption-text\">David Foster and Katharine McPhee, ‘Christmas Songs.’ \u003ccite>(Loma Vista/ Concord via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>No strangers to holiday albums, the dynamic duo of David Foster and Katharine McPhee released their completed \u003cem>Christmas Songs\u003c/em> collection earlier this year. This is one for the traditionalists among us: jazz-y, theatrical interpretations of Christmas classics that deliver a nostalgic satisfaction, amplified by their combined, immense talent. Well, theirs, and the skills of The Tabernacle Choir at Temple Square, whose reimagined “Amazing Grace,” arranged by Foster, is a song to behold.\u003c/p>\n\u003ch2>Luther Vandross, \u003cem>Luther Vandross Classic Christmas\u003c/em>\u003c/h2>\n\u003cfigure id=\"attachment_13938439\" class=\"wp-caption aligncenter\" style=\"max-width: 1116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938439\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.21.46-PM.png\" alt=\"\" width=\"1116\" height=\"1112\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.21.46-PM.png 1116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.21.46-PM-800x797.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.21.46-PM-1020x1016.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.21.46-PM-160x159.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.21.46-PM-768x765.png 768w\" sizes=\"(max-width: 1116px) 100vw, 1116px\">\u003cfigcaption class=\"wp-caption-text\">Luther Vandross, ‘Classic Christmas.’\u003c/figcaption>\u003c/figure>\n\u003cp>Released nearly two decades after the R&B and soul giant’s death, \u003cem>Classic Christmas\u003c/em> is a short but memorable modern day Christmas classic: a three-track EP built off the never before released “At Christmas Time,” “May Christmas Bring You Happiness,” and a special bonus a cappella mix of “At Christmas Time.” There’s no better time of the year to hear the velvet voice do what he does best.\u003c/p>\n\u003ch2>Ally Brooke, \u003cem>Under the Tree\u003c/em>\u003c/h2>\n\u003cfigure id=\"attachment_13938438\" class=\"wp-caption aligncenter\" style=\"max-width: 1276px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938438\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.19.26-PM.png\" alt=\"\" width=\"1276\" height=\"1276\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.19.26-PM.png 1276w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.19.26-PM-800x800.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.19.26-PM-1020x1020.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.19.26-PM-160x160.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.19.26-PM-768x768.png 768w\" sizes=\"(max-width: 1276px) 100vw, 1276px\">\u003cfigcaption class=\"wp-caption-text\">Ally Brooke, ‘Under the Tree.’ \u003ccite>(Snafu Records via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>All is fair in love and war and girl groups. Emmy Award winner Ally Brooke, formerly of Fifth Harmony, is back with a brand-spanking-new Christmas EP titled \u003cem>Under the Tree\u003c/em>. Anchored by the shimmery retro-pop title track, “Under the Tree” is a Brooke original that has her repeating “You can find me under the tree (Under the tree) / I’ll be waitin’ on Christmas Eve (Christmas Eve) / Baby, unwrap me,” in its cheeky chorus. It is light-hearted, amorous fun. And it quickly does a 180, rounding out the tracklist with “White Christmas,” “I’ll Be Home for Christmas,” and of course, the classic, “Have Yourself a Merry Little Christmas.”\u003c/p>\n\n",
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"title": "9 Great Festive Albums and Reissues to Enhance Your Holidays | KQED",
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"headline": "Fill Your Holiday With New Albums by Cher, Andrea Bocelli, Brandy and More",
"datePublished": "2023-11-22T14:09:16-08:00",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>What is a holiday season without festive music? The classics are great, but the classics performed by some of the best performers across pop, R&B, rock, opera, soul and beyond? That’s a real reason to celebrate.\u003c/p>\n\u003cp>In honor of the most wonderful time of the year, The Associated Press’ Music Writer Maria Sherman has compiled some of the best new holiday releases for your listening pleasure. Because sometimes the best thing that can happen to an old classic is revitalizing it with a new performance.\u003c/p>\n\u003ch2>Ella Fitzgerald, \u003cem>Ella Wishes You a Swinging Christmas\u003c/em>\u003c/h2>\n\u003cfigure id=\"attachment_13938431\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938431\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.04.22-PM.png\" alt=\"\" width=\"1280\" height=\"1276\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.04.22-PM.png 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.04.22-PM-800x798.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.04.22-PM-1020x1017.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.04.22-PM-160x160.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.04.22-PM-768x766.png 768w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">Ella Fitzgerald, ‘Ella Wishes You A Swinging Christmas.’ \u003ccite>(UMG via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Don’t bore us, get to the chorus — or in the case of this collectible vinyl release of \u003cem>Ella Wishes You A Swinging Christmas\u003c/em>, give us the hits! Ella Fitzgerald ‘s 1960 holiday record is largely considered by critics to be one of the greatest of all time — so why not celebrate the best of the best on a new piece of wax? It’s not a bad gift idea, either.\u003c/p>\n\u003ch2>Cher, \u003cem>Christmas\u003c/em>\u003c/h2>\n\u003cfigure id=\"attachment_13938432\" class=\"wp-caption aligncenter\" style=\"max-width: 1274px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938432\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.06.53-PM.png\" alt=\"\" width=\"1274\" height=\"1276\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.06.53-PM.png 1274w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.06.53-PM-800x801.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.06.53-PM-1020x1022.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.06.53-PM-160x160.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.06.53-PM-768x769.png 768w\" sizes=\"(max-width: 1274px) 100vw, 1274px\">\u003cfigcaption class=\"wp-caption-text\">Cher, ‘Christmas.’ \u003ccite>(Warner via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Somehow, \u003cem>Christmas\u003c/em> is Cher’s first holiday album — not that she hasn’t been asked to do one in the past. “I just didn’t want to do one,” she told the AP. “I didn’t know how I was going to make it a ‘Cher Christmas album.’” The secret, it turns out, was to get a bunch of A-list collaborators on her album, something she’s never done before. There’s Cyndi Lauper on “Put a Little Holiday In Your Heart,” Stevie Wonder on “What Christmas Means to Me,” Darlene Love on “Christmas (Baby, Please Come Home),” Michael Bublé on “Home,” and even the rapper Tyga on “Drop Top Sleigh Ride.” There’s something for everyone, and then some.\u003c/p>\n\u003ch2>Brandy, \u003cem>Christmas With Brandy\u003c/em>\u003c/h2>\n\u003cfigure id=\"attachment_13938433\" class=\"wp-caption aligncenter\" style=\"max-width: 1278px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938433\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.08.31-PM.png\" alt=\"\" width=\"1278\" height=\"1278\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.08.31-PM.png 1278w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.08.31-PM-800x800.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.08.31-PM-1020x1020.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.08.31-PM-160x160.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.08.31-PM-768x768.png 768w\" sizes=\"(max-width: 1278px) 100vw, 1278px\">\u003cfigcaption class=\"wp-caption-text\">Brandy, ‘Christmas with Brandy.’ \u003ccite>(Motown via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For those looking for a seductive holiday album: the search is over. R&B great Brandy has released \u003cem>Christmas with Brandy\u003c/em>, a collection of sultry — and in other moments, soulful — imaginations of Christmas classics and originals. Like on “Christmas Gift,” which features her daughter Sy’Rai, and “Feels Different.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Elsewhere, Brandy offers a PG-13 holiday special. “Help me undress, oh, yes / I’ll be your present / Just give me your presence / That’s all that I’m askin’ of you,” she sings on chorus of the lead single, “Christmas Party for Two.” “Take my body / Boy, you know you got it / Just look what you started / It’s a Christmas party for two.”\u003c/p>\n\u003ch2>Chicago, \u003cem>Chicago Greatest Christmas Hits\u003c/em>\u003c/h2>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13938434\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.11.44-PM.png\" alt=\"\" width=\"956\" height=\"958\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.11.44-PM.png 956w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.11.44-PM-800x802.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.11.44-PM-160x160.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.11.44-PM-768x770.png 768w\" sizes=\"(max-width: 956px) 100vw, 956px\">\u003c/p>\n\u003cp>Lifelong fans of the rock band with horns are familiar with Chicago’s extensive holiday discography: starting with 1998’s \u003cem>Chicago XXV: The Christmas Album\u003c/em>, (reissued in 2003 as \u003cem>Chicago Christmas: What’s It Gonna Be Santa\u003c/em> with six additional tracks), 2011’s \u003cem>Chicago XXXIII: O Christmas Three\u003c/em>, and 2019’s \u003cem>Chicago XXXVII: Chicago Christmas\u003c/em>. But the only way to complete the collection — or begin your own, and with just the singles — is to check out \u003cem>Chicago Greatest Christmas Hits\u003c/em>, which pulls from all those releases and is sold in festive red and green vinyl.\u003c/p>\n\u003ch2>Andrea, Matteo and Virginia Bocelli, \u003cem>A Family Christmas\u003c/em>\u003c/h2>\n\u003cfigure id=\"attachment_13938435\" class=\"wp-caption aligncenter\" style=\"max-width: 1278px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938435\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.13.24-PM.png\" alt=\"\" width=\"1278\" height=\"1266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.13.24-PM.png 1278w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.13.24-PM-800x792.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.13.24-PM-1020x1010.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.13.24-PM-160x158.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.13.24-PM-768x761.png 768w\" sizes=\"(max-width: 1278px) 100vw, 1278px\">\u003cfigcaption class=\"wp-caption-text\">Andrea, Matteo and Virginia Bocelli, ‘A Family Christmas.’ \u003ccite>(Decca/ Capitol/ UMG via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Italian opera singer Andrea Bocelli got the whole family together for a new, deluxe edition of their first album together, \u003cem>A Family Christmas\u003c/em>. Andrea, his 26-year-old son Matteo and his 11-year-old daughter Virginia teamed up for the release, adding four new recordings to the collection: “Let It Snow,” “Silver Bells,” “E’ Natale!” and “Winter Wonderland.” If you can listen to the famed tenor harmonize with his children and not shed a tear, you’re a stronger person than most.\u003c/p>\n\u003ch2>Wheatus, \u003cem>Just a Dirtbag Christmas\u003c/em>\u003c/h2>\n\u003cfigure id=\"attachment_13938436\" class=\"wp-caption aligncenter\" style=\"max-width: 1276px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938436\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.15.37-PM.png\" alt=\"\" width=\"1276\" height=\"1276\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.15.37-PM.png 1276w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.15.37-PM-800x800.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.15.37-PM-1020x1020.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.15.37-PM-160x160.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.15.37-PM-768x768.png 768w\" sizes=\"(max-width: 1276px) 100vw, 1276px\">\u003cfigcaption class=\"wp-caption-text\">Wheatus, ‘Just A Dirtbag Christmas.’ \u003ccite>(Sony via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Far too often, holiday albums carry an air of seriousness. But the most wonderful time of the year requires moments of levity — as well as deep existential thought about the nature of love and family and what really matters on this Earth. Enter Wheatus, the ‘90s radio rock band best known for their ubiquitous hit, “Teenage Dirtbag.” \u003cem>Just a Dirtbag Christmas\u003c/em> plays into the single’s popularity, featuring a string quartet version of “Teenage Dirtbag,” as well as a rewritten, holiday-appropriate version of the song. Humor abounds, like in the pop-rocking comedic additions of “You Made Me Believe in Christmas,” “Feels Like Christmas,” “Mean Christmas.” Break out the bucket hat and the Yule log for this one.\u003c/p>\n\u003ch2>David Foster and Katharine McPhee, \u003cem>Christmas Songs\u003c/em>\u003c/h2>\n\u003cfigure id=\"attachment_13938437\" class=\"wp-caption aligncenter\" style=\"max-width: 1278px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938437\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.17.20-PM.png\" alt=\"\" width=\"1278\" height=\"1278\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.17.20-PM.png 1278w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.17.20-PM-800x800.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.17.20-PM-1020x1020.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.17.20-PM-160x160.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.17.20-PM-768x768.png 768w\" sizes=\"(max-width: 1278px) 100vw, 1278px\">\u003cfigcaption class=\"wp-caption-text\">David Foster and Katharine McPhee, ‘Christmas Songs.’ \u003ccite>(Loma Vista/ Concord via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>No strangers to holiday albums, the dynamic duo of David Foster and Katharine McPhee released their completed \u003cem>Christmas Songs\u003c/em> collection earlier this year. This is one for the traditionalists among us: jazz-y, theatrical interpretations of Christmas classics that deliver a nostalgic satisfaction, amplified by their combined, immense talent. Well, theirs, and the skills of The Tabernacle Choir at Temple Square, whose reimagined “Amazing Grace,” arranged by Foster, is a song to behold.\u003c/p>\n\u003ch2>Luther Vandross, \u003cem>Luther Vandross Classic Christmas\u003c/em>\u003c/h2>\n\u003cfigure id=\"attachment_13938439\" class=\"wp-caption aligncenter\" style=\"max-width: 1116px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938439\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.21.46-PM.png\" alt=\"\" width=\"1116\" height=\"1112\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.21.46-PM.png 1116w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.21.46-PM-800x797.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.21.46-PM-1020x1016.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.21.46-PM-160x159.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.21.46-PM-768x765.png 768w\" sizes=\"(max-width: 1116px) 100vw, 1116px\">\u003cfigcaption class=\"wp-caption-text\">Luther Vandross, ‘Classic Christmas.’\u003c/figcaption>\u003c/figure>\n\u003cp>Released nearly two decades after the R&B and soul giant’s death, \u003cem>Classic Christmas\u003c/em> is a short but memorable modern day Christmas classic: a three-track EP built off the never before released “At Christmas Time,” “May Christmas Bring You Happiness,” and a special bonus a cappella mix of “At Christmas Time.” There’s no better time of the year to hear the velvet voice do what he does best.\u003c/p>\n\u003ch2>Ally Brooke, \u003cem>Under the Tree\u003c/em>\u003c/h2>\n\u003cfigure id=\"attachment_13938438\" class=\"wp-caption aligncenter\" style=\"max-width: 1276px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938438\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.19.26-PM.png\" alt=\"\" width=\"1276\" height=\"1276\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.19.26-PM.png 1276w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.19.26-PM-800x800.