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"title": "The Taylor Swift Ticket Fiasco Is Refocusing a Spotlight on Ticketmaster's Dominance",
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"content": "\u003cp>Ticket sales for Taylor Swift’s upcoming tour have not gone, in the words of the chart-topping singer, \u003ca href=\"https://www.npr.org/sections/now-playing/2021/11/12/1054886542/taylor-swift-all-too-well-10-minute-version-taylors-version-from-the-vault\">all too well\u003c/a>.\u003c/p>\n\u003cp>Mixed messages, long wait times and temporary \u003ca href=\"https://www.nbcnews.com/business/ticket-sales-taylor-swift-tour-reignite-fan-frustration-ticketmaster-rcna57164\">outages on the Ticketmaster website\u003c/a> left scores of fans frustrated and empty-handed when the first wave of tickets for the 52-date Eras Tour, scheduled for next year and Swift’s first since 2018, went on sale on Tuesday.\u003c/p>\n\u003cp>[aside postid='arts_13906513']Ticketmaster rescheduled additional rounds due to \u003ca href=\"https://twitter.com/Ticketmaster/status/1592579481449168898?s=20&t=aoZMp_rOwRJKG1d-0boJrQ\">what it called\u003c/a> “historically unprecedented demand,” saying “millions” had tried to buy pre-sale tickets and hundreds of thousands had done so successfully.\u003c/p>\n\u003cp>On Thursday afternoon, the day before tickets were due to open to the general public, \u003ca href=\"https://twitter.com/Ticketmaster/status/1593333211769106433?s=20&t=FUhACuptuukloKgaS0D_8A\">it announced\u003c/a> that the sale had been cancelled altogether due to “extraordinarily high demands on ticketing systems and insufficient remaining ticket inventory to meet that demand.”\u003c/p>\n\u003cp>The frenzy has brought renewed scrutiny to the giant Ticketmaster, which critics have long accused of abusing its market power at the expense of consumers. Would-be concertgoers have complained vocally about recent incidents with \u003ca href=\"https://www.npr.org/2021/12/10/1063237219/olivia-rodrigo-sour-tour-tickets\">near-instant sellouts\u003c/a> and \u003ca href=\"https://dailyhive.com/vancouver/ticketmaster-harry-styles-concert\">skyrocketing prices\u003c/a>, and artists like \u003ca href=\"https://www.nytimes.com/1994/07/01/arts/pearl-jam-musicians-testify-on-ticketmaster-s-prices.html\">Pearl Jam\u003c/a> and \u003ca href=\"https://www.rollingstone.com/music/music-news/bruce-springsteen-furious-at-ticketmaster-rails-against-live-nation-merger-97368/\">Bruce Springsteen\u003c/a> have feuded with it over the decades.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>One common complaint is that there doesn’t seem to be a clear alternative or competitor to Ticketmaster, especially after it \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=122970946\">merged with concert provider Live Nation\u003c/a> in 2010 (a controversial move that required conditional approval from the U.S. Department of Justice).\u003c/p>\n\u003cp>Now Tennessee’s attorney general, a Republican, is opening a \u003ca href=\"https://www.cnbc.com/2022/11/17/tennessee-ag-investigating-ticketmaster-after-taylor-swift-ticket-chaos.html\">consumer protection investigation\u003c/a> into the incident and Democratic lawmakers are asking questions about the company’s dominance — not for the first time.\u003c/p>\n\u003cp>Ticketmaster has not responded to NPR’s request for comment, but did \u003ca href=\"https://business.ticketmaster.com/business-solutions/the-taylor-swift-on-sale-explained-2/\">publish a statement\u003c/a> on Thursday called ”The Taylor Swift On Sale Explained.”\u003c/p>\n\u003cp>“Taylor Swift’s tour sale is a perfect example of how the Live Nation/Ticketmaster merger harms consumers by creating a near-monopoly,” \u003ca href=\"https://twitter.com/SenBlumenthal/status/1592719426486693888?s=20&t=6NMdGIyJyVdkFRiIViR22Q\">tweeted \u003c/a>Sen. Richard Blumenthal (D-Conn.), one of several lawmakers who has long \u003ca href=\"https://twitter.com/SenBlumenthal/status/1593041603756986370?s=20&t=qDLR5WiReLMexu-3jldnmA\">called for investigation\u003c/a> and accountability into the company, especially after becoming a subsidiary of concert behemoth Live Nation.\u003c/p>\n\u003cp>And he took some inspiration from the lyrics of Swift herself: “Consumers deserve better than this \u003ca href=\"https://www.youtube.com/watch?v=b1kbLwvqugk\">anti-hero\u003c/a> behavior.”\u003c/p>\n\u003ch2>Lawmakers have long been skeptical of Ticketmaster’s ‘reputation’\u003c/h2>\n\u003cp>Various Democratic lawmakers have called for greater antitrust enforcement over the years, including urging the Justice Department to investigate the state of competition in the ticketing market as recently as \u003ca href=\"https://twitter.com/RepCicilline/status/1592631480563675136?s=20&t=f40vMZ71zLcqFzmvwY9JrA\">April 2021\u003c/a> and \u003ca href=\"https://www.blumenthal.senate.gov/newsroom/press/release/blumenthal-and-klobuchar-urge-doj-action-to-restore-competition-in-the-concert_live-entertainment-market\">March of this year\u003c/a>.\u003c/p>\n\u003cp>Some also want to hear from Ticketmaster directly — including Sen. Amy Klobuchar, chair of the Senate Judiciary Subcommittee on Competition Policy, Antitrust, and Consumer Rights.\u003c/p>\n\u003cp>Klobuchar announced on Thursday that she had \u003ca href=\"https://www.klobuchar.senate.gov/public/index.cfm/news-releases?ID=A32B7DB3-6D73-4ED7-94E5-BD6E205A0F8E\">sent a letter\u003c/a> to Ticketmaster president and CEO Michael Rapino expressing concern about the lack of competition and asking about certain company practices.