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.19.26-PM-1020x1020.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.19.26-PM-160x160.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-22-at-1.19.26-PM-768x768.png 768w\" sizes=\"(max-width: 1276px) 100vw, 1276px\">\u003cfigcaption class=\"wp-caption-text\">Ally Brooke, ‘Under the Tree.’ \u003ccite>(Snafu Records via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>All is fair in love and war and girl groups. Emmy Award winner Ally Brooke, formerly of Fifth Harmony, is back with a brand-spanking-new Christmas EP titled \u003cem>Under the Tree\u003c/em>. Anchored by the shimmery retro-pop title track, “Under the Tree” is a Brooke original that has her repeating “You can find me under the tree (Under the tree) / I’ll be waitin’ on Christmas Eve (Christmas Eve) / Baby, unwrap me,” in its cheeky chorus. It is light-hearted, amorous fun. And it quickly does a 180, rounding out the tracklist with “White Christmas,” “I’ll Be Home for Christmas,” and of course, the classic, “Have Yourself a Merry Little Christmas.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Jennifer Miller Hammel’s musical tastes draw from classical maestros like Mozart to more recent ones, like Mario, the eponymous plumber of Nintendo’s flagship Super Mario franchise. \u003c/p>\n\u003cp>“I just thought about the games that have stuck with me since I was four or five years old that have affected me personally, since my earliest days playing Pac-Man on the Atari. So within an hour, I had put together 12 hours of music,” she says.\u003c/p>\n\u003cp>[aside postID='arts_13826120']Hammel, an opera expert who studied piano in college, curated the massive playlist to show proof of concept for a new streaming channel focused on video game music for \u003ca href=\"https://www.kdfc.com/\">Classical California\u003c/a>, a classical music radio network that includes KDFC in San Francisco and KUSC in Los Angeles. Hammel is the host and producer of the KUSC Morning Show and The Opera Show. \u003c/p>\n\u003cp>Hammel says she got the green light after her producers suggested that she add classical music to her video game-focused concept.\u003c/p>\n\u003cp>“There’s been so much classical music used in video games,” she says. Integrating those pieces into the program was a no-brainer, allowing her, as Hammel says, to show “how these incredibly important cornerstones of classical music have then served to heighten the experience for a gamer.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The effort eventually led to \u003ca href=\"https://classicalcalifornia.org/kdfc/streams/arcade\">Arcade\u003c/a>, a free, 24-hour streaming channel, which launched around a month ago. Listeners tune in to Hammel hosting and curating a medley of video game music from the 1980s to the present — including marquee series like Final Fantasy and Fallout alongside lesser known indie darlings — interspersed with classical music featured in games.\u003c/p>\n\u003cfigure id=\"attachment_13938414\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/ArcadeArt_1080.png\" alt=\"Magenta, navy and purple logo for Arcade, with graphic of sound bar and a neon-effect rainbow\" width=\"600\" height=\"600\" class=\"size-full wp-image-13938414\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/ArcadeArt_1080.png 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/ArcadeArt_1080-160x160.png 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Arcade streams 24/7 on Classical California, boasting ‘music that takes you from Mozart’s Vienna to The Mushroom Kingdom.’ \u003ccite>(Courtesy Classical California)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The creation of this kind of program is a natural result of how entertainment and popular culture have evolved in recent years: Known IP reigns supreme, driving some of the biggest film and television releases in recent years — just look at the commercial and critical success of \u003ci>Barbie\u003c/i>.\u003c/p>\n\u003cp>There’s also a long track record of adapting video games into film and television. Earlier this year, HBO premiered the first season of \u003ci>The Last of Us\u003c/i>, which originated as a video game series created by Naughty Dog, about survival in a near-future post-apocalyptic Earth. Last year, \u003ci>Uncharted\u003c/i>, another video game franchise by the same producers, became a film starring Tom Holland and Mark Wahlberg.\u003c/p>\n\u003cp>We expect visual media to perform in this way. But classical music? There’s a lot of historical and classist baggage connected to the genre, some of it hundreds of years in the making. The difference now is that film and video game music has evolved beyond 8-bit soundtracks — and gotten the attention of the concert halls. So says Steve Horowitz, who’s composed for video games and teaches a class on game scoring at San Francisco State University.\u003c/p>\n\u003cp>“What’s happening with game music is just an extension of what happened with film music coming into the concert hall,” he says.\u003c/p>\n\u003cp>Events calendars for major concert halls, including the SF Symphony, Carnegie Hall and the Walt Disney Concert Hall in Los Angeles now feature live performances by groups like Video Games Live.\u003c/p>\n\u003cp>“For years and years, the symphonies, and especially the established large groups, have been looking for ways to tap into younger audiences, to bring more diverse audiences into their concerts,” Horowitz says.\u003c/p>\n\u003cp>Hammel points to what she describes as a watershed moment from just this summer, when the Hollywood Bowl celebrated the 10th anniversary of the Game Awards. After over a 15-year hiatus, \u003ca href=\"https://www.latimes.com/entertainment-arts/story/2023-04-20/hogwarts-legacy-last-of-us-among-those-to-be-highlighted-by-the-game-awards-at-hollywood-bowl-concert\">video game music returned to the storied venue\u003c/a>, led by composer Lorne Balfe. The concert included a \u003ca href=\"https://www.youtube.com/watch?v=poWhmUIwBmQ\">moving performance by Gustavo Santaolalla\u003c/a>, the acclaimed Argentine musician and composer who wrote the music for both the video game and television versions of The Last of Us.\u003c/p>\n\u003cp>https://youtu.be/poWhmUIwBmQ?feature=shared&t=87\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>“It’s been really validating to see how this music is affecting people in the concert halls just as much as it’s affecting them when they’re sitting at home and they’re playing in front of their console,” Hammel says. She hopes Arcade reaches a variety of audiences: fans of classical music; fans of video games; and those who are new to both worlds. She said the response has been positive so far.\u003c/p>\n\u003cp>“We have a major donor at KDFC in San Francisco who’s in her 70s. She has just fallen in love with Arcade,” Hammel says. “She listens to it nonstop and she’s never picked up a video game in her life.”\u003c/p>\n\u003cp>Anthony Guarino, who runs the retro video game store \u003ca href=\"https://www.gameshopdownstairs.com/\">Gameshop Downstairs\u003c/a> in downtown San José, says he hasn’t heard of Arcade but he’s interested in checking out. At his store, he often puts on background music from older Donkey Kong and Bomberman titles.\u003c/p>\n\u003cp>Guarino, who describes himself a fan of Playstation One and other early console games from the ’90s and early 2000s, says he’d want to hear songs that capture that era. \u003c/p>\n\u003cp>“There’s just sort of an inherent quality in it,” he explains. “I think we’ve gotten to a point where we can sort of look at them as not old or obsolete technology but just sort of like a different flavor.”\u003c/p>\n\u003cp>Hammel said she has gotten music requests like these since Arcade launched. She has plenty of pieces that will make their way into future iterations of the streaming channel on a quarterly basis.\u003c/p>\n\u003cp>“I didn’t want to just pull music down from a certain generation of gamer,” she says. “This is all, in general, a test of getting people outside of their comfort zones.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/03/VideoGame.Break_.jpg\" alt=\"\" width=\"800\" height=\"43\" class=\"aligncenter size-full wp-image-13826333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VideoGame.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VideoGame.Break_-160x9.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VideoGame.Break_-768x41.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VideoGame.Break_-240x13.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VideoGame.Break_-375x20.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VideoGame.Break_-520x28.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"excerpt": "On Arcade, a new streaming channel hosted by Jennifer Miller Hammel, Mozart plays alongside Super Mario.\r\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Jennifer Miller Hammel’s musical tastes draw from classical maestros like Mozart to more recent ones, like Mario, the eponymous plumber of Nintendo’s flagship Super Mario franchise. \u003c/p>\n\u003cp>“I just thought about the games that have stuck with me since I was four or five years old that have affected me personally, since my earliest days playing Pac-Man on the Atari. So within an hour, I had put together 12 hours of music,” she says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Hammel, an opera expert who studied piano in college, curated the massive playlist to show proof of concept for a new streaming channel focused on video game music for \u003ca href=\"https://www.kdfc.com/\">Classical California\u003c/a>, a classical music radio network that includes KDFC in San Francisco and KUSC in Los Angeles. Hammel is the host and producer of the KUSC Morning Show and The Opera Show. \u003c/p>\n\u003cp>Hammel says she got the green light after her producers suggested that she add classical music to her video game-focused concept.\u003c/p>\n\u003cp>“There’s been so much classical music used in video games,” she says. Integrating those pieces into the program was a no-brainer, allowing her, as Hammel says, to show “how these incredibly important cornerstones of classical music have then served to heighten the experience for a gamer.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The effort eventually led to \u003ca href=\"https://classicalcalifornia.org/kdfc/streams/arcade\">Arcade\u003c/a>, a free, 24-hour streaming channel, which launched around a month ago. Listeners tune in to Hammel hosting and curating a medley of video game music from the 1980s to the present — including marquee series like Final Fantasy and Fallout alongside lesser known indie darlings — interspersed with classical music featured in games.\u003c/p>\n\u003cfigure id=\"attachment_13938414\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/ArcadeArt_1080.png\" alt=\"Magenta, navy and purple logo for Arcade, with graphic of sound bar and a neon-effect rainbow\" width=\"600\" height=\"600\" class=\"size-full wp-image-13938414\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/ArcadeArt_1080.png 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/ArcadeArt_1080-160x160.png 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Arcade streams 24/7 on Classical California, boasting ‘music that takes you from Mozart’s Vienna to The Mushroom Kingdom.’ \u003ccite>(Courtesy Classical California)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The creation of this kind of program is a natural result of how entertainment and popular culture have evolved in recent years: Known IP reigns supreme, driving some of the biggest film and television releases in recent years — just look at the commercial and critical success of \u003ci>Barbie\u003c/i>.\u003c/p>\n\u003cp>There’s also a long track record of adapting video games into film and television. Earlier this year, HBO premiered the first season of \u003ci>The Last of Us\u003c/i>, which originated as a video game series created by Naughty Dog, about survival in a near-future post-apocalyptic Earth. Last year, \u003ci>Uncharted\u003c/i>, another video game franchise by the same producers, became a film starring Tom Holland and Mark Wahlberg.\u003c/p>\n\u003cp>We expect visual media to perform in this way. But classical music? There’s a lot of historical and classist baggage connected to the genre, some of it hundreds of years in the making. The difference now is that film and video game music has evolved beyond 8-bit soundtracks — and gotten the attention of the concert halls. So says Steve Horowitz, who’s composed for video games and teaches a class on game scoring at San Francisco State University.\u003c/p>\n\u003cp>“What’s happening with game music is just an extension of what happened with film music coming into the concert hall,” he says.\u003c/p>\n\u003cp>Events calendars for major concert halls, including the SF Symphony, Carnegie Hall and the Walt Disney Concert Hall in Los Angeles now feature live performances by groups like Video Games Live.\u003c/p>\n\u003cp>“For years and years, the symphonies, and especially the established large groups, have been looking for ways to tap into younger audiences, to bring more diverse audiences into their concerts,” Horowitz says.\u003c/p>\n\u003cp>Hammel points to what she describes as a watershed moment from just this summer, when the Hollywood Bowl celebrated the 10th anniversary of the Game Awards. After over a 15-year hiatus, \u003ca href=\"https://www.latimes.com/entertainment-arts/story/2023-04-20/hogwarts-legacy-last-of-us-among-those-to-be-highlighted-by-the-game-awards-at-hollywood-bowl-concert\">video game music returned to the storied venue\u003c/a>, led by composer Lorne Balfe. The concert included a \u003ca href=\"https://www.youtube.com/watch?v=poWhmUIwBmQ\">moving performance by Gustavo Santaolalla\u003c/a>, the acclaimed Argentine musician and composer who wrote the music for both the video game and television versions of The Last of Us.\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/poWhmUIwBmQ'\n title='//www.youtube.com/embed/poWhmUIwBmQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp> \u003c/p>\n\u003cp>“It’s been really validating to see how this music is affecting people in the concert halls just as much as it’s affecting them when they’re sitting at home and they’re playing in front of their console,” Hammel says. She hopes Arcade reaches a variety of audiences: fans of classical music; fans of video games; and those who are new to both worlds. She said the response has been positive so far.\u003c/p>\n\u003cp>“We have a major donor at KDFC in San Francisco who’s in her 70s. She has just fallen in love with Arcade,” Hammel says. “She listens to it nonstop and she’s never picked up a video game in her life.”\u003c/p>\n\u003cp>Anthony Guarino, who runs the retro video game store \u003ca href=\"https://www.gameshopdownstairs.com/\">Gameshop Downstairs\u003c/a> in downtown San José, says he hasn’t heard of Arcade but he’s interested in checking out. At his store, he often puts on background music from older Donkey Kong and Bomberman titles.\u003c/p>\n\u003cp>Guarino, who describes himself a fan of Playstation One and other early console games from the ’90s and early 2000s, says he’d want to hear songs that capture that era. \u003c/p>\n\u003cp>“There’s just sort of an inherent quality in it,” he explains. “I think we’ve gotten to a point where we can sort of look at them as not old or obsolete technology but just sort of like a different flavor.”\u003c/p>\n\u003cp>Hammel said she has gotten music requests like these since Arcade launched. She has plenty of pieces that will make their way into future iterations of the streaming channel on a quarterly basis.\u003c/p>\n\u003cp>“I didn’t want to just pull music down from a certain generation of gamer,” she says. “This is all, in general, a test of getting people outside of their comfort zones.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/03/VideoGame.Break_.jpg\" alt=\"\" width=\"800\" height=\"43\" class=\"aligncenter size-full wp-image-13826333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VideoGame.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VideoGame.Break_-160x9.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VideoGame.Break_-768x41.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VideoGame.Break_-240x13.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VideoGame.Break_-375x20.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/VideoGame.Break_-520x28.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "A Blues Show Inside a Legendary San Francisco Recording Studio",