\u003c/p>\n\u003cp>[aside postid='arts_13846754']“Ticketmaster’s power in the primary ticket market insulates it from the competitive pressures that typically push companies to innovate and improve their services,” she wrote. “That can result in the types of dramatic service failures we saw this week, where consumers are the ones that pay the price.”\u003c/p>\n\u003cp>Ticketmaster was only able to merge Live Nation under an antitrust consent decree, with certain conditions aimed at preventing it from abusing its market position. Citing numerous complaints, Klobuchar expressed concern about a “pattern of non-compliance” with those legal obligations.\u003c/p>\n\u003cp>She requested that Rapino respond in writing by Wednesday to a set of five questions, including: how much the company has invested in upgrading its systems to address demand surges, what percentage of high-profile tour tickets are typically available to the general public and whether it is aware of any complaints to government agencies about noncompliance in the past 12 months.\u003c/p>\n\u003cp>Klobuchar also notes that her concerns date back much further than that.\u003c/p>\n\u003cp>“I have been skeptical of the combination of these companies since you merged in 2011, when the Senate held a hearing into the merger,” she wrote. “At that hearing, you appeared as a witness and pledged to ‘develop an easy-access, one-stop platform that can deliver … tickets.’ And you said that you were ‘confident this plan will work.’ It appears that your confidence was misplaced.”\u003c/p>\n\u003ch2>Critics don’t want Ticketmaster to just ‘shake it off’\u003c/h2>\n\u003cp>Several Democrat lawmakers turned to Twitter to air their bad blood against the company, with many calling it a monopoly and calling for change.\u003c/p>\n\u003cp>“Daily reminder that Ticketmaster is a monopoly, its merger with Live Nation should never have been approved, and they need to be reigned in,” wrote Rep. \u003ca href=\"https://twitter.com/AOC/status/1592587226801934336?s=20&t=FTi6d-kBb5uiFF0QzlvgVw\">Alexandria Ocasio-Cortez\u003c/a> (D-N.Y.). “Break them up.”\u003c/p>\n\u003cp>[aside postid='arts_13841293']Rep. \u003ca href=\"https://twitter.com/RepCicilline/status/1592631477463707650?s=20&t=CTuO9eWVmVEpL-AB5otrgA\">David Cicilline \u003c/a>(D-R.I.), who chairs the House Subcommittee of Antitrust, Commercial and Administrative Law, described Ticketmaster’s wait times and fees as “the symptom of a larger problem.”\u003c/p>\n\u003cp>“It’s no secret that Live Nation-Ticketmaster is an unchecked monopoly,” he added.\u003c/p>\n\u003cp>Rep. Bill Pascrell (D-N.J.) wasted no time weighing in on the Swift fiasco.\u003c/p>\n\u003cp>“You’d think with their endless list of fees Ticketmaster could have a working website,” he \u003ca href=\"https://twitter.com/BillPascrell/status/1593261951664136193?s=20&t=vRyIClxSWX9A_8pzJn60Kw\">tweeted on Thursday\u003c/a>, reiterating comments he made on Tuesday. “Break up the Live Nation-Ticketmaster monopoly.”\u003c/p>\n\u003ch2>Ticketmaster says the sale broke records — and its website\u003c/h2>\n\u003cp>In its Thursday statement, Ticketmaster explained how it prepared for the pre-sale period, noting that 3.5 million people pre-registered for the Verified Fan program, the largest such number in its history and one that “informed the artist team’s decision to add additional dates” to the tour.\u003c/p>\n\u003cp>The company says that using Verified Fan invite codes has historically helped manage the volume of users visiting the website to buy tickets, though that wasn’t the case on Tuesday.\u003c/p>\n\u003cp>“The staggering number of bot attacks as well as fans who didn’t have invite codes drove unprecedented traffic on our site, resulting in 3.5 billion total system requests — 4x our previous peak,” it said, adding that it slowed down some sales and pushed back others to stabilize its systems, resulting in longer wait times for some users.\u003c/p>\n\u003cp>It estimates that about 15% of interactions across the website experienced issues, which it said is “15% too many.” But it also said a record-breaking number of fans were able to buy tickets: More than 2 million were sold on Tuesday for Swift’s tour, the most ever for an artist in a single day.\u003c/p>\n\u003cp>[aside postid='arts_13884673']Ticketmaster acknowledged that in-demand sales pose technical challenges, and says that even if that were not the case, many fans would still be left without tickets.\u003c/p>\n\u003cp>“For example: based on the volume of traffic to our site, Taylor would need to perform over 900 stadium shows (almost 20x the number of shows she is doing),” it said. “That’s a stadium show every single night for the next 2.5 years.”\u003c/p>\n\u003cp>Ticketmaster’s largest shareholder also appeared to place the blame on Swift in an interview on Thursday.\u003c/p>\n\u003cp>Greg Maffei, CEO of Liberty Media, which owns a majority stake of Live Nation, told \u003ca href=\"https://www.cnbc.com/2022/11/17/taylor-swift-ticketmaster-fiasco-due-to-demand-bots-liberty-media-ceo-says.html\">CNBC’s \u003cem>Squawk on the Street\u003c/em>\u003c/a> that the company is sympathetic to fans but the demand was simply too great, which he suggested was due to the fact that Swift hasn’t toured in five years.\u003c/p>\n\u003cp>“It’s a function of Taylor Swift,” he said. “The site was supposed to open up for 1.5 million verified Taylor Swift fans. We had 14 million people hit the site, including bots, which are not supposed to be there.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Fans did not take kindly to that explanation, if the outpouring of \u003ca href=\"https://twitter.com/matthewstoller/status/1593257010702692354/retweets/with_comments\">angry tweets\u003c/a> has been any indication. Swift hasn’t commented publicly on the Ticketmaster fiasco, though a quick scan of her \u003ca href=\"https://www.instagram.com/taylorswift/\">Instagram account\u003c/a> shows that her bio still bears the lyrics from one of her latest hits: “I’m the problem, it’s me.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Taylor+Swift+ticket+fiasco+is+refocusing+a+spotlight+on+Ticketmaster%27s+dominance&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Ticketmaster rescheduled additional rounds due to \u003ca href=\"https://twitter.com/Ticketmaster/status/1592579481449168898?s=20&t=aoZMp_rOwRJKG1d-0boJrQ\">what it called\u003c/a> “historically unprecedented demand,” saying “millions” had tried to buy pre-sale tickets and hundreds of thousands had done so successfully.\u003c/p>\n\u003cp>On Thursday afternoon, the day before tickets were due to open to the general public, \u003ca href=\"https://twitter.com/Ticketmaster/status/1593333211769106433?s=20&t=FUhACuptuukloKgaS0D_8A\">it announced\u003c/a> that the sale had been cancelled altogether due to “extraordinarily high demands on ticketing systems and insufficient remaining ticket inventory to meet that demand.”\u003c/p>\n\u003cp>The frenzy has brought renewed scrutiny to the giant Ticketmaster, which critics have long accused of abusing its market power at the expense of consumers. Would-be concertgoers have complained vocally about recent incidents with \u003ca href=\"https://www.npr.org/2021/12/10/1063237219/olivia-rodrigo-sour-tour-tickets\">near-instant sellouts\u003c/a> and \u003ca href=\"https://dailyhive.com/vancouver/ticketmaster-harry-styles-concert\">skyrocketing prices\u003c/a>, and artists like \u003ca href=\"https://www.nytimes.com/1994/07/01/arts/pearl-jam-musicians-testify-on-ticketmaster-s-prices.html\">Pearl Jam\u003c/a> and \u003ca href=\"https://www.rollingstone.com/music/music-news/bruce-springsteen-furious-at-ticketmaster-rails-against-live-nation-merger-97368/\">Bruce Springsteen\u003c/a> have feuded with it over the decades.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>One common complaint is that there doesn’t seem to be a clear alternative or competitor to Ticketmaster, especially after it \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=122970946\">merged with concert provider Live Nation\u003c/a> in 2010 (a controversial move that required conditional approval from the U.S. Department of Justice).\u003c/p>\n\u003cp>Now Tennessee’s attorney general, a Republican, is opening a \u003ca href=\"https://www.cnbc.com/2022/11/17/tennessee-ag-investigating-ticketmaster-after-taylor-swift-ticket-chaos.html\">consumer protection investigation\u003c/a> into the incident and Democratic lawmakers are asking questions about the company’s dominance — not for the first time.\u003c/p>\n\u003cp>Ticketmaster has not responded to NPR’s request for comment, but did \u003ca href=\"https://business.ticketmaster.com/business-solutions/the-taylor-swift-on-sale-explained-2/\">publish a statement\u003c/a> on Thursday called ”The Taylor Swift On Sale Explained.”\u003c/p>\n\u003cp>“Taylor Swift’s tour sale is a perfect example of how the Live Nation/Ticketmaster merger harms consumers by creating a near-monopoly,” \u003ca href=\"https://twitter.com/SenBlumenthal/status/1592719426486693888?s=20&t=6NMdGIyJyVdkFRiIViR22Q\">tweeted \u003c/a>Sen. Richard Blumenthal (D-Conn.), one of several lawmakers who has long \u003ca href=\"https://twitter.com/SenBlumenthal/status/1593041603756986370?s=20&t=qDLR5WiReLMexu-3jldnmA\">called for investigation\u003c/a> and accountability into the company, especially after becoming a subsidiary of concert behemoth Live Nation.\u003c/p>\n\u003cp>And he took some inspiration from the lyrics of Swift herself: “Consumers deserve better than this \u003ca href=\"https://www.youtube.com/watch?v=b1kbLwvqugk\">anti-hero\u003c/a> behavior.”\u003c/p>\n\u003ch2>Lawmakers have long been skeptical of Ticketmaster’s ‘reputation’\u003c/h2>\n\u003cp>Various Democratic lawmakers have called for greater antitrust enforcement over the years, including urging the Justice Department to investigate the state of competition in the ticketing market as recently as \u003ca href=\"https://twitter.com/RepCicilline/status/1592631480563675136?s=20&t=f40vMZ71zLcqFzmvwY9JrA\">April 2021\u003c/a> and \u003ca href=\"https://www.blumenthal.senate.gov/newsroom/press/release/blumenthal-and-klobuchar-urge-doj-action-to-restore-competition-in-the-concert_live-entertainment-market\">March of this year\u003c/a>.\u003c/p>\n\u003cp>Some also want to hear from Ticketmaster directly — including Sen. Amy Klobuchar, chair of the Senate Judiciary Subcommittee on Competition Policy, Antitrust, and Consumer Rights.\u003c/p>\n\u003cp>Klobuchar announced on Thursday that she had \u003ca href=\"https://www.klobuchar.senate.gov/public/index.cfm/news-releases?ID=A32B7DB3-6D73-4ED7-94E5-BD6E205A0F8E\">sent a letter\u003c/a> to Ticketmaster president and CEO Michael Rapino expressing concern about the lack of competition and asking about certain company practices.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“Ticketmaster’s power in the primary ticket market insulates it from the competitive pressures that typically push companies to innovate and improve their services,” she wrote. “That can result in the types of dramatic service failures we saw this week, where consumers are the ones that pay the price.”