"headTitle": "A Blues Show Inside a Legendary San Francisco Recording Studio | KQED",
"content": "\u003cp>What do Tupac, the Grateful Dead, Creedence Clearwater Revival, Kesha, CSNY, George Clinton, Green Day, Willie Nelson, Santana, Dead Kennedys, the Pointer Sisters and Kanye West have in common?\u003c/p>\n\u003cp>They’ve all recorded music behind the unassuming door at 245 Hyde Street, aka Hyde Street Studios. From 1969 to 1980, the Tenderloin building was home to Wally Heider Recording, a rule-breaking studio that was \u003ca href=\"https://www.kqed.org/arts/12279498/hyde-street-rock-how-wally-heider-and-the-tenderloin-shaped-the-san-francisco-sound\" target=\"_blank\" rel=\"noopener\">instrumental in creating the now-famous San Francisco Sound\u003c/a>. In the ’80s and ’90s, Hyde Street — known for a setup that encourages live full-band recording — became a go-to spot for the Bay Area’s punk and hip-hop scenes.\u003c/p>\n\u003cfigure id=\"attachment_13938272\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/489343_orig.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13938272\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/489343_orig-800x602.jpg\" alt=\"a mixing console\" width=\"800\" height=\"602\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/489343_orig-800x602.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/489343_orig-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/489343_orig-768x578.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/489343_orig.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The revered mixing console in Studio A. \u003ccite>(Courtesy Hyde Street Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What the studio has rarely been, over the course of 54 years, is open to the public. Which makes the upcoming tour and concert on Nov. 30, the first of what’s being dubbed the Hyde Street Studio Sessions, all the more special. A subset of the Tenderloin Museum’s ongoing \u003ca href=\"https://www.tenderloinmuseum.org/sounds-of-the-tenderloin\">Sounds of the Tenderloin\u003c/a> program, the evening will feature two sets from Oakland’s Lady Bianca — a veteran, Grammy-nominated blues singer — at its kickoff event.[aside postid='arts_12279498']\u003c/p>\n\u003cp>Hyde Street’s homey feel has always been a major draw for musicians, beginning back in ’69 — especially compared to the cold, corporate LA studios the major labels were using at the time. This series will, accordingly, be intimate, with room for just 20 audience members per performance inside Hyde Street’s flagship recording room, Studio A. (For gear heads, that’s the one with the vintage Neve 8038 console, made in London in the 1970s. It also has a B-3 Hammond organ and a white Yamaha grand piano rumored to have once belonged to Frank Sinatra.)\u003c/p>\n\u003cfigure id=\"attachment_12290538\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2016/11/Dead_Kennedys-1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12290538\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/11/Dead_Kennedys-1-800x600.jpg\" alt=\"a black and white photo of a band performing in a recording studio\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Dead_Kennedys-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Dead_Kennedys-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Dead_Kennedys-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Dead_Kennedys-1.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Dead_Kennedys-1-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Dead_Kennedys-1-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Dead_Kennedys-1-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Dead Kennedys performing at Hyde Street Studios in 1986. \u003ccite>(John Cuniberti)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Regardless of your level of audio nerdery, this evening offers a chance to see (and hear) a piece of San Francisco music history — and to celebrate the Tenderloin’s many cultural contributions at a time when the neighborhood could use some championing.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The Tenderloin gets a bad rap,” acknowledges Hyde Street Studios manager Jack Kertzman. That’s why it was a no-brainer to host “an event like this, which gives everyone a little hope and optimism.”\u003c/p>\n\u003cp>“I get a ton of requests from people wanting to do events here — album release parties, corporate events. And we rarely do any of that,” says Kertzman. “But when the Tenderloin Museum came to us with this idea, it just sounded like a chance to do something really positive for the neighborhood, and a great way to highlight the history of the studio and the history of music in San Francisco.”[aside postid='arts_13936204']\u003c/p>\n\u003cp>Kertzman, an audio engineer himself, says staff will lead a brief tour around the studio, then attendees can settle in for a performance by Lady Bianca, who has a long history of recording at Hyde Street over the course of her career. (Her discography includes several critically acclaimed solo records, as well as backing vocals for Sylvester, Merle Haggard, Sly and the Family Stone, Taj Mahal, Frank Zappa and John Lee Hooker.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=RLZ47wjpIBI\u003c/p>\n\u003cp>\u003cspan style=\"color: #ffffff\">p\u003c/span>\u003cbr>\nIf all goes well on Nov. 30, Kertzman says, fans can expect more of these sessions in the coming months. So go, walk the halls where Grace Slick once stumbled, learn some priceless Bay Area cultural history, take in a unique show — and please, nobody spill anything on the sound board.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Hyde Street Studio Sessions featuring Lady Bianca takes place Nov. 30, with performances at 6 and 7:30 p.m., at Hyde Street Studios (245 Hyde St., San Francisco). \u003ca href=\"http://www.tenderloinmuseum.org/public-programs-2023-2/2023/11/30/lady-bianca-hyde-st-studios\">Tickets ($25) and more info here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"excerpt": "The Tenderloin Museum presents Oakland’s Lady Bianca on Nov. 30 at Hyde Street Studios — which is rarely open to the public.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>What do Tupac, the Grateful Dead, Creedence Clearwater Revival, Kesha, CSNY, George Clinton, Green Day, Willie Nelson, Santana, Dead Kennedys, the Pointer Sisters and Kanye West have in common?\u003c/p>\n\u003cp>They’ve all recorded music behind the unassuming door at 245 Hyde Street, aka Hyde Street Studios. From 1969 to 1980, the Tenderloin building was home to Wally Heider Recording, a rule-breaking studio that was \u003ca href=\"https://www.kqed.org/arts/12279498/hyde-street-rock-how-wally-heider-and-the-tenderloin-shaped-the-san-francisco-sound\" target=\"_blank\" rel=\"noopener\">instrumental in creating the now-famous San Francisco Sound\u003c/a>. In the ’80s and ’90s, Hyde Street — known for a setup that encourages live full-band recording — became a go-to spot for the Bay Area’s punk and hip-hop scenes.\u003c/p>\n\u003cfigure id=\"attachment_13938272\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/489343_orig.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13938272\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/489343_orig-800x602.jpg\" alt=\"a mixing console\" width=\"800\" height=\"602\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/489343_orig-800x602.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/489343_orig-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/489343_orig-768x578.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/489343_orig.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The revered mixing console in Studio A. \u003ccite>(Courtesy Hyde Street Studios)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What the studio has rarely been, over the course of 54 years, is open to the public. Which makes the upcoming tour and concert on Nov. 30, the first of what’s being dubbed the Hyde Street Studio Sessions, all the more special. A subset of the Tenderloin Museum’s ongoing \u003ca href=\"https://www.tenderloinmuseum.org/sounds-of-the-tenderloin\">Sounds of the Tenderloin\u003c/a> program, the evening will feature two sets from Oakland’s Lady Bianca — a veteran, Grammy-nominated blues singer — at its kickoff event.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Hyde Street’s homey feel has always been a major draw for musicians, beginning back in ’69 — especially compared to the cold, corporate LA studios the major labels were using at the time. This series will, accordingly, be intimate, with room for just 20 audience members per performance inside Hyde Street’s flagship recording room, Studio A. (For gear heads, that’s the one with the vintage Neve 8038 console, made in London in the 1970s. It also has a B-3 Hammond organ and a white Yamaha grand piano rumored to have once belonged to Frank Sinatra.)\u003c/p>\n\u003cfigure id=\"attachment_12290538\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2016/11/Dead_Kennedys-1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12290538\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/11/Dead_Kennedys-1-800x600.jpg\" alt=\"a black and white photo of a band performing in a recording studio\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Dead_Kennedys-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Dead_Kennedys-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Dead_Kennedys-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Dead_Kennedys-1.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Dead_Kennedys-1-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Dead_Kennedys-1-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Dead_Kennedys-1-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Dead Kennedys performing at Hyde Street Studios in 1986. \u003ccite>(John Cuniberti)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Regardless of your level of audio nerdery, this evening offers a chance to see (and hear) a piece of San Francisco music history — and to celebrate the Tenderloin’s many cultural contributions at a time when the neighborhood could use some championing.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The Tenderloin gets a bad rap,” acknowledges Hyde Street Studios manager Jack Kertzman. That’s why it was a no-brainer to host “an event like this, which gives everyone a little hope and optimism.”\u003c/p>\n\u003cp>“I get a ton of requests from people wanting to do events here — album release parties, corporate events. And we rarely do any of that,” says Kertzman. “But when the Tenderloin Museum came to us with this idea, it just sounded like a chance to do something really positive for the neighborhood, and a great way to highlight the history of the studio and the history of music in San Francisco.”\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Kertzman, an audio engineer himself, says staff will lead a brief tour around the studio, then attendees can settle in for a performance by Lady Bianca, who has a long history of recording at Hyde Street over the course of her career. (Her discography includes several critically acclaimed solo records, as well as backing vocals for Sylvester, Merle Haggard, Sly and the Family Stone, Taj Mahal, Frank Zappa and John Lee Hooker.)\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/RLZ47wjpIBI'\n title='//www.youtube.com/embed/RLZ47wjpIBI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"color: #ffffff\">p\u003c/span>\u003cbr>\nIf all goes well on Nov. 30, Kertzman says, fans can expect more of these sessions in the coming months. So go, walk the halls where Grace Slick once stumbled, learn some priceless Bay Area cultural history, take in a unique show — and please, nobody spill anything on the sound board.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Hyde Street Studio Sessions featuring Lady Bianca takes place Nov. 30, with performances at 6 and 7:30 p.m., at Hyde Street Studios (245 Hyde St., San Francisco). \u003ca href=\"http://www.tenderloinmuseum.org/public-programs-2023-2/2023/11/30/lady-bianca-hyde-st-studios\">Tickets ($25) and more info here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "E-40 Discusses New Album, His Cookbook With Snoop, and Being Underrated",
"headTitle": "E-40 Discusses New Album, His Cookbook With Snoop, and Being Underrated | KQED",
"content": "\u003cp>\u003ca href=\"https://www.kqed.org/arts/13936776/e-40-gets-the-key-to-the-city-of-vallejo-and-a-street-named-in-his-honor\">E-40\u003c/a> built a three decade-plus career on the foundations of an unorthodox rap flow, schooling listeners with life lessons through his streetwise perspective.\u003c/p>\n\u003cp>With a heavy dose of Bay Area slang, E-40 created a lane for his unique hip-hop vernacular that has made him one of the genre’s most revered artists. As a savvy businessman, he’s leveraged his connections in the rap world to the wine, ice cream and food brand industries, including a Filipino food business inside Oracle Park in San Francisco.\u003c/p>\n\u003cp>[aside postid='arts_13927874']Now at 56, there’s no slowing down for E-40, who released his 27th studio album \u003cem>Rule of Thumb: Rule 1\u003c/em> on Friday. His new project comes more than 30 years after his debut, \u003cem>Federal\u003c/em>.\u003c/p>\n\u003cp>The new album — which features NBA YoungBoy, Too Short, Larry June, Gucci Mane, B.G. and E-40’s son Droop-E — is the first installment of the \u003cem>Rule of Thumb\u003c/em> album series. He plans to release the sequel album early next year.\u003c/p>\n\u003cp>In a recent interview, E-40 spoke with The Associated Press about being an underrated legend, his unorthodox rap style and the new cookbook called \u003cem>Snoop Dogg Presents: Goon With the Spoon\u003c/em>, which released earlier this week.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Answers have been edited for brevity and clarity.\u003c/p>\n\u003cp>\u003cstrong>Jonathan Landrum, Jr:\u003c/strong> \u003cstrong>What’s the meaning behind your album title?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>E-40:\u003c/strong> I feel like \u003cem>Rule of Thumb\u003c/em> is just common sense. It’s certain rules and regulations that you must just know off top. It doesn’t take a rocket scientist. You don’t have to have a quarter of a brain to comprehend that. I’m teaching life lessons. Giving it to them straight, not fake and not fabricating things. It’s a lot of lightweight storytelling and a lot of life lessons, consequences and repercussions. I mix it up like a gumbo pot. I’m multi-dimensional. I don’t do just one style of rap. My beats aren’t always the same. I’m everywhere like air.\u003c/p>\n\u003cfigure id=\"attachment_13938195\" class=\"wp-caption aligncenter\" style=\"max-width: 1050px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938195\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/rule-of-thumb.jpg\" alt=\"An album cover depicting rapper E-40 in miniature. He is sitting on a scroll next to handcuffs, a key and a quill. A courthouse and scales are visible behind him.\" width=\"1050\" height=\"1050\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/rule-of-thumb.jpg 1050w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/rule-of-thumb-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/rule-of-thumb-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/rule-of-thumb-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/rule-of-thumb-768x768.jpg 768w\" sizes=\"(max-width: 1050px) 100vw, 1050px\">\u003cfigcaption class=\"wp-caption-text\">The cover of ‘Rule of Thumb: Rule 1.’ \u003ccite>(Heavy on the Grind)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Where does your unorthodox rap style and wisdom come from?\u003c/strong>\u003c/p>\n\u003cp>Being chipped from a different cliff, being carved from a different clay, and made from a different fabric. I’m wired different than most. I’m from an era of morals and respect, and we follow guidelines. That’s always been me… I always told stories. I talked about the repercussions and the consequences. If you go do this, you do know that little 30-second decision that you made could cost you 30 years in prison or you might be buried 6 feet deep. I always talked about the consequences if you go do something. I speak the real.\u003c/p>\n\u003cp>\u003cstrong>You’re highly respected within hip-hop, but how does the feeling of being underrated bother you?\u003c/strong>\u003c/p>\n\u003cp>My life is beautiful. I’m very successful. I’m financially set. I’m financially good. I’m still accumulating bread. I’m still breaking boundaries. But anything that’s different is always going to be questionable. There will never be a rapper like E-40, whether you like me or not. You just got to give it to me. I got my own thing. I’ve been successful for 36 years with music since 1988. Let that soak in. I’ve got to be doing something right. Can’t just be no damn luck. I come from the ground up. All your favorite independent CEOs, they respect me because I was first. I laid the foundation for independent music.\u003c/p>\n\u003cp>Do I still feel underrated? Yes, I do. But I know what comes with the package. They like people that’s in the pocket and never go outside the box. That’s not me.\u003c/p>\n\u003cp>\u003cstrong>You have a new cookbook. When did your passion for cooking start?\u003c/strong>\u003c/p>\n\u003cp>I’m the oldest of four. Moms would work two or three jobs. My mom and dad divorced when I was 8 years old. I had a lot of responsibilities being the oldest, so I cooked. We all knew how to cook. We taught ourselves how to cook. I worked at a restaurant when I was a teenager. There was a Caucasian man that I love dearly to this day. His name is Lewis. He taught me how to cook escargot, orange roughy with almonds with lemon butter sauce with white wine. He taught me how to do London Broil and chicken cordon bleu.\u003c/p>\n\u003cfigure id=\"attachment_13938194\" class=\"wp-caption aligncenter\" style=\"max-width: 1294px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938194\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/71ip4o90vZL._SL1500_.jpg\" alt=\"A book cover featuring two Black men. One is wearing an apron and chef's hat and holding up a large meat sandwich. The other is wearing a bucket hat, Death Row Records shirt and white spectacles.\" width=\"1294\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/71ip4o90vZL._SL1500_.jpg 1294w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/71ip4o90vZL._SL1500_-800x927.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/71ip4o90vZL._SL1500_-1020x1182.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/71ip4o90vZL._SL1500_-160x185.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/71ip4o90vZL._SL1500_-768x890.jpg 768w\" sizes=\"(max-width: 1294px) 100vw, 1294px\">\u003cfigcaption class=\"wp-caption-text\">‘Snoop Dogg Presents: Goon With the Spoon’ by Snoop Dogg and Earl ‘E-40’ Stevens. \u003ccite>(Chronicle Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>How did you and Snoop connect on this cookbook?\u003c/strong>\u003c/p>\n\u003cp>Snoop, that’s my guy. He cooks as well. He was like, “Earl, my book was very successful. I sold over a million copies. It’s a bestseller. Let me present it.”\u003c/p>\n\u003cp>I was like “Snoop, I rock with you. You’re legendary. You’re a good friend of mine. I’ve been knowing you for over 30-plus years. We’re family. Thank you. Let’s do it.”\u003c/p>\n\u003cp>When you put your pride to the side, bigger things happen. He’s got some recipes in there. I got some recipes in there. He’s got adult beverages. I have adult beverages. It only makes sense. We both co-pack. We do the whole thing. Teamwork makes the dream work. It’s enough money out there for all of us.\u003c/p>\n\u003cp>\u003cstrong>You’ve met with Vice President Kamala Harris at the White House, received an honorary doctorate from Grambling State University and had a street named after you in your hometown of Vallejo, California. How has hip-hop impacted your life?\u003c/strong>\u003c/p>\n\u003cp>Shout out to DJ Kool Herc, Grandmaster Flash and the Furious Five, Run-DMC. Those dudes really paved the way for people like myself to diversify our portfolios and find other ways to make financial gain on a legitimate note. This beats the streets. You can make more money here than you could ever in the streets.\u003c/p>\n\u003cp>\u003cstrong>Will you ever release a book with your slang terms?\u003c/strong>\u003c/p>\n\u003cp>If I do the book of slang, it’s going to hurt people’s feelings. Because they think that their favorite rapper made the words up, and it came from me. Or if it didn’t come from me, I got it from the soil — the trenches where most rappers that are from the urban community get their (expletive) from.\u003c/p>\n\u003cp>I’ve been around for more than a half a century. I know all this. I’ve got receipts to back it up. One day, I want to sit down and go word-for-word of all the words I’ve coined. I want to go to the year, the song, everything. I want to ask “Who said it before me?” If they try to lie about it, I’ve got receipts. I was the first rapper screaming “Tycoon.” That’s one of many. “Slappin.” “Choppers.” I’ve got so many of them. Just for that, I’m going to do a book of slang. The real way in 2024 style.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Rule of Thumb: Rule 1’ is out on Nov. 17, 2023. ‘Snoop Dogg Presents: Goon With the Spoon’ by Snoop Dogg and Earl ‘E-40’ Stevens (with Photos by Antonis Achilleos) is out now.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.kqed.org/arts/13936776/e-40-gets-the-key-to-the-city-of-vallejo-and-a-street-named-in-his-honor\">E-40\u003c/a> built a three decade-plus career on the foundations of an unorthodox rap flow, schooling listeners with life lessons through his streetwise perspective.\u003c/p>\n\u003cp>With a heavy dose of Bay Area slang, E-40 created a lane for his unique hip-hop vernacular that has made him one of the genre’s most revered artists. As a savvy businessman, he’s leveraged his connections in the rap world to the wine, ice cream and food brand industries, including a Filipino food business inside Oracle Park in San Francisco.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Now at 56, there’s no slowing down for E-40, who released his 27th studio album \u003cem>Rule of Thumb: Rule 1\u003c/em> on Friday. His new project comes more than 30 years after his debut, \u003cem>Federal\u003c/em>.\u003c/p>\n\u003cp>The new album — which features NBA YoungBoy, Too Short, Larry June, Gucci Mane, B.G. and E-40’s son Droop-E — is the first installment of the \u003cem>Rule of Thumb\u003c/em> album series. He plans to release the sequel album early next year.\u003c/p>\n\u003cp>In a recent interview, E-40 spoke with The Associated Press about being an underrated legend, his unorthodox rap style and the new cookbook called \u003cem>Snoop Dogg Presents: Goon With the Spoon\u003c/em>, which released earlier this week.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Answers have been edited for brevity and clarity.\u003c/p>\n\u003cp>\u003cstrong>Jonathan Landrum, Jr:\u003c/strong> \u003cstrong>What’s the meaning behind your album title?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>E-40:\u003c/strong> I feel like \u003cem>Rule of Thumb\u003c/em> is just common sense. It’s certain rules and regulations that you must just know off top. It doesn’t take a rocket scientist. You don’t have to have a quarter of a brain to comprehend that. I’m teaching life lessons. Giving it to them straight, not fake and not fabricating things. It’s a lot of lightweight storytelling and a lot of life lessons, consequences and repercussions. I mix it up like a gumbo pot. I’m multi-dimensional. I don’t do just one style of rap. My beats aren’t always the same. I’m everywhere like air.\u003c/p>\n\u003cfigure id=\"attachment_13938195\" class=\"wp-caption aligncenter\" style=\"max-width: 1050px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938195\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/rule-of-thumb.jpg\" alt=\"An album cover depicting rapper E-40 in miniature. He is sitting on a scroll next to handcuffs, a key and a quill. A courthouse and scales are visible behind him.\" width=\"1050\" height=\"1050\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/rule-of-thumb.jpg 1050w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/rule-of-thumb-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/rule-of-thumb-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/rule-of-thumb-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/rule-of-thumb-768x768.jpg 768w\" sizes=\"(max-width: 1050px) 100vw, 1050px\">\u003cfigcaption class=\"wp-caption-text\">The cover of ‘Rule of Thumb: Rule 1.’ \u003ccite>(Heavy on the Grind)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Where does your unorthodox rap style and wisdom come from?\u003c/strong>\u003c/p>\n\u003cp>Being chipped from a different cliff, being carved from a different clay, and made from a different fabric. I’m wired different than most. I’m from an era of morals and respect, and we follow guidelines. That’s always been me… I always told stories. I talked about the repercussions and the consequences. If you go do this, you do know that little 30-second decision that you made could cost you 30 years in prison or you might be buried 6 feet deep. I always talked about the consequences if you go do something. I speak the real.\u003c/p>\n\u003cp>\u003cstrong>You’re highly respected within hip-hop, but how does the feeling of being underrated bother you?\u003c/strong>\u003c/p>\n\u003cp>My life is beautiful. I’m very successful. I’m financially set. I’m financially good. I’m still accumulating bread. I’m still breaking boundaries. But anything that’s different is always going to be questionable. There will never be a rapper like E-40, whether you like me or not. You just got to give it to me. I got my own thing. I’ve been successful for 36 years with music since 1988. Let that soak in. I’ve got to be doing something right. Can’t just be no damn luck. I come from the ground up. All your favorite independent CEOs, they respect me because I was first. I laid the foundation for independent music.\u003c/p>\n\u003cp>Do I still feel underrated? Yes, I do. But I know what comes with the package. They like people that’s in the pocket and never go outside the box. That’s not me.\u003c/p>\n\u003cp>\u003cstrong>You have a new cookbook. When did your passion for cooking start?\u003c/strong>\u003c/p>\n\u003cp>I’m the oldest of four. Moms would work two or three jobs. My mom and dad divorced when I was 8 years old. I had a lot of responsibilities being the oldest, so I cooked. We all knew how to cook. We taught ourselves how to cook. I worked at a restaurant when I was a teenager. There was a Caucasian man that I love dearly to this day. His name is Lewis. He taught me how to cook escargot, orange roughy with almonds with lemon butter sauce with white wine. He taught me how to do London Broil and chicken cordon bleu.\u003c/p>\n\u003cfigure id=\"attachment_13938194\" class=\"wp-caption aligncenter\" style=\"max-width: 1294px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938194\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/71ip4o90vZL._SL1500_.jpg\" alt=\"A book cover featuring two Black men. One is wearing an apron and chef's hat and holding up a large meat sandwich. The other is wearing a bucket hat, Death Row Records shirt and white spectacles.\" width=\"1294\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/71ip4o90vZL._SL1500_.jpg 1294w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/71ip4o90vZL._SL1500_-800x927.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/71ip4o90vZL._SL1500_-1020x1182.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/71ip4o90vZL._SL1500_-160x185.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/71ip4o90vZL._SL1500_-768x890.jpg 768w\" sizes=\"(max-width: 1294px) 100vw, 1294px\">\u003cfigcaption class=\"wp-caption-text\">‘Snoop Dogg Presents: Goon With the Spoon’ by Snoop Dogg and Earl ‘E-40’ Stevens. \u003ccite>(Chronicle Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>How did you and Snoop connect on this cookbook?\u003c/strong>\u003c/p>\n\u003cp>Snoop, that’s my guy. He cooks as well. He was like, “Earl, my book was very successful. I sold over a million copies. It’s a bestseller. Let me present it.”\u003c/p>\n\u003cp>I was like “Snoop, I rock with you. You’re legendary. You’re a good friend of mine. I’ve been knowing you for over 30-plus years. We’re family. Thank you. Let’s do it.”\u003c/p>\n\u003cp>When you put your pride to the side, bigger things happen. He’s got some recipes in there. I got some recipes in there. He’s got adult beverages. I have adult beverages. It only makes sense. We both co-pack. We do the whole thing. Teamwork makes the dream work. It’s enough money out there for all of us.\u003c/p>\n\u003cp>\u003cstrong>You’ve met with Vice President Kamala Harris at the White House, received an honorary doctorate from Grambling State University and had a street named after you in your hometown of Vallejo, California. How has hip-hop impacted your life?\u003c/strong>\u003c/p>\n\u003cp>Shout out to DJ Kool Herc, Grandmaster Flash and the Furious Five, Run-DMC. Those dudes really paved the way for people like myself to diversify our portfolios and find other ways to make financial gain on a legitimate note. This beats the streets. You can make more money here than you could ever in the streets.\u003c/p>\n\u003cp>\u003cstrong>Will you ever release a book with your slang terms?\u003c/strong>\u003c/p>\n\u003cp>If I do the book of slang, it’s going to hurt people’s feelings. Because they think that their favorite rapper made the words up, and it came from me. Or if it didn’t come from me, I got it from the soil — the trenches where most rappers that are from the urban community get their (expletive) from.\u003c/p>\n\u003cp>I’ve been around for more than a half a century. I know all this. I’ve got receipts to back it up. One day, I want to sit down and go word-for-word of all the words I’ve coined. I want to go to the year, the song, everything. I want to ask “Who said it before me?” If they try to lie about it, I’ve got receipts. I was the first rapper screaming “Tycoon.” That’s one of many. “Slappin.” “Choppers.” I’ve got so many of them. Just for that, I’m going to do a book of slang. The real way in 2024 style.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Rule of Thumb: Rule 1’ is out on Nov. 17, 2023. ‘Snoop Dogg Presents: Goon With the Spoon’ by Snoop Dogg and Earl ‘E-40’ Stevens (with Photos by Antonis Achilleos) is out now.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "NorCal Grammy Award Nominees Revealed: Victoria Monét, Metallica and More",
"headTitle": "NorCal Grammy Award Nominees Revealed: Victoria Monét, Metallica and More | KQED",