\u003c/p>\n\u003cp>Ticketmaster was only able to merge Live Nation under an antitrust consent decree, with certain conditions aimed at preventing it from abusing its market position. Citing numerous complaints, Klobuchar expressed concern about a “pattern of non-compliance” with those legal obligations.\u003c/p>\n\u003cp>She requested that Rapino respond in writing by Wednesday to a set of five questions, including: how much the company has invested in upgrading its systems to address demand surges, what percentage of high-profile tour tickets are typically available to the general public and whether it is aware of any complaints to government agencies about noncompliance in the past 12 months.\u003c/p>\n\u003cp>Klobuchar also notes that her concerns date back much further than that.\u003c/p>\n\u003cp>“I have been skeptical of the combination of these companies since you merged in 2011, when the Senate held a hearing into the merger,” she wrote. “At that hearing, you appeared as a witness and pledged to ‘develop an easy-access, one-stop platform that can deliver … tickets.’ And you said that you were ‘confident this plan will work.’ It appears that your confidence was misplaced.”\u003c/p>\n\u003ch2>Critics don’t want Ticketmaster to just ‘shake it off’\u003c/h2>\n\u003cp>Several Democrat lawmakers turned to Twitter to air their bad blood against the company, with many calling it a monopoly and calling for change.\u003c/p>\n\u003cp>“Daily reminder that Ticketmaster is a monopoly, its merger with Live Nation should never have been approved, and they need to be reigned in,” wrote Rep. \u003ca href=\"https://twitter.com/AOC/status/1592587226801934336?s=20&t=FTi6d-kBb5uiFF0QzlvgVw\">Alexandria Ocasio-Cortez\u003c/a> (D-N.Y.). “Break them up.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Rep. \u003ca href=\"https://twitter.com/RepCicilline/status/1592631477463707650?s=20&t=CTuO9eWVmVEpL-AB5otrgA\">David Cicilline \u003c/a>(D-R.I.), who chairs the House Subcommittee of Antitrust, Commercial and Administrative Law, described Ticketmaster’s wait times and fees as “the symptom of a larger problem.”\u003c/p>\n\u003cp>“It’s no secret that Live Nation-Ticketmaster is an unchecked monopoly,” he added.\u003c/p>\n\u003cp>Rep. Bill Pascrell (D-N.J.) wasted no time weighing in on the Swift fiasco.\u003c/p>\n\u003cp>“You’d think with their endless list of fees Ticketmaster could have a working website,” he \u003ca href=\"https://twitter.com/BillPascrell/status/1593261951664136193?s=20&t=vRyIClxSWX9A_8pzJn60Kw\">tweeted on Thursday\u003c/a>, reiterating comments he made on Tuesday. “Break up the Live Nation-Ticketmaster monopoly.”\u003c/p>\n\u003ch2>Ticketmaster says the sale broke records — and its website\u003c/h2>\n\u003cp>In its Thursday statement, Ticketmaster explained how it prepared for the pre-sale period, noting that 3.5 million people pre-registered for the Verified Fan program, the largest such number in its history and one that “informed the artist team’s decision to add additional dates” to the tour.\u003c/p>\n\u003cp>The company says that using Verified Fan invite codes has historically helped manage the volume of users visiting the website to buy tickets, though that wasn’t the case on Tuesday.\u003c/p>\n\u003cp>“The staggering number of bot attacks as well as fans who didn’t have invite codes drove unprecedented traffic on our site, resulting in 3.5 billion total system requests — 4x our previous peak,” it said, adding that it slowed down some sales and pushed back others to stabilize its systems, resulting in longer wait times for some users.\u003c/p>\n\u003cp>It estimates that about 15% of interactions across the website experienced issues, which it said is “15% too many.” But it also said a record-breaking number of fans were able to buy tickets: More than 2 million were sold on Tuesday for Swift’s tour, the most ever for an artist in a single day.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Ticketmaster acknowledged that in-demand sales pose technical challenges, and says that even if that were not the case, many fans would still be left without tickets.\u003c/p>\n\u003cp>“For example: based on the volume of traffic to our site, Taylor would need to perform over 900 stadium shows (almost 20x the number of shows she is doing),” it said. “That’s a stadium show every single night for the next 2.5 years.”\u003c/p>\n\u003cp>Ticketmaster’s largest shareholder also appeared to place the blame on Swift in an interview on Thursday.\u003c/p>\n\u003cp>Greg Maffei, CEO of Liberty Media, which owns a majority stake of Live Nation, told \u003ca href=\"https://www.cnbc.com/2022/11/17/taylor-swift-ticketmaster-fiasco-due-to-demand-bots-liberty-media-ceo-says.html\">CNBC’s \u003cem>Squawk on the Street\u003c/em>\u003c/a> that the company is sympathetic to fans but the demand was simply too great, which he suggested was due to the fact that Swift hasn’t toured in five years.\u003c/p>\n\u003cp>“It’s a function of Taylor Swift,” he said. “The site was supposed to open up for 1.5 million verified Taylor Swift fans. We had 14 million people hit the site, including bots, which are not supposed to be there.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Fans did not take kindly to that explanation, if the outpouring of \u003ca href=\"https://twitter.com/matthewstoller/status/1593257010702692354/retweets/with_comments\">angry tweets\u003c/a> has been any indication. Swift hasn’t commented publicly on the Ticketmaster fiasco, though a quick scan of her \u003ca href=\"https://www.instagram.com/taylorswift/\">Instagram account\u003c/a> shows that her bio still bears the lyrics from one of her latest hits: “I’m the problem, it’s me.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Taylor+Swift+ticket+fiasco+is+refocusing+a+spotlight+on+Ticketmaster%27s+dominance&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Songs that straight-up tell you they’re about America are tricky. They can veer so easily into grandstanding or cliché. The ones that don’t — the songs that say something \u003ca href=\"https://www.youtube.com/watch?v=VYOjWnS4cMY\" target=\"_blank\" rel=\"noopener noreferrer\">real and honest\u003c/a> about the United States — are often sad and conflicted. Then we as listeners \u003ca href=\"https://www.youtube.com/watch?v=EPhWR4d3FJQ\">overlook those darker aspects\u003c/a> in our collective memory in order to make said songs more easily enjoyable at 4th of July barbecues. This irony isn’t new.\u003c/p>\n\u003cp>What’s fresh about \u003ca href=\"https://www.kqed.org/news/11638481/rainbow-girls-turn-up-their-political-message-by-turning-off-their-amps\">Rainbow Girls\u003c/a>’ “American Dream” is how poignantly the North Bay trio captures the changing shape of this country’s broken promises — without soapboxing. This song knocks the wind out of me. Vulnerability, stubborn hope and deep, overwhelming grief all leak through the spaces between the words and the harmonies and the fingerpicked guitar.[aside label= postID=\"news_11638481\"]\u003c/p>\n\u003cp>The band wrote “American Dream” \u003ca href=\"https://www.popmatters.com/rainbow-girls-american-dream-2507655759.html\">five years ago\u003c/a>; it’s the title track from an album they released November 8, 2017. When I first heard it — a year after the election that, fittingly, knocked the wind out of so many of us — it made me cry. It tapped so perfectly into that feeling of being \u003cem>robbed\u003c/em>.\u003c/p>\n\u003cp>But of course I had also spent much of 2017 feeling stupid, and privileged, for thinking anything had ever been guaranteed. To those of us who graduated high school around 9/11 (kicking off decades of war) and entered the job market during a historic recession (all while basic costs of living continued to skyrocket), adult life had been one instance after another of the bottom dropping out. Why should we expect anything different?\u003c/p>\n\u003cp>Five years later, now with a live version and warm, intimate video recorded at the band’s Bodega home, this song still makes me cry — for all the same reasons and also some new ones.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>It’s nice to have a plan for growing old\u003cbr>\nUnfathomable luxury, a plan for growing old\u003cbr>\nIt hits you all at once, then you wish that you’d been told\u003cbr>\nBut circumstances change and then you’re kicked out in the cold\u003cbr>\nBut everyone’s worth something and it’s not their weight in gold\u003c/em>\u003c/p>\n\u003cp>A lot of people have downsized their dreams over the last few years. Forget a white picket fence and 2.5 children; try staying sober one more day, keeping your loved ones healthy or affording that next grocery run. In 2022, so many of us are trying to stay afloat on an increasingly flimsy life raft of sure things: Will it be safe to have a family holiday party next month? Will I be able to afford health care when I’m 65? Will it not matter, because the entirety of California will be on fire or under the sea or somehow both?\u003c/p>\n\u003cp>“American Dream” is a sad and conflicted song, to be sure. But it also now plays, to me, as quietly triumphant. Because against a backdrop of economic desperation and uncertainty, it becomes fundamentally beautiful to \u003cem>have\u003c/em> dreams — to not only admit to them, but to nurture and share them.\u003c/p>\n\u003cp>The institutions have failed us. Home ownership is increasingly out of reach. This song reminds me that how we treat one another, and the small ways we bear witness to each others’ humanity and desire and grief — finding ways to say \u003cem>yes, you were here, your hopes meant something, you mean something\u003c/em> — all of that is still very much up to us.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=rqV852TP8gA\u003c/p>\n\n",
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"title": "Beyoncé Leads Nominations for the 2023 Grammy Awards",
"headTitle": "Beyoncé Leads Nominations for the 2023 Grammy Awards | KQED",
"content": "\u003cp>Beyoncé is the top artist nominated in the 65th annual Grammy Awards, set for Feb. 5 at the Crypto.com center in Los Angeles. The full list of nominees is on \u003ca href=\"https://www.grammy.com/news/2023-grammy-nominations-complete-winners-nominees-list\">Grammy.com\u003c/a>.\u003c/p>\n\u003cp>She is now tied with her husband Jay-Z for the most Grammy nominations by any musician. If she wins three more awards, she will match \u003ca href=\"https://www.npr.org/2012/10/19/163224678/recordings-reissued-on-soltis-100th-birthday\">classical conductor Georg Solti \u003c/a>for the most Grammy wins.\u003c/p>\n\u003cp>[aside postid='arts_13916796']Beyoncé’s nine nominations were scattered across several different categories. One is for “Be Alive,” from the film \u003cem>King Richard\u003c/em>, in the Best Song Written For Visual Media category, and the rest are for tracks from \u003ca href=\"https://www.npr.org/2022/08/01/1114499960/revolutionary-fun-beyonce-renaissance-review-roundtable\">\u003cem>Renaissance\u003c/em>\u003c/a>, which is up for album of the year. “Break My Soul” is a nominee for Song of the Year, Record of the Year and Best Dance/ Electronic Recording; “Virgo’s Groove” is up for Best R&B Performance; and “Plastic Off the Sofa” is up for Best Traditional R&B Performance.