"content": "\u003cp>The Recording Academy announced the \u003ca href=\"https://www.grammy.com/news/2024-grammys-nominations-full-winners-nominees-list\">nominees for the 2024 Grammy Awards\u003c/a> last week, kindling the usual deluge of conversations around which artists were snubbed.\u003c/p>\n\u003cp>Sifting through 91 categories revealed two big reasons for music fans to celebrate: the domination of women across many major categories that historically championed male artists. The sheer number of Bay Area and Northern California musicians also stood out, highlighting local talent who continue to break barriers and accumulate accolades.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Rising R&B superstar Victoria Monét commanded seven nominations for her indelible debut album \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Jaguar II\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">. Monét grew up in Sacramento before relocating to Los Angeles to launch her songwriting career. \u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Monét performed a homecoming show last month in Sacramento following two sold-out nights at the Regency Ballroom in San Francisco. The star quality in her performance was palpable. Monét previously received three Grammy nominations for her work on Ariana Grande’s album \u003cem>thank u, next\u003c/em> and Chloe x Halle’s hit single “Do It,” but this year’s seven nominations mark a first for her as a performer.\u003c/p>\n\u003cp>Monét’s 2-year-old daughter, Hazel, achieved a milestone as well. She’s the youngest nominee in the history of the awards for her featured voice in the song “Hollywood” alongside the legendary group Earth, Wind & Fire in the Best Traditional R&B Performance category.\u003c/p>\n\u003cp>https://twitter.com/Justjstyle/status/1720626880607396004?s=20\u003c/p>\n\u003cp>Monét is also nominated in these categories: Best R&B Song for “On My Mama”, Best R&B Performance for “How Does It Make You Feel”, Best R&B Album and Best Engineered Album categories. What’s more, she’ll compete in two of the four general field categories as she receives a coveted Best New Artist nomination while her hit song, “On My Mama,” lands in the Record of the Year tier. Colin Leonard, nominated as the mastering engineer of “On My Mama,” studied classical guitar at the University of the Pacific in Stockton.\u003c/p>\n\u003cp>The most nominated artist this year, SZA, had some Bay Area magic on her album, too. Rob Bisel, who received three nominations as the songwriter, producer and engineer on SZA’s multiplatinum hit “Kill Bill,” was raised in Moraga and interned at Studio 880 in Oakland as a teen.\u003c/p>\n\u003cp>Raised 115 miles north of San Francisco in the rural town of Ukiah, Phoebe Bridgers netted seven nominations, including one for her own collaboration with SZA, “Ghost in the Machine.” Six additional nominations for her group Boygenius, including Album of the Year for \u003cem>The Record\u003c/em> and Record of the Year for “Not Strong Enough,” brought Bridgers into a tie with Monét’s seven nominations.\u003c/p>\n\u003cp>With nine Grammy Awards earned over their decades-long career, iconic San Francisco-based band Metallica received three nominations in the rock and metal categories. The group released their eleventh studio album \u003cem>72 Seasons\u003c/em> earlier this year to positive critical reception. If they win in 2024, it will end the band’s unlucky streak, giving Metallica its first set of golden gramophones since 2009.\u003c/p>\n\u003cp>San Francisco Symphony conductor Esa-Pekka Salonen notched two nominations for the Best Orchestral Performance and Best Choral Performance categories for his recording of Stravinsky’s “The Rite of Spring” with the Symphony and the SF Symphony Chorus’ recording of Hungarian composer György Ligeti’s “Lux Aeterna,” respectively.\u003c/p>\n\u003cp>Molly Tuttle, who was born in Santa Clara and raised in Palo Alto, received a nod in the Best Bluegrass Album category with \u003cem>City of Gold\u003c/em>, a project featuring her band Golden Highway. The album is partly an ode to Tuttle’s roots in California, with titles like “San Joaquin” and “Yosemite” on the tracklist.\u003c/p>\n\u003cp>Jeremy Cohen-led Quartet San Francisco’s “Cutey and the Dragon” got recognition in the Best Instrumental Composition category. While Cohen is a Bay Area musician, he is not credited as a composer, making him ineligible for a nomination in this field.\u003c/p>\n\u003ch2>More nominees with Bay Area ties include:\u003c/h2>\n\u003cp>Ray Keys, a songwriter on Coco Jones’ sultry hit “ICU,” was born in San José.\u003c/p>\n\u003cp>Rogét Chahayed, a songwriter on Doja Cat’s comeback single “Attention.” Chahayed attended the San Francisco Conservatory of Music and studied under professor Yoshikazu Nagai. [aside postID=arts_13937961 hero='https://ww2.kqed.org/app/uploads/sites/2/2023/11/Tony-Toni-Tone-2.REV_-1020x574.png']Zakir Hussain, who lives in San Anselmo, received two nominations in the Best Global Music Performance and Best Contemporary Instrumental Album categories.\u003c/p>\n\u003cp>Julian Lage, a Santa Rosa-bred jazz musician, was nominated for his album \u003cem>The Layers\u003c/em> in the Best Contemporary Instrumental Album category.\u003c/p>\n\u003cp>And Skrillex, the popular DJ, spent part of his childhood in San Francisco and scored two nominations in the Dance/Electronic genre.\u003c/p>\n\u003cp>\u003cem>The \u003c/em>\u003ca href=\"https://www.grammy.com/\">\u003cem>66th Annual Grammy Awards\u003c/em>\u003c/a>\u003cem> are scheduled for Sunday, Feb. 4, at the Crypto.com Arena in Los Angeles. Viewers at home can tune into CBS or Paramount+ to catch the show.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Monét performed a homecoming show last month in Sacramento following two sold-out nights at the Regency Ballroom in San Francisco. The star quality in her performance was palpable. Monét previously received three Grammy nominations for her work on Ariana Grande’s album \u003cem>thank u, next\u003c/em> and Chloe x Halle’s hit single “Do It,” but this year’s seven nominations mark a first for her as a performer.\u003c/p>\n\u003cp>Monét’s 2-year-old daughter, Hazel, achieved a milestone as well. She’s the youngest nominee in the history of the awards for her featured voice in the song “Hollywood” alongside the legendary group Earth, Wind & Fire in the Best Traditional R&B Performance category.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Monét is also nominated in these categories: Best R&B Song for “On My Mama”, Best R&B Performance for “How Does It Make You Feel”, Best R&B Album and Best Engineered Album categories. What’s more, she’ll compete in two of the four general field categories as she receives a coveted Best New Artist nomination while her hit song, “On My Mama,” lands in the Record of the Year tier. Colin Leonard, nominated as the mastering engineer of “On My Mama,” studied classical guitar at the University of the Pacific in Stockton.\u003c/p>\n\u003cp>The most nominated artist this year, SZA, had some Bay Area magic on her album, too. Rob Bisel, who received three nominations as the songwriter, producer and engineer on SZA’s multiplatinum hit “Kill Bill,” was raised in Moraga and interned at Studio 880 in Oakland as a teen.\u003c/p>\n\u003cp>Raised 115 miles north of San Francisco in the rural town of Ukiah, Phoebe Bridgers netted seven nominations, including one for her own collaboration with SZA, “Ghost in the Machine.” Six additional nominations for her group Boygenius, including Album of the Year for \u003cem>The Record\u003c/em> and Record of the Year for “Not Strong Enough,” brought Bridgers into a tie with Monét’s seven nominations.\u003c/p>\n\u003cp>With nine Grammy Awards earned over their decades-long career, iconic San Francisco-based band Metallica received three nominations in the rock and metal categories. The group released their eleventh studio album \u003cem>72 Seasons\u003c/em> earlier this year to positive critical reception. If they win in 2024, it will end the band’s unlucky streak, giving Metallica its first set of golden gramophones since 2009.\u003c/p>\n\u003cp>San Francisco Symphony conductor Esa-Pekka Salonen notched two nominations for the Best Orchestral Performance and Best Choral Performance categories for his recording of Stravinsky’s “The Rite of Spring” with the Symphony and the SF Symphony Chorus’ recording of Hungarian composer György Ligeti’s “Lux Aeterna,” respectively.\u003c/p>\n\u003cp>Molly Tuttle, who was born in Santa Clara and raised in Palo Alto, received a nod in the Best Bluegrass Album category with \u003cem>City of Gold\u003c/em>, a project featuring her band Golden Highway. The album is partly an ode to Tuttle’s roots in California, with titles like “San Joaquin” and “Yosemite” on the tracklist.\u003c/p>\n\u003cp>Jeremy Cohen-led Quartet San Francisco’s “Cutey and the Dragon” got recognition in the Best Instrumental Composition category. While Cohen is a Bay Area musician, he is not credited as a composer, making him ineligible for a nomination in this field.\u003c/p>\n\u003ch2>More nominees with Bay Area ties include:\u003c/h2>\n\u003cp>Ray Keys, a songwriter on Coco Jones’ sultry hit “ICU,” was born in San José.\u003c/p>\n\u003cp>Rogét Chahayed, a songwriter on Doja Cat’s comeback single “Attention.” Chahayed attended the San Francisco Conservatory of Music and studied under professor Yoshikazu Nagai. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Zakir Hussain, who lives in San Anselmo, received two nominations in the Best Global Music Performance and Best Contemporary Instrumental Album categories.\u003c/p>\n\u003cp>Julian Lage, a Santa Rosa-bred jazz musician, was nominated for his album \u003cem>The Layers\u003c/em> in the Best Contemporary Instrumental Album category.\u003c/p>\n\u003cp>And Skrillex, the popular DJ, spent part of his childhood in San Francisco and scored two nominations in the Dance/Electronic genre.\u003c/p>\n\u003cp>\u003cem>The \u003c/em>\u003ca href=\"https://www.grammy.com/\">\u003cem>66th Annual Grammy Awards\u003c/em>\u003c/a>\u003cem> are scheduled for Sunday, Feb. 4, at the Crypto.com Arena in Los Angeles. Viewers at home can tune into CBS or Paramount+ to catch the show.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"slug": "hbk-gang-iamsu-jay-anthony-p-lo-sage-gemini",
"title": "HBK Gang Defined Bay Area Rap During the Social Media Boom",
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"headTitle": "HBK Gang Defined Bay Area Rap During the Social Media Boom | KQED",
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"content": "\u003cfigure id=\"attachment_13938031\" class=\"wp-caption aligncenter\" style=\"max-width: 962px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938031\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/HBKGang.16x9.jpg\" alt=\"A large crew of rappers and producers poses in an alleyway.\" width=\"962\" height=\"541\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/HBKGang.16x9.jpg 962w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/HBKGang.16x9-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/HBKGang.16x9-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/HBKGang.16x9-768x432.jpg 768w\" sizes=\"(max-width: 962px) 100vw, 962px\">\u003cfigcaption class=\"wp-caption-text\">HBK Gang reigned the Bay Area rap scene in the 2010s, and took their party anthems to the mainstream. \u003ccite>(Arturo Torres)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Editor’s note: This story is part of \u003c/em>\u003ca href=\"https://www.kqed.org/bayareahiphop\">That’s My Word\u003c/a>\u003cem>, KQED’s year-long exploration of \u003ca href=\"https://www.kqed.org/bayareahiphop\">Bay Area hip-hop\u003c/a> history.\u003c/em>\u003c/p>\n\u003cp>In the early 2010s, we watched viral videos on Vine, not TikTok, and Instagram and Twitter were brand new. DatPiff hosted the latest rap mixtapes, and Spotify was just a European start-up. Most people still had CD players in their cars, and “aux cord” wasn’t yet part of mainstream vocabulary.\u003c/p>\n\u003cp>Locally, the hyphy movement had fizzled, leaving a disjointed and uninspired vacuum in its wake. But soon, that would all change.\u003c/p>\n\u003cp>At the dawn of this social media boom, a group of high school and college friends came together as a collective that defined the next decade of Bay Area rap culture. That crew? \u003ca href=\"https://www.hbkgangmusic.com/\">HBK\u003c/a>, or Heartbreak Gang.\u003c/p>\n\u003cp>“We wanted to create our own identity,” says \u003ca href=\"https://www.hbkiamsu.com/\">IAMSU!\u003c/a>, one of HBK’s co-founders. “We felt like it was a new time in the Bay.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The eclectic crew included rappers, producers and singers: P-Lo, Sage the Gemini, Kehlani, Jay Ant, Kool John, Skipper, CJ, Azure, Dave Steezy, Kuya, Chief and an ever-expanding spectrum of collaborators — over 20 artists at HBK’s peak. The squad built on the \u003ca href=\"https://www.kqed.org/arts/13934874/hyphy-kids-got-trauma\">hyphy movement’s momentum\u003c/a>, and turned its chaotic energy into glossy, sleek party music that appealed to suburban internet addicts and city-dwelling hustlers alike. They sold out major venues like the Warfield; collaborated with streetwear brands; toured with Wiz Khalifa; and made hits — like Sage the Gemini’s “Gas Pedal” — that continue to slap on today’s dance floors.\u003c/p>\n\u003cp>“I really associate HBK in my memory with early internet culture, around the time the Warriors were starting to win more and housing prices were really starting to skyrocket,” says HBK’s former touring manager, Tim House, who’s worked with Bay Area rap veterans like Hieroglyphics and Zion I. “Even though it was only a decade ago, the scene feels wildly different today.”\u003c/p>\n\u003cp>During a surging \u003ca href=\"https://www.kqed.org/ourturbulentdecade\">digital decade\u003c/a>, HBK flooded stages and phone screens, all while propelling the Bay Area forward. Their imprint on the culture has remained ever since.\u003c/p>\n\u003cp>https://youtu.be/X8LUd51IuiA?si=ukxJ4ej0YxiUQuDl\u003c/p>\n\u003cp> \u003c/p>\n\u003ch2>HBK’s East Bay origins\u003c/h2>\n\u003cp>HBK initially came together in the mid-2000s, when most of the members were high school students in Richmond and Pinole. IAMSU! was doing numbers on MySpace as a member of \u003ca href=\"https://www.eastbaytimes.com/2010/06/29/meet-the-bay-areas-top-10-young-rappers/\">the Go-Gettaz\u003c/a>, and Jay Anthony (then known as Jay Ant) was part of \u003ca href=\"https://diligentz.bandcamp.com/album/fresh-impression-2-uh-we-made-some-more-music\">Diligentz\u003c/a>, a group active in \u003ca href=\"https://www.youtube.com/watch?v=uzAlkff2PSM\">the teenage, alternative “punk-rock” rap scene\u003c/a> that included Berkeley’s The Pack.\u003c/p>\n\u003cp>It wasn’t long before the friends — IAMSU!, P-Lo, Kuya Beats, Jay Ant and Chief — started meeting up after class to make music at Chief’s house as The Invasion. Eventually, a friend’s older brother hooked them up with access to a professional studio, and their producer group became the core of HBK, which officially formed in 2007.\u003c/p>\n\u003cfigure id=\"attachment_13938033\" class=\"wp-caption aligncenter\" style=\"max-width: 1242px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938033\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/HBK2.jpg\" alt=\"A photo from 10 years ago of a young crew of rappers and producers.\" width=\"1242\" height=\"824\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/HBK2.jpg 1242w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/HBK2-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/HBK2-1020x677.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/HBK2-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/HBK2-768x510.jpg 768w\" sizes=\"(max-width: 1242px) 100vw, 1242px\">\u003cfigcaption class=\"wp-caption-text\">Rossi, Sage the Gemini, IAMSU!, Skipper, P-Lo, Kool John (left to right) formed the early core of HBK Gang. \u003ccite>(Daghe)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“My first beats were industry-sounding. Scott Storch, Dr. Dre. That kind of stuff,” IAMSU! admits. “I had to get educated on what the Bay sound truly was. It was all organic ’cause it’s our home, so I soaked the game up and took it on one from there.”\u003c/p>\n\u003cp>For HBK, The Pack was a foundational influence. “I started with Young L type beats,” IAMSU! says. “Then we made our own sound from that.” (Jay Anthony doubled down by saying the crew followed “a \u003ca href=\"https://eastbayexpress.com/communing-with-the-based-god-2-1/\">Based God lineage\u003c/a>.”)\u003c/p>\n\u003cp>HBK members eventually went on to collaborate with Wiz Khalifa, Yo Gotti, B.o.B and Ty Dolla $ign. But the crew’s first taste of mainstream success was LoveRance’s 2011 hit “Up!,” which includes a featured verse and production by IAMSU! Its hypnotic, minimalist beat and lyrics about late-night mischief defined HBK’s trademark style: quick, two-chord progressions, repetitive loops, heavy bass and rich synth — all at around 100 beats per minute.\u003c/p>\n\u003cp>With the help of nascent social media platforms, the song exploded from a regional hit into a national radio single, and wrangled an official, Interscope-released remix featuring 50 Cent.\u003c/p>\n\u003cp>https://youtu.be/q93F03BhbXg?si=nPoIh1hALLHPBMNn\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>“This is the pre-streaming era, a weird time — I didn’t know how it would all change, but I knew the consumption of music was changing,” says Chioke “Stretch” McCoy, who managed HBK in their early days along with Will Bronson and David Ali.\u003c/p>\n\u003cp>While illegal downloads posed a problem for record labels, IAMSU! says HBK parlayed them to gain more fans. “LimeLinx and MediaFire was going crazy at the time,” IAMSU! says. “We had over a million downloads on there. That’s how LoveRance got his record deal [with Interscope]. That connected us with 50, Chris Brown, Jeezy, T.I. It was all up from there.”\u003c/p>\n\u003cp>The crew also embraced Vine and early Twitter in a time when it wasn’t the norm. “HBK was ahead of the digital age,” says Stretch, who previously worked with other influential Northern California artists, including Mac Dre, Mistah F.A.B. and Erk tha Jerk.\u003c/p>\n\u003cp>[pullquote size='large' citation='IAMSU!']‘We wanted to create our own identity. We felt like it was a new time in the Bay.’[/pullquote]\u003c/p>\n\u003cp>Another key to HBK’s success was how they softened the Bay Area’s signature hyphy sound into positive music with mainstream appeal. Underneath its joyful expressions, hyphy reflected the trauma and chaos of gun violence and street activities in the mid-2000s. And as it became more commercialized, drug-induced partying became its biggest selling point. HBK capitalized on that upbeat energy with their money-chasing, swirling tie-dye attitude. [aside postid='forum_2010101895012']\u003c/p>\n\u003cp>“No one really dies or gets robbed in an HBK record,” says House. “They make feel-good music.”\u003c/p>\n\u003cp>Jay Anthony considers HBK’s early work a “reset” for the Bay Area. “At the tail end of ’06, people were getting mugged at parties,” he says. “There was no smiling. Baggy Girbaud [jeans]. The Jacka is on. You will get punched in here. But we were about fun — popular shit. We’re from Richmond so it could go different ways, but just know we’re just trying to have a good time.”\u003c/p>\n\u003ch2>‘My click finna blow up’\u003c/h2>\n\u003cp>After “Up!,” HBK only gained speed. IAMSU! was incredibly prolific, releasing a godly amount of free mixtapes from 2011 to 2013: \u003cem>Young California\u003c/em>, \u003cem>KILT\u003c/em>, \u003cem>Stoopid\u003c/em>, \u003cem>Million Dollar Afro\u003c/em>, \u003cem>Suzy 6 Speed\u003c/em> — the list kept growing.\u003c/p>\n\u003cp>HBK earned crucial support from Bay Area veterans like E-40, Too $hort and J. Stalin. In 2012, IAMSU! scored another hit feature on E-40’s “Function” alongside Compton’s YG and Problem. The track was a show of California unity, and Su gassed on his verse in a moment when the Bay seemed to lack any established young talent.\u003c/p>\n\u003cp>https://youtu.be/DsDyZNIkO6Q?si=3mweJ6FWth6s2jx7\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>The following year, in 2013, HBK struck gold again with Sage the Gemini’s napalm-hot singles “Red Nose” and “Gas Pedal” (featuring IAMSU!), both of which dominated the Billboard Hot 100 for over 20 weeks. P-Lo, who emerged as a solo artist with his \u003cem>MBMGC\u003c/em> mixtapes, further proved himself as one of the crew’s most sought-after producers with Yo Gotti’s hit “\u003ca href=\"https://youtu.be/8HYXw1vADFQ?si=Kp0yJDN3hdrANxT9\">Act Right\u003c/a>.”\u003c/p>\n\u003cp>At the same time, HBK’s standout vocalist \u003ca href=\"https://www.kqed.org/arts/tag/kehlani\">Kehlani\u003c/a> single-handedly broke the internet with their debut mixtape \u003cem>Cloud 19\u003c/em> in 2014, the same year IAMSU! released his Warner Brothers-backed debut studio album, \u003cem>Sincerely Yours\u003c/em> — which included a few of the Bay’s most anthemic releases during that era, and was one of the last CDs I ever purchased at a Best Buy.\u003c/p>\n\u003cp>And though he wasn’t an official member, HBK collaborator G-Eazy benefited from the cresting tide on his way to major-label stardom. But arguably no one better represented HBK’s internet apotheosis more than IAMSU!\u003c/p>\n\u003cp>“We were just some kids from the Rich putting music out. I spammed my mixtapes all over the internet and people just started playing it until it reached other cities,” he says. “People in Louisiana and Boston were hitting me up. I was like, ‘Huh?’ The music spread hella quick.”\u003c/p>\n\u003cp>https://youtu.be/RSsw5yv2Ry4?si=bbfIvjGeH_53BQAV\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>But the internet wasn’t the only way HBK took their music beyond the Bay. “Importantly, they hit the road too, and didn’t just sit at the home,” says Stretch.\u003c/p>\n\u003cp>In 2014, IAMSU! and Sage the Gemini went on tour with Wiz Khalifa, whose Under the Influence of Music Tour featured rappers representing almost every major market — Jeezy and Rich Homie Quan from Atlanta, Tyga from LA, Mack Wilds from New York and \u003cem>Gangsta Grillz\u003c/em> mixtape impresario DJ Drama.\u003c/p>\n\u003cp>HBK’s palpable hype attracted young fans from everywhere to experience it in person. “It was a wave,” IAMSU! recalls, reminiscing about his performances at The FADER Fort during South by Southwest in Austin.\u003c/p>\n\u003cp>As sneakerhead and hypebeast culture grew in the 2010s, HBK worked hard to align their party music with streetwear brands to increase their radius. HBK Day, a massively popular free concert in 2015, featured exclusive merch drops from popular Bay Area brands like True SF, and was sponsored by Pink Dolphin. Taking a cue from veteran Oakland rap crew \u003ca href=\"https://www.kqed.org/arts/tag/hieroglyphics\">Hieroglyphics\u003c/a> and their iconic three-eyed logo, HBK looked to the previous generation for how to create a community offline. [aside postid='arts_10489213']\u003c/p>\n\u003cp>“They have an iconic logo. They have longevity. Their merch game is on lock,” IAMSU! says of Hiero. “They wasn’t all ice and chains. They were more about the craft. I respect that a whole lot. And more so than just their music, it was about their process and business strategy in branding. They’re a tribe. That’s how we wanted to mob.”\u003c/p>\n\u003cp>HBK’s pixelated, broken heart design and Kool John’s $HMOPLIFE smiley face became emblems for a generation of internet-age, hip-hop-loving hippies and skaters. Along with brands like HUF and Diamond Supply Co., their merch could be seen at house parties, on BART trains and in bike mobs all over the Bay throughout the 2010s.\u003c/p>\n\u003cfigure id=\"attachment_13938034\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938034\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/HBK5.jpg\" alt=\"\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/HBK5.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/HBK5-160x107.jpg 160w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">IAMSU! at a meet and greet. \u003ccite>(Daghe)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“People at my high school who were big fans like me would deadass ditch class and go to HBK’s pop-ups,” says \u003ca href=\"https://shotsbysydney.com/\">Sydney Welch\u003c/a>, a music photographer from Fremont. “Seeing that impact on the whole culture here, their interactions with fans. Their style and sense of family really made a big difference in our lives.”\u003c/p>\n\u003cp>“HBK changed my perspective on life and made me feel I could be myself fully,” says \u003ca href=\"https://www.kqed.org/arts/13908844/rightnowish-big-love-seriespage\">Oopz All Berriez\u003c/a>, a local entrepreneur in the cannabis industry who considers himself a mascot for $HMOPLIFE. “They influenced me to think outside the box and be different. They are the modern-day Wu-Tang of the West.”\u003c/p>\n\u003ch2>HBK’s lasting influence\u003c/h2>\n\u003cp>Like many large crews from the era — A$AP Mob and Odd Future included — HBK members eventually went on to focus on their solo careers, and collective efforts tapered off.\u003c/p>\n\u003cp>Still, if you scan the culture in the Bay Area and beyond, HBK’s impact remains, and most of the members are currently active. Kehlani has nearly 16 million followers on Instagram, a Grey Goose sponsorship and two Grammy nominations. P-Lo keeps dropping \u003ca href=\"https://www.youtube.com/watch?v=9ZQ5F8myiW0\">singles\u003c/a> and his own Wingstop commercial, all while wrapping up an international food tour. Sage the Gemini is \u003ca href=\"https://www.google.com/search?q=sage+the+gemini+sacramento&oq=sage+the+gemini+sacrm&gs_lcrp=EgZjaHJvbWUqCQgBECEYChigATIGCAAQRRg5MgkIARAhGAoYoAEyCQgCECEYChigATIJCAMQIRgKGKAB0gEINzQ4NmowajmoAgCwAgA&sourceid=chrome&ie=UTF-8&ibp=htl;events&rciv=evn&sa=X&ved=2ahUKEwizwqX4y8SCAxUfNEQIHd8tA0QQ5bwDegQITRAB#fpstate=tldetail&htidocid=L2F1dGhvcml0eS9ob3Jpem9uL2NsdXN0ZXJlZF9ldmVudC8yMDIzLTEyLTA5fDE4MTczMzY3OTM2NjgxODEyNzk%3D&htivrt=events&mid=/g/11v4m1mklm\">performing in arenas\u003c/a>. Jay Anthony is steadily evolving his sound in LA. And IAMSU! — who is releasing his latest mixtape, \u003cem>1-833-HBK-GANG,\u003c/em> this week — gathered a handful of members for a reunion \u003ca href=\"https://www.kqed.org/arts/13932209/bay-area-hip-hop-beneath-the-rollercoasters\">IAMSUMMER\u003c/a> concert in August.\u003c/p>\n\u003cfigure id=\"attachment_13938035\" class=\"wp-caption aligncenter\" style=\"max-width: 900px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938035\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/HBK3.jpg\" alt=\"\" width=\"900\" height=\"597\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/HBK3.jpg 900w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/HBK3-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/HBK3-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/HBK3-768x509.jpg 768w\" sizes=\"(max-width: 900px) 100vw, 900px\">\u003cfigcaption class=\"wp-caption-text\">IAMSU! and Kendrick Lamar. \u003ccite>(Daghe)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When HBK came together, during the early days of smartphones, social media’s potential felt limitless and democratic — before big tech became increasingly associated with gentrification and disinformation. Emerging artists could circumvent record labels, forge grassroots brands with direct access to consumers and relish in the limitless exchange of free files.\u003c/p>\n\u003cp>But the same tools that propelled HBK’s rise have undercut artists’ ability to \u003ca href=\"https://www.kqed.org/forum/2010101893314/how-musicians-are-navigating-streaming-algorithms-ai-and-automation\">make a living off recorded music\u003c/a>, and, some argue, have made the culture more homogeneous. “Today when a trend goes viral online and everyone starts doing it, it feels like everyone is doing the same thing at the same time,” IAMSU! laments. “But we definitely wanted to keep the Bay Area vibe alive back then.” [aside postid='arts_13932887']\u003c/p>\n\u003cp>With \u003ca href=\"https://pitchfork.com/thepitch/regional-rap-classics-are-slowly-disappearing-from-the-internet/\">regional rap classics slowly fading from the internet\u003c/a>, I’ve been popping in my old HBK CDs to remember what the Bay sounded like a decade ago. Nowadays, listening to their throwback hits instantly transports me high above the Bay Bridge to a simpler time, when a few East Bay kids on the internet could show you how to float and glide through it all. For many of us, it represents a golden era unto itself.\u003c/p>\n\u003cp>“Some of us moved away, some of us have kids now, girlfriends, all that. It’s life,” says IAMSU! “It was a completely different era. It feels like a different lifetime. It was a beautiful time though, I ain’t gon’ lie.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-11687704\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/06/Turntable.Break_.jpg\" alt=\"\" width=\"800\" height=\"60\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-400x30.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-768x58.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13938031\" class=\"wp-caption aligncenter\" style=\"max-width: 962px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938031\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/HBKGang.16x9.jpg\" alt=\"A large crew of rappers and producers poses in an alleyway.\" width=\"962\" height=\"541\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/HBKGang.16x9.jpg 962w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/HBKGang.16x9-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/HBKGang.16x9-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/HBKGang.16x9-768x432.jpg 768w\" sizes=\"(max-width: 962px) 100vw, 962px\">\u003cfigcaption class=\"wp-caption-text\">HBK Gang reigned the Bay Area rap scene in the 2010s, and took their party anthems to the mainstream. \u003ccite>(Arturo Torres)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Editor’s note: This story is part of \u003c/em>\u003ca href=\"https://www.kqed.org/bayareahiphop\">That’s My Word\u003c/a>\u003cem>, KQED’s year-long exploration of \u003ca href=\"https://www.kqed.org/bayareahiphop\">Bay Area hip-hop\u003c/a> history.\u003c/em>\u003c/p>\n\u003cp>In the early 2010s, we watched viral videos on Vine, not TikTok, and Instagram and Twitter were brand new. DatPiff hosted the latest rap mixtapes, and Spotify was just a European start-up. Most people still had CD players in their cars, and “aux cord” wasn’t yet part of mainstream vocabulary.\u003c/p>\n\u003cp>Locally, the hyphy movement had fizzled, leaving a disjointed and uninspired vacuum in its wake. But soon, that would all change.\u003c/p>\n\u003cp>At the dawn of this social media boom, a group of high school and college friends came together as a collective that defined the next decade of Bay Area rap culture. That crew? \u003ca href=\"https://www.hbkgangmusic.com/\">HBK\u003c/a>, or Heartbreak Gang.\u003c/p>\n\u003cp>“We wanted to create our own identity,” says \u003ca href=\"https://www.hbkiamsu.com/\">IAMSU!\u003c/a>, one of HBK’s co-founders. “We felt like it was a new time in the Bay.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The eclectic crew included rappers, producers and singers: P-Lo, Sage the Gemini, Kehlani, Jay Ant, Kool John, Skipper, CJ, Azure, Dave Steezy, Kuya, Chief and an ever-expanding spectrum of collaborators — over 20 artists at HBK’s peak. The squad built on the \u003ca href=\"https://www.kqed.org/arts/13934874/hyphy-kids-got-trauma\">hyphy movement’s momentum\u003c/a>, and turned its chaotic energy into glossy, sleek party music that appealed to suburban internet addicts and city-dwelling hustlers alike. They sold out major venues like the Warfield; collaborated with streetwear brands; toured with Wiz Khalifa; and made hits — like Sage the Gemini’s “Gas Pedal” — that continue to slap on today’s dance floors.\u003c/p>\n\u003cp>“I really associate HBK in my memory with early internet culture, around the time the Warriors were starting to win more and housing prices were really starting to skyrocket,” says HBK’s former touring manager, Tim House, who’s worked with Bay Area rap veterans like Hieroglyphics and Zion I. “Even though it was only a decade ago, the scene feels wildly different today.”\u003c/p>\n\u003cp>During a surging \u003ca href=\"https://www.kqed.org/ourturbulentdecade\">digital decade\u003c/a>, HBK flooded stages and phone screens, all while propelling the Bay Area forward. Their imprint on the culture has remained ever since.