\u003c/p>\n\u003cp>Other notable Grammy contenders are \u003ca href=\"https://www.npr.org/2022/05/31/1101485755/kendrick-lamar-looks-inward-on-mr-morale-the-big-steppers\">Kendrick Lamar\u003c/a>, with eight nominations; \u003ca href=\"https://www.npr.org/2021/11/24/1058848231/with-30-adele-unleashes-another-blockbuster\">Adele\u003c/a> and \u003ca href=\"https://www.npr.org/2021/10/08/1044006453/for-brandi-carlile-band-and-family-are-one-and-the-same\">Brandi Carlile\u003c/a>, each with seven; as well as \u003ca href=\"https://www.npr.org/2022/05/16/1099120341/harry-styles-sinks-into-summer-vibes-on-harrys-house\">Harry Styles\u003c/a>, Mary J. Blige, Future, DJ Khaled and the producer and songwriter The-Dream, each with six Grammy nominations.\u003c/p>\n\u003cp>The Best New Artist category has entries from a mix of genres: 22-year-old \u003ca href=\"https://www.npr.org/2022/09/20/1124142705/at-age-22-samara-joy-is-a-classic-jazz-singer-from-a-new-generation\">TikTok phenomenon Samara Joy\u003c/a>, bluegrass singer \u003ca href=\"https://www.npr.org/2022/03/30/1089523329/maren-morris-and-molly-tuttle-tell-their-origin-stories-anew\">Molly Tuttle\u003c/a>, jazz duo \u003ca href=\"https://www.npr.org/2022/08/10/1116353580/domi-jd-beck-tiny-desk-concert\">Domi & JD Beck\u003c/a>, rapper \u003ca href=\"https://www.npr.org/sections/now-playing/2022/07/15/1111794554/latto-p\">Latto\u003c/a>, conceptual artist \u003ca href=\"https://www.youtube.com/watch?v=V71cl130ARg\">Tobe Nwigwe\u003c/a>, R&B singer \u003ca href=\"https://www.npr.org/sections/altlatino/2022/10/03/1126590920/omar-apollo-talks-music-queer-latinx\">Omar Apollo\u003c/a>, Brazilian singer \u003ca href=\"https://www.harpersbazaar.com/culture/art-books-music/a41012543/anitta-makes-history-for-brazil-vmas-2022/\">Anitta\u003c/a>, British indie rock band \u003ca href=\"https://www.youtube.com/watch?v=bJUUnXZVIfY\">Wet Leg\u003c/a>, Italian rock band \u003ca href=\"https://www.npr.org/transcripts/1098170515\">Maneskin\u003c/a>, and singer \u003ca href=\"https://www.youtube.com/watch?v=doL8DaaTYD4\">Muni Long\u003c/a>, who formerly went by the name Priscilla Renae.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The 2023 Grammys will feature several new awards categories, including Best Spoken Word Poetry Album and Best Score Soundtrack for Video Games.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Beyonc%C3%A9+leads+nominations+for+the+2023+Grammy+Awards&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Beyoncé is the top artist nominated in the 65th annual Grammy Awards, set for Feb. 5 at the Crypto.com center in Los Angeles. The full list of nominees is on \u003ca href=\"https://www.grammy.com/news/2023-grammy-nominations-complete-winners-nominees-list\">Grammy.com\u003c/a>.\u003c/p>\n\u003cp>She is now tied with her husband Jay-Z for the most Grammy nominations by any musician. If she wins three more awards, she will match \u003ca href=\"https://www.npr.org/2012/10/19/163224678/recordings-reissued-on-soltis-100th-birthday\">classical conductor Georg Solti \u003c/a>for the most Grammy wins.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Beyoncé’s nine nominations were scattered across several different categories. One is for “Be Alive,” from the film \u003cem>King Richard\u003c/em>, in the Best Song Written For Visual Media category, and the rest are for tracks from \u003ca href=\"https://www.npr.org/2022/08/01/1114499960/revolutionary-fun-beyonce-renaissance-review-roundtable\">\u003cem>Renaissance\u003c/em>\u003c/a>, which is up for album of the year. “Break My Soul” is a nominee for Song of the Year, Record of the Year and Best Dance/ Electronic Recording; “Virgo’s Groove” is up for Best R&B Performance; and “Plastic Off the Sofa” is up for Best Traditional R&B Performance.\u003c/p>\n\u003cp>Other notable Grammy contenders are \u003ca href=\"https://www.npr.org/2022/05/31/1101485755/kendrick-lamar-looks-inward-on-mr-morale-the-big-steppers\">Kendrick Lamar\u003c/a>, with eight nominations; \u003ca href=\"https://www.npr.org/2021/11/24/1058848231/with-30-adele-unleashes-another-blockbuster\">Adele\u003c/a> and \u003ca href=\"https://www.npr.org/2021/10/08/1044006453/for-brandi-carlile-band-and-family-are-one-and-the-same\">Brandi Carlile\u003c/a>, each with seven; as well as \u003ca href=\"https://www.npr.org/2022/05/16/1099120341/harry-styles-sinks-into-summer-vibes-on-harrys-house\">Harry Styles\u003c/a>, Mary J. Blige, Future, DJ Khaled and the producer and songwriter The-Dream, each with six Grammy nominations.\u003c/p>\n\u003cp>The Best New Artist category has entries from a mix of genres: 22-year-old \u003ca href=\"https://www.npr.org/2022/09/20/1124142705/at-age-22-samara-joy-is-a-classic-jazz-singer-from-a-new-generation\">TikTok phenomenon Samara Joy\u003c/a>, bluegrass singer \u003ca href=\"https://www.npr.org/2022/03/30/1089523329/maren-morris-and-molly-tuttle-tell-their-origin-stories-anew\">Molly Tuttle\u003c/a>, jazz duo \u003ca href=\"https://www.npr.org/2022/08/10/1116353580/domi-jd-beck-tiny-desk-concert\">Domi & JD Beck\u003c/a>, rapper \u003ca href=\"https://www.npr.org/sections/now-playing/2022/07/15/1111794554/latto-p\">Latto\u003c/a>, conceptual artist \u003ca href=\"https://www.youtube.com/watch?v=V71cl130ARg\">Tobe Nwigwe\u003c/a>, R&B singer \u003ca href=\"https://www.npr.org/sections/altlatino/2022/10/03/1126590920/omar-apollo-talks-music-queer-latinx\">Omar Apollo\u003c/a>, Brazilian singer \u003ca href=\"https://www.harpersbazaar.com/culture/art-books-music/a41012543/anitta-makes-history-for-brazil-vmas-2022/\">Anitta\u003c/a>, British indie rock band \u003ca href=\"https://www.youtube.com/watch?v=bJUUnXZVIfY\">Wet Leg\u003c/a>, Italian rock band \u003ca href=\"https://www.npr.org/transcripts/1098170515\">Maneskin\u003c/a>, and singer \u003ca href=\"https://www.youtube.com/watch?v=doL8DaaTYD4\">Muni Long\u003c/a>, who formerly went by the name Priscilla Renae.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The 2023 Grammys will feature several new awards categories, including Best Spoken Word Poetry Album and Best Score Soundtrack for Video Games.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Beyonc%C3%A9+leads+nominations+for+the+2023+Grammy+Awards&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Since Bowie’s ‘Fame,’ Jean Fineberg Has Written Her Own Musical Rules",
"headTitle": "Since Bowie’s ‘Fame,’ Jean Fineberg Has Written Her Own Musical Rules | KQED",
"content": "\u003cp>Carry your horn with you and you never know where you might end up. For East Bay saxophonist and flutist \u003ca href=\"https://jeanfineberg.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Jean Fineberg\u003c/a>, toting an instrument around has led to some memorable encounters, like the time she ended up at a drug-fueled Electric Ladyland Studios recording session with David Bowie and John Lennon, contributing backup vocals on the 1975 hit “Fame.”\u003c/p>\n\u003cp>A Bronx native who spent more than a decade on the New York music scene playing R&B, pop, jazz and fusion, Fineberg has been a creative force in the Bay Area since moving west in 1989 with trumpeter Ellen Seeling, her partner in music and life. A versatile and well-traveled performer with more than 50 albums to her credit, including recordings by Patti LaBelle, Bo Diddley and Laura Nyro, Fineberg also played on Sister Sledge’s iconic hit “We Are Family” and anchored the horn section on Chic’s influential albums \u003cem>C’est Chic\u003c/em> and \u003cem>Risqué\u003c/em>.\u003c/p>\n\u003cp>In the Bay Area she and Seeling have long co-led the \u003ca href=\"https://www.montclairwomensbigband.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Montclair Women’s Big Band\u003c/a>, but in April of this year the saxophonist released her first album under her own name, \u003cem>Jean Fineberg & JAZZphoria. \u003c/em>Drawing from the Montclair band’s deep pool of talent, the eight-piece combo makes its \u003ca href=\"https://secure.thefreight.org/11707/jean-feinberg-and-jazzphoria\">Freight & Salvage debut Sunday, Nov. 20\u003c/a>. Featuring her original tunes and arrangements, the album reflects Fineberg’s love of improvisation and her conviction that music should be inextricably tied to dance and communal celebration, both of which served her well in her session with Bowie.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=VWjucGsfzg4\u003c/p>\n\u003cp>Fineberg drifted into Bowie’s orbit because a friend was dating him at the time, and she invited Fineberg to the studio. “I happened to have my flute with me and he asked if I wanted to play,” she recalls. “I ended up taking a solo on ‘Fame.’ And I sang on that too, and I’m not a singer! We all spent the night at his brownstone all coked up listening back to all the tracks. Philip Glass was there too, though I don’t know if he was doing coke. Two weeks later Bowie’s people called and asked for my info. I was in a 20-something daze and didn’t grasp the import. I was credited for vocals, but he cut most of the flute solo, which was totally fine. It’s an amazing song.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Many years later, the track with \u003ca href=\"https://www.youtube.com/watch?v=BGbWQn7cXxc\">Fineberg’s flute work\u003c/a> surfaced online.\u003c/p>\n\u003cp>https://youtu.be/BGbWQn7cXxc\u003c/p>\n\u003cp>In making her own musical statement, Fineberg wanted to document a diverse program of her originals exploring a variety of forms and grooves. While her burly tenor sax guides the proceedings, she gives plenty of space to top-shelf players like trumpeter Marina Garza, guitarist Nancy Wenstrom and low-reed expert Carolyn Walter on baritone sax and bass clarinet\u003c/p>\n\u003cp>They’re all well-traveled veterans, but Fineberg always has her eye out for young talent. Handling acoustic and electric bass duties is Jodi Durst, a recent graduate of the California Jazz Conservatory. And \u003ca href=\"https://erikaoba.com/bio\" target=\"_blank\" rel=\"noopener noreferrer\">Erika Oba\u003c/a> is a rising composer with an Oberlin Conservatory jazz piano degree who serves as resident YouthStage musical director at Berkeley Playhouse. She holds down the JAZZphoria keyboard bench while also contributing on flute and piccolo.