\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/X8LUd51IuiA'\n title='//www.youtube.com/embed/X8LUd51IuiA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp> \u003c/p>\n\u003ch2>HBK’s East Bay origins\u003c/h2>\n\u003cp>HBK initially came together in the mid-2000s, when most of the members were high school students in Richmond and Pinole. IAMSU! was doing numbers on MySpace as a member of \u003ca href=\"https://www.eastbaytimes.com/2010/06/29/meet-the-bay-areas-top-10-young-rappers/\">the Go-Gettaz\u003c/a>, and Jay Anthony (then known as Jay Ant) was part of \u003ca href=\"https://diligentz.bandcamp.com/album/fresh-impression-2-uh-we-made-some-more-music\">Diligentz\u003c/a>, a group active in \u003ca href=\"https://www.youtube.com/watch?v=uzAlkff2PSM\">the teenage, alternative “punk-rock” rap scene\u003c/a> that included Berkeley’s The Pack.\u003c/p>\n\u003cp>It wasn’t long before the friends — IAMSU!, P-Lo, Kuya Beats, Jay Ant and Chief — started meeting up after class to make music at Chief’s house as The Invasion. Eventually, a friend’s older brother hooked them up with access to a professional studio, and their producer group became the core of HBK, which officially formed in 2007.\u003c/p>\n\u003cfigure id=\"attachment_13938033\" class=\"wp-caption aligncenter\" style=\"max-width: 1242px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938033\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/HBK2.jpg\" alt=\"A photo from 10 years ago of a young crew of rappers and producers.\" width=\"1242\" height=\"824\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/HBK2.jpg 1242w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/HBK2-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/HBK2-1020x677.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/HBK2-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/HBK2-768x510.jpg 768w\" sizes=\"(max-width: 1242px) 100vw, 1242px\">\u003cfigcaption class=\"wp-caption-text\">Rossi, Sage the Gemini, IAMSU!, Skipper, P-Lo, Kool John (left to right) formed the early core of HBK Gang. \u003ccite>(Daghe)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“My first beats were industry-sounding. Scott Storch, Dr. Dre. That kind of stuff,” IAMSU! admits. “I had to get educated on what the Bay sound truly was. It was all organic ’cause it’s our home, so I soaked the game up and took it on one from there.”\u003c/p>\n\u003cp>For HBK, The Pack was a foundational influence. “I started with Young L type beats,” IAMSU! says. “Then we made our own sound from that.” (Jay Anthony doubled down by saying the crew followed “a \u003ca href=\"https://eastbayexpress.com/communing-with-the-based-god-2-1/\">Based God lineage\u003c/a>.”)\u003c/p>\n\u003cp>HBK members eventually went on to collaborate with Wiz Khalifa, Yo Gotti, B.o.B and Ty Dolla $ign. But the crew’s first taste of mainstream success was LoveRance’s 2011 hit “Up!,” which includes a featured verse and production by IAMSU! Its hypnotic, minimalist beat and lyrics about late-night mischief defined HBK’s trademark style: quick, two-chord progressions, repetitive loops, heavy bass and rich synth — all at around 100 beats per minute.\u003c/p>\n\u003cp>With the help of nascent social media platforms, the song exploded from a regional hit into a national radio single, and wrangled an official, Interscope-released remix featuring 50 Cent.\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/q93F03BhbXg'\n title='//www.youtube.com/embed/q93F03BhbXg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp> \u003c/p>\n\u003cp>“This is the pre-streaming era, a weird time — I didn’t know how it would all change, but I knew the consumption of music was changing,” says Chioke “Stretch” McCoy, who managed HBK in their early days along with Will Bronson and David Ali.\u003c/p>\n\u003cp>While illegal downloads posed a problem for record labels, IAMSU! says HBK parlayed them to gain more fans. “LimeLinx and MediaFire was going crazy at the time,” IAMSU! says. “We had over a million downloads on there. That’s how LoveRance got his record deal [with Interscope]. That connected us with 50, Chris Brown, Jeezy, T.I. It was all up from there.”\u003c/p>\n\u003cp>The crew also embraced Vine and early Twitter in a time when it wasn’t the norm. “HBK was ahead of the digital age,” says Stretch, who previously worked with other influential Northern California artists, including Mac Dre, Mistah F.A.B. and Erk tha Jerk.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Another key to HBK’s success was how they softened the Bay Area’s signature hyphy sound into positive music with mainstream appeal. Underneath its joyful expressions, hyphy reflected the trauma and chaos of gun violence and street activities in the mid-2000s. And as it became more commercialized, drug-induced partying became its biggest selling point. HBK capitalized on that upbeat energy with their money-chasing, swirling tie-dye attitude. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“No one really dies or gets robbed in an HBK record,” says House. “They make feel-good music.”\u003c/p>\n\u003cp>Jay Anthony considers HBK’s early work a “reset” for the Bay Area. “At the tail end of ’06, people were getting mugged at parties,” he says. “There was no smiling. Baggy Girbaud [jeans]. The Jacka is on. You will get punched in here. But we were about fun — popular shit. We’re from Richmond so it could go different ways, but just know we’re just trying to have a good time.”\u003c/p>\n\u003ch2>‘My click finna blow up’\u003c/h2>\n\u003cp>After “Up!,” HBK only gained speed. IAMSU! was incredibly prolific, releasing a godly amount of free mixtapes from 2011 to 2013: \u003cem>Young California\u003c/em>, \u003cem>KILT\u003c/em>, \u003cem>Stoopid\u003c/em>, \u003cem>Million Dollar Afro\u003c/em>, \u003cem>Suzy 6 Speed\u003c/em> — the list kept growing.\u003c/p>\n\u003cp>HBK earned crucial support from Bay Area veterans like E-40, Too $hort and J. Stalin. In 2012, IAMSU! scored another hit feature on E-40’s “Function” alongside Compton’s YG and Problem. The track was a show of California unity, and Su gassed on his verse in a moment when the Bay seemed to lack any established young talent.\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/DsDyZNIkO6Q'\n title='//www.youtube.com/embed/DsDyZNIkO6Q'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp> \u003c/p>\n\u003cp>The following year, in 2013, HBK struck gold again with Sage the Gemini’s napalm-hot singles “Red Nose” and “Gas Pedal” (featuring IAMSU!), both of which dominated the Billboard Hot 100 for over 20 weeks. P-Lo, who emerged as a solo artist with his \u003cem>MBMGC\u003c/em> mixtapes, further proved himself as one of the crew’s most sought-after producers with Yo Gotti’s hit “\u003ca href=\"https://youtu.be/8HYXw1vADFQ?si=Kp0yJDN3hdrANxT9\">Act Right\u003c/a>.”\u003c/p>\n\u003cp>At the same time, HBK’s standout vocalist \u003ca href=\"https://www.kqed.org/arts/tag/kehlani\">Kehlani\u003c/a> single-handedly broke the internet with their debut mixtape \u003cem>Cloud 19\u003c/em> in 2014, the same year IAMSU! released his Warner Brothers-backed debut studio album, \u003cem>Sincerely Yours\u003c/em> — which included a few of the Bay’s most anthemic releases during that era, and was one of the last CDs I ever purchased at a Best Buy.\u003c/p>\n\u003cp>And though he wasn’t an official member, HBK collaborator G-Eazy benefited from the cresting tide on his way to major-label stardom. But arguably no one better represented HBK’s internet apotheosis more than IAMSU!\u003c/p>\n\u003cp>“We were just some kids from the Rich putting music out. I spammed my mixtapes all over the internet and people just started playing it until it reached other cities,” he says. “People in Louisiana and Boston were hitting me up. I was like, ‘Huh?’ The music spread hella quick.”\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/RSsw5yv2Ry4'\n title='//www.youtube.com/embed/RSsw5yv2Ry4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp> \u003c/p>\n\u003cp>But the internet wasn’t the only way HBK took their music beyond the Bay. “Importantly, they hit the road too, and didn’t just sit at the home,” says Stretch.\u003c/p>\n\u003cp>In 2014, IAMSU! and Sage the Gemini went on tour with Wiz Khalifa, whose Under the Influence of Music Tour featured rappers representing almost every major market — Jeezy and Rich Homie Quan from Atlanta, Tyga from LA, Mack Wilds from New York and \u003cem>Gangsta Grillz\u003c/em> mixtape impresario DJ Drama.\u003c/p>\n\u003cp>HBK’s palpable hype attracted young fans from everywhere to experience it in person. “It was a wave,” IAMSU! recalls, reminiscing about his performances at The FADER Fort during South by Southwest in Austin.\u003c/p>\n\u003cp>As sneakerhead and hypebeast culture grew in the 2010s, HBK worked hard to align their party music with streetwear brands to increase their radius. HBK Day, a massively popular free concert in 2015, featured exclusive merch drops from popular Bay Area brands like True SF, and was sponsored by Pink Dolphin. Taking a cue from veteran Oakland rap crew \u003ca href=\"https://www.kqed.org/arts/tag/hieroglyphics\">Hieroglyphics\u003c/a> and their iconic three-eyed logo, HBK looked to the previous generation for how to create a community offline. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“They have an iconic logo. They have longevity. Their merch game is on lock,” IAMSU! says of Hiero. “They wasn’t all ice and chains. They were more about the craft. I respect that a whole lot. And more so than just their music, it was about their process and business strategy in branding. They’re a tribe. That’s how we wanted to mob.”\u003c/p>\n\u003cp>HBK’s pixelated, broken heart design and Kool John’s $HMOPLIFE smiley face became emblems for a generation of internet-age, hip-hop-loving hippies and skaters. Along with brands like HUF and Diamond Supply Co., their merch could be seen at house parties, on BART trains and in bike mobs all over the Bay throughout the 2010s.\u003c/p>\n\u003cfigure id=\"attachment_13938034\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938034\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/HBK5.jpg\" alt=\"\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/HBK5.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/HBK5-160x107.jpg 160w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">IAMSU! at a meet and greet. \u003ccite>(Daghe)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“People at my high school who were big fans like me would deadass ditch class and go to HBK’s pop-ups,” says \u003ca href=\"https://shotsbysydney.com/\">Sydney Welch\u003c/a>, a music photographer from Fremont. “Seeing that impact on the whole culture here, their interactions with fans. Their style and sense of family really made a big difference in our lives.”\u003c/p>\n\u003cp>“HBK changed my perspective on life and made me feel I could be myself fully,” says \u003ca href=\"https://www.kqed.org/arts/13908844/rightnowish-big-love-seriespage\">Oopz All Berriez\u003c/a>, a local entrepreneur in the cannabis industry who considers himself a mascot for $HMOPLIFE. “They influenced me to think outside the box and be different. They are the modern-day Wu-Tang of the West.”\u003c/p>\n\u003ch2>HBK’s lasting influence\u003c/h2>\n\u003cp>Like many large crews from the era — A$AP Mob and Odd Future included — HBK members eventually went on to focus on their solo careers, and collective efforts tapered off.\u003c/p>\n\u003cp>Still, if you scan the culture in the Bay Area and beyond, HBK’s impact remains, and most of the members are currently active. Kehlani has nearly 16 million followers on Instagram, a Grey Goose sponsorship and two Grammy nominations. P-Lo keeps dropping \u003ca href=\"https://www.youtube.com/watch?v=9ZQ5F8myiW0\">singles\u003c/a> and his own Wingstop commercial, all while wrapping up an international food tour. Sage the Gemini is \u003ca href=\"https://www.google.com/search?q=sage+the+gemini+sacramento&oq=sage+the+gemini+sacrm&gs_lcrp=EgZjaHJvbWUqCQgBECEYChigATIGCAAQRRg5MgkIARAhGAoYoAEyCQgCECEYChigATIJCAMQIRgKGKAB0gEINzQ4NmowajmoAgCwAgA&sourceid=chrome&ie=UTF-8&ibp=htl;events&rciv=evn&sa=X&ved=2ahUKEwizwqX4y8SCAxUfNEQIHd8tA0QQ5bwDegQITRAB#fpstate=tldetail&htidocid=L2F1dGhvcml0eS9ob3Jpem9uL2NsdXN0ZXJlZF9ldmVudC8yMDIzLTEyLTA5fDE4MTczMzY3OTM2NjgxODEyNzk%3D&htivrt=events&mid=/g/11v4m1mklm\">performing in arenas\u003c/a>. Jay Anthony is steadily evolving his sound in LA. And IAMSU! — who is releasing his latest mixtape, \u003cem>1-833-HBK-GANG,\u003c/em> this week — gathered a handful of members for a reunion \u003ca href=\"https://www.kqed.org/arts/13932209/bay-area-hip-hop-beneath-the-rollercoasters\">IAMSUMMER\u003c/a> concert in August.\u003c/p>\n\u003cfigure id=\"attachment_13938035\" class=\"wp-caption aligncenter\" style=\"max-width: 900px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938035\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/HBK3.jpg\" alt=\"\" width=\"900\" height=\"597\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/HBK3.jpg 900w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/HBK3-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/HBK3-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/HBK3-768x509.jpg 768w\" sizes=\"(max-width: 900px) 100vw, 900px\">\u003cfigcaption class=\"wp-caption-text\">IAMSU! and Kendrick Lamar. \u003ccite>(Daghe)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When HBK came together, during the early days of smartphones, social media’s potential felt limitless and democratic — before big tech became increasingly associated with gentrification and disinformation. Emerging artists could circumvent record labels, forge grassroots brands with direct access to consumers and relish in the limitless exchange of free files.\u003c/p>\n\u003cp>But the same tools that propelled HBK’s rise have undercut artists’ ability to \u003ca href=\"https://www.kqed.org/forum/2010101893314/how-musicians-are-navigating-streaming-algorithms-ai-and-automation\">make a living off recorded music\u003c/a>, and, some argue, have made the culture more homogeneous. “Today when a trend goes viral online and everyone starts doing it, it feels like everyone is doing the same thing at the same time,” IAMSU! laments. “But we definitely wanted to keep the Bay Area vibe alive back then.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>With \u003ca href=\"https://pitchfork.com/thepitch/regional-rap-classics-are-slowly-disappearing-from-the-internet/\">regional rap classics slowly fading from the internet\u003c/a>, I’ve been popping in my old HBK CDs to remember what the Bay sounded like a decade ago. Nowadays, listening to their throwback hits instantly transports me high above the Bay Bridge to a simpler time, when a few East Bay kids on the internet could show you how to float and glide through it all. For many of us, it represents a golden era unto itself.\u003c/p>\n\u003cp>“Some of us moved away, some of us have kids now, girlfriends, all that. It’s life,” says IAMSU! “It was a completely different era. It feels like a different lifetime. It was a beautiful time though, I ain’t gon’ lie.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Talking With Tony! Toni! Toné! About Finally Coming Back to Oakland — Together",
"headTitle": "Talking With Tony! Toni! Toné! About Finally Coming Back to Oakland — Together | KQED",
"content": "\u003cp>Earlier this year, when a cryptic announcement hit social media that all three original members of Tony! Toni! Toné! were going on tour, I, like a lot of people, immediately searched for more details. I even texted the number they said to text, and I normally avoid celebrity text sign-up promos. But this was \u003cem>Tony! Toni! Toné!\u003c/em> — and an extra special hometown show in Oakland was sure to come.\u003c/p>\n\u003cp>When tickets for a show at the Paramount were eventually announced, they quickly sold out. So the group added a second Paramount show (at press time, also nearly sold out). Which just proves the love that Oakland shares for Raphael Saadiq, D’Wayne Wiggins and Timothy Christian Riley, and the music they’ve produced while always repping their hometown.\u003c/p>\n\u003cp>And, as Raphael Saadiq and D’Wayne Wiggins shared when I caught up with them over Zoom before their Just Me and You Tour arrives at the Paramount Theatre in Oakland this week, it’ll be a dream come true to give that love right back.\u003c/p>\n\u003cp>[aside postID='arts_13935962']\u003cem>Interview has been edited for length and clarity.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Ariana Proehl: You’re in the final days of this tour. How excited are you for these hometown shows? And knowing that you sold out the Paramount?\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>D’Wayne Wiggins\u003c/strong>: It’s like living out a dream. The Paramount Theatre. I’ve watched many artists there. I met Cab Calloway there when I was a kid. Seeing Frankie Beverly every November. Historical events have been there. For us to be there.… and on stage with family? Oh my God.\u003c/p>\n\u003cp>\u003cstrong>Raphael Saadiq\u003c/strong>: I think my excitement will happen when we get to the venue, and then after we get dressed, and that moment we’re about to walk on. And that’s the craziest feeling we get in a place like the Paramount…. We did L.A. [last Saturday] and L.A. was something that we couldn’t even imagine. I don’t even want to think about what Oakland could be. I don’t know how to do that right now.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=fQd24h1ZDc4\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cstrong>I imagine there’s going to be a lot of family in the audience.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Raphael Saadiq\u003c/strong>: It’s going to be a lot of friends. A lot of family. A lot of people happy to see us together. And we’ll be happy to see them, too. It’s been a long time coming. The energy between us three and also the energy between the audience has been something that we couldn’t put together. Money couldn’t put it together. It’s just special. It’s like the perfect storm right now for us.\u003c/p>\n\u003cp>\u003cstrong>So was it easy to just drop back in and find the flow with each other on stage again?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Raphael Saadiq\u003c/strong>: It never changed.\u003c/p>\n\u003cp>\u003cstrong>D’Wayne Wiggins\u003c/strong>: We’re comfortable on stage together like that… We know each other’s moves. We know each other’s vibes, we know each other’s style. You know, the history we have together. Certain licks we’ll do, certain turnarounds. Ray’ll change the show right before your eyes and say something in Tim’s ear. That’s the beauty of it. You know, it’s like we levitate together. We rise.\u003c/p>\n\u003cp>[aside postID='arts_13810633']\u003cstrong>Do you have any favorite memories of when you first started playing together? Like out in Oakland clubs?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Raphael Saadiq\u003c/strong>: We’ve had our share of clubs, one being the \u003ca href=\"https://www.facebook.com/gmackeynurhyme/photos/a.474949895894297/499512880104665/\">Lucky Lion\u003c/a>. That was a place – I guess it would be like First Avenue in Minneapolis, for bands in Oakland. But playing outside in parks was the bigger thing in Oakland. We played a lot of parks. Arroyo Viejo Park, as well as Elmhurst Park on C Street and 98th — I think that was my first gig at a park. My best memories are of playing at parks, not at clubs.\u003c/p>\n\u003cp>\u003cstrong>D’Wayne Wiggins\u003c/strong>: That’s great memories, too, because DeFremery Park, Sobrante Park, Arroyo Viejo Park, San Antonio Park. Maaan, every park we must have jammed at, you know?\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=e1YYqeKUp-M\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cstrong>I read, Raphael, that when you kind of stealthily announced the tour, you wanted it to be very organic — not be leading with the business aspect, but with family. Is that right?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Raphael Saadiq\u003c/strong>: Yeah… for a long time I was quoted as saying, ‘I’ll probably never do [Tony! Toni! Toné!] again.’ And I did say that, but I kind of said it knowing I can’t control that, right? But I knew I wanted to put the announcement out very beautifully. I wanted to see us look how we look. Get the right photos out, and \u003ca href=\"https://spinningplatters.com/2023/03/29/breaking-raphael-saadiq-is-touring-with-tony-toni-tone/\">throw a billboard up in the middle of East Oakland\u003c/a>, where we started. And not tell D’Wayne and not tell Tim. Not tell any management people. We felt like Oakland should know first.\u003c/p>\n\u003cfigure id=\"attachment_13937964\" class=\"wp-caption aligncenter\" style=\"max-width: 2504px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13937964\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/Tony-Toni-Tone.jpg\" alt=\"Three Black men in semi-formal fashionable clothes stand in a row, looking into the camera\" width=\"2504\" height=\"1704\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Tony-Toni-Tone.jpg 2504w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Tony-Toni-Tone-800x544.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Tony-Toni-Tone-1020x694.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Tony-Toni-Tone-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Tony-Toni-Tone-768x523.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Tony-Toni-Tone-1536x1045.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Tony-Toni-Tone-2048x1394.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Tony-Toni-Tone-1920x1307.jpg 1920w\" sizes=\"(max-width: 2504px) 100vw, 2504px\">\u003cfigcaption class=\"wp-caption-text\">The image that Raphael Saadiq put on a billboard in Oakland to announce Tony! Toni! Toné!’s reunion tour. \u003ccite>(David 'Odiwams' Wright)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>You know, we’ve not just played music in that city, but we’ve lost family members in that city. We ate a lot of cheeseburgers in that city. We ate a lot of donuts. We’ve had a lot of fights with people. We dodged bullets… We watched karate movies at Eastmont Mall at the Lux. We got to watch buildings go up and go down. We watched the whole city change from Black to what it is now. You know, we’ve seen a lot. We walked those streets so much. We watched our parents get old and, you know, watched our father [pass away]. So many people we said ‘good morning’ to that’s not there no more. Older people who taught us, that died a natural death, who had a good life.\u003c/p>\n\u003cp>So we have a lot ingrained in us that’s not just music. We’re not just music anymore. We’re feeling like this ancestor thing coming out. Spirit just took over. We’re just riding the wave. I really feel like that. And that’s how I’ve been feeling on the tour.\u003c/p>\n\u003cp>\u003cstrong>D’Wayne Wiggins\u003c/strong>: The music is the score to our lives, you know. It helped us stay focused. We learned a lot. We still learn a lot. We walked away from the industry. It wasn’t like we weren’t selling [records]. We just had other goals that we wanted to pursue and it took us a while to gather all of those thoughts and those passions. And when you see us on stage together, you can see we’ve been through a lot and it shines. And Oakland is our base, no matter what.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Tony! Toni! Toné! plays the Paramount Theatre in Oakland on Nov. 14 and 15, and The Masonic in San Francisco on Nov. 17. \u003ca href=\"https://www.ticketmaster.com/tony-toni-tone-tickets/artist/874672\">Details and ticket info here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Earlier this year, when a cryptic announcement hit social media that all three original members of Tony! Toni! Toné! were going on tour, I, like a lot of people, immediately searched for more details. I even texted the number they said to text, and I normally avoid celebrity text sign-up promos. But this was \u003cem>Tony! Toni! Toné!\u003c/em> — and an extra special hometown show in Oakland was sure to come.\u003c/p>\n\u003cp>When tickets for a show at the Paramount were eventually announced, they quickly sold out. So the group added a second Paramount show (at press time, also nearly sold out). Which just proves the love that Oakland shares for Raphael Saadiq, D’Wayne Wiggins and Timothy Christian Riley, and the music they’ve produced while always repping their hometown.\u003c/p>\n\u003cp>And, as Raphael Saadiq and D’Wayne Wiggins shared when I caught up with them over Zoom before their Just Me and You Tour arrives at the Paramount Theatre in Oakland this week, it’ll be a dream come true to give that love right back.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>Interview has been edited for length and clarity.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Ariana Proehl: You’re in the final days of this tour. How excited are you for these hometown shows? And knowing that you sold out the Paramount?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>D’Wayne Wiggins\u003c/strong>: It’s like living out a dream. The Paramount Theatre. I’ve watched many artists there. I met Cab Calloway there when I was a kid. Seeing Frankie Beverly every November. Historical events have been there. For us to be there.… and on stage with family? Oh my God.\u003c/p>\n\u003cp>\u003cstrong>Raphael Saadiq\u003c/strong>: I think my excitement will happen when we get to the venue, and then after we get dressed, and that moment we’re about to walk on. And that’s the craziest feeling we get in a place like the Paramount…. We did L.A. [last Saturday] and L.A. was something that we couldn’t even imagine. I don’t even want to think about what Oakland could be. I don’t know how to do that right now.\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/fQd24h1ZDc4'\n title='//www.youtube.com/embed/fQd24h1ZDc4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp> \u003c/p>\n\u003cp>\u003cstrong>I imagine there’s going to be a lot of family in the audience.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Raphael Saadiq\u003c/strong>: It’s going to be a lot of friends. A lot of family. A lot of people happy to see us together. And we’ll be happy to see them, too. It’s been a long time coming. The energy between us three and also the energy between the audience has been something that we couldn’t put together. Money couldn’t put it together. It’s just special. It’s like the perfect storm right now for us.\u003c/p>\n\u003cp>\u003cstrong>So was it easy to just drop back in and find the flow with each other on stage again?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Raphael Saadiq\u003c/strong>: It never changed.\u003c/p>\n\u003cp>\u003cstrong>D’Wayne Wiggins\u003c/strong>: We’re comfortable on stage together like that… We know each other’s moves. We know each other’s vibes, we know each other’s style. You know, the history we have together. Certain licks we’ll do, certain turnarounds. Ray’ll change the show right before your eyes and say something in Tim’s ear. That’s the beauty of it. You know, it’s like we levitate together. We rise.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cstrong>Do you have any favorite memories of when you first started playing together? Like out in Oakland clubs?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Raphael Saadiq\u003c/strong>: We’ve had our share of clubs, one being the \u003ca href=\"https://www.facebook.com/gmackeynurhyme/photos/a.474949895894297/499512880104665/\">Lucky Lion\u003c/a>. That was a place – I guess it would be like First Avenue in Minneapolis, for bands in Oakland. But playing outside in parks was the bigger thing in Oakland. We played a lot of parks. Arroyo Viejo Park, as well as Elmhurst Park on C Street and 98th — I think that was my first gig at a park. My best memories are of playing at parks, not at clubs.\u003c/p>\n\u003cp>\u003cstrong>D’Wayne Wiggins\u003c/strong>: That’s great memories, too, because DeFremery Park, Sobrante Park, Arroyo Viejo Park, San Antonio Park. Maaan, every park we must have jammed at, you know?\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/e1YYqeKUp-M'\n title='//www.youtube.com/embed/e1YYqeKUp-M'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp> \u003c/p>\n\u003cp>\u003cstrong>I read, Raphael, that when you kind of stealthily announced the tour, you wanted it to be very organic — not be leading with the business aspect, but with family. Is that right?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Raphael Saadiq\u003c/strong>: Yeah… for a long time I was quoted as saying, ‘I’ll probably never do [Tony! Toni! Toné!] again.’ And I did say that, but I kind of said it knowing I can’t control that, right? But I knew I wanted to put the announcement out very beautifully. I wanted to see us look how we look. Get the right photos out, and \u003ca href=\"https://spinningplatters.com/2023/03/29/breaking-raphael-saadiq-is-touring-with-tony-toni-tone/\">throw a billboard up in the middle of East Oakland\u003c/a>, where we started. And not tell D’Wayne and not tell Tim. Not tell any management people. We felt like Oakland should know first.\u003c/p>\n\u003cfigure id=\"attachment_13937964\" class=\"wp-caption aligncenter\" style=\"max-width: 2504px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13937964\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/Tony-Toni-Tone.jpg\" alt=\"Three Black men in semi-formal fashionable clothes stand in a row, looking into the camera\" width=\"2504\" height=\"1704\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Tony-Toni-Tone.jpg 2504w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Tony-Toni-Tone-800x544.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Tony-Toni-Tone-1020x694.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Tony-Toni-Tone-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Tony-Toni-Tone-768x523.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Tony-Toni-Tone-1536x1045.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Tony-Toni-Tone-2048x1394.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Tony-Toni-Tone-1920x1307.jpg 1920w\" sizes=\"(max-width: 2504px) 100vw, 2504px\">\u003cfigcaption class=\"wp-caption-text\">The image that Raphael Saadiq put on a billboard in Oakland to announce Tony! Toni! Toné!’s reunion tour. \u003ccite>(David 'Odiwams' Wright)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>You know, we’ve not just played music in that city, but we’ve lost family members in that city. We ate a lot of cheeseburgers in that city. We ate a lot of donuts. We’ve had a lot of fights with people. We dodged bullets… We watched karate movies at Eastmont Mall at the Lux. We got to watch buildings go up and go down. We watched the whole city change from Black to what it is now. You know, we’ve seen a lot. We walked those streets so much. We watched our parents get old and, you know, watched our father [pass away]. So many people we said ‘good morning’ to that’s not there no more. Older people who taught us, that died a natural death, who had a good life.\u003c/p>\n\u003cp>So we have a lot ingrained in us that’s not just music. We’re not just music anymore. We’re feeling like this ancestor thing coming out. Spirit just took over. We’re just riding the wave. I really feel like that. And that’s how I’ve been feeling on the tour.\u003c/p>\n\u003cp>\u003cstrong>D’Wayne Wiggins\u003c/strong>: The music is the score to our lives, you know. It helped us stay focused. We learned a lot. We still learn a lot. We walked away from the industry. It wasn’t like we weren’t selling [records]. We just had other goals that we wanted to pursue and it took us a while to gather all of those thoughts and those passions. And when you see us on stage together, you can see we’ve been through a lot and it shines. And Oakland is our base, no matter what.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Tony! Toni! Toné! plays the Paramount Theatre in Oakland on Nov. 14 and 15, and The Masonic in San Francisco on Nov. 17. \u003ca href=\"https://www.ticketmaster.com/tony-toni-tone-tickets/artist/874672\">Details and ticket info here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"planet-money": {
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"politicalbreakdown": {
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"order": 16
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},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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},
"snap-judgment": {
"id": "snap-judgment",
"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
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