\u003c/p>\n\u003cp>Oba credits Fineberg and Seeling, who are devoted to championing rising female musicians, with hiring her for some of her first gigs when she moved back to the East Bay, starting with a faculty spot on the summer \u003ca href=\"https://cjc.edu/jazzschool/camps-and-intensives/summer-youth-programs/girls-jazz-blues-camp/\" target=\"_blank\" rel=\"noopener noreferrer\">Girls’ Jazz & Blues Camp\u003c/a> they’ve produced at the California Jazz Conservatory since 2011. Before long she was subbing in the Montclair Women’s Big Band for pianist \u003ca href=\"https://www.kqed.org/arts/13875256/a-solution-for-musicians-suffering-from-exposure-labor-organizing\" target=\"_blank\" rel=\"noopener noreferrer\">Tammy Hall\u003c/a>, “who was a great mentor for me,” says Oba. She also connected so well with new JAZZphoria drummer Jeremy Steinkoler that they’ve started performing in another trio (including a \u003ca href=\"https://erikaoba.com/calendar/erika-oba-trio-at-the-back-room-8a35j-jyklw\">Dec. 11 Outsound date\u003c/a> at Musicians Union in San Francisco). [aside postid='arts_13921184']\u003c/p>\n\u003cp>“Jeanie’s band is always a really good time,” Oba says. “All of her concerts feel like a party. Her music is really fun, and while a lot of it is pretty complicated with shifting meters, it still feels like party music. We love it when people dance.”\u003c/p>\n\u003cp>Fineberg also plays drums in \u003ca href=\"https://www.youtube.com/watch?v=a_vTKBxT8bk\">Party Monsters\u003c/a>, a five-women cover band that often gets booked at county fairs. She’s worked in lots of mixed-gender combos, and has found that she prefers the camaraderie of all- or majority-women ensembles, which is what she was looking for in JAZZphoria. As a composer and arranger, she puts a premium on good readers and multi-instrumentalists, “because the bigger the palette the better,” she says. “And I wanted team players, people who were into the music, not hired guns. If I found two players who met those criteria and one was a man and one was a woman, I went with the woman. I wanted these underrecognized to players to have more visibility, and it turned out to be seven women and one man.”\u003c/p>\n\u003cfigure id=\"attachment_13921593\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921593\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Jean-Fineberg-JAZZphoria-PHOTO-LoRes-Horizontal_Credit-Irene-Young-Copy-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Jean-Fineberg-JAZZphoria-PHOTO-LoRes-Horizontal_Credit-Irene-Young-Copy-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Jean-Fineberg-JAZZphoria-PHOTO-LoRes-Horizontal_Credit-Irene-Young-Copy-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Jean-Fineberg-JAZZphoria-PHOTO-LoRes-Horizontal_Credit-Irene-Young-Copy-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Jean-Fineberg-JAZZphoria-PHOTO-LoRes-Horizontal_Credit-Irene-Young-Copy-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Jean-Fineberg-JAZZphoria-PHOTO-LoRes-Horizontal_Credit-Irene-Young-Copy.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jean Fineberg & JAZZphoria. \u003ccite>(Irene Young)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If Hollywood ever makes a film about women horn players, Fineberg and Seeling’s story could serve as a model for the romantic subplot. They met via the all-women band Isis, which Carol MacDonald and Ginger Bianco launched in 1972 when horn-driven bands like Chicago and Blood, Sweat and Tears were juggernauts. Fineberg was a founding member, and Seeling connected with the group several years later during the making of the third Isis album \u003cem>Breaking Through\u003c/em> “in Allen Toussaint’s studio in New Orleans,” Fineberg says.\u003c/p>\n\u003cp>Recommended by the great multi-instrumentalist Howard Johnson, Seeling arrived at the session “and we did \u003cem>not\u003c/em> get along at all,” Fineberg says. “I was a wild rock ‘n’ roll player, so here we were, me and trombonist Lolly Bienenfeld, and Ellen starts instructing us that the trumpet always leads the horn section. That’s what she learned in school.”\u003c/p>\n\u003cp>Whatever the tensions, Seeling joined the band for an East Coast tour, and somewhere along the Atlantic seaboard, their relationship changed. They both went on to tour and record with Laura Nyro, becoming close friends with her while the women in the band joined Nyro in the RV and the men flew to the next gig. Playing horn parts they created behind her vocals, they’re featured throughout her 1977 live album \u003cem>Season of Lights \u003c/em>(in a band that included jazz bass legend Richard Davis, vibraphonist Mike Mainieri and drummer Andy Newmark). [aside postid='arts_13921373']\u003c/p>\n\u003cp>“‘\u003ca href=\"https://www.youtube.com/watch?v=GBCfJ0MqqVY\">Upstairs By A Chinese Lamp\u003c/a>’ has some of my best flute work on record, and ‘I Am the Blues’ is some of Ellen’s best trumpet playing,” Fineberg says. “Laura didn’t have any charts and couldn’t tell you what chords you were playing. She’d say, ‘I want you to play palm trees on this section, or ocean waves.’”\u003c/p>\n\u003cp>Looking for an outlet for her songwriting, Fineberg and Seeling launched the Brecker Brothers-inspired fusion band \u003ca href=\"https://www.youtube.com/watch?v=xvvOAo1Z5qE\">DEUCE\u003c/a>, which performed at jazz festivals and clubs around the world in the 1980s while releasing several well-received albums. The band continued to tour and perform after they relocated to the East Bay in 1989, but when the opportunity arose to create the Montclair Women’s Big Band in 1997, they quickly established the 17-piece orchestra. Over the past decade or so Seeling has often taken a more visible role as an activist demanding equal opportunities for women instrumentalists, who are still often overlooked when it comes to major festivals. With JAZZphoria, Fineberg is making a potent musical statement that draws on her wealth of accumulated experience.\u003c/p>\n\u003cp>https://youtu.be/xvvOAo1Z5qE\u003c/p>\n\u003cp>“I’m coming from the blues essentially in everything I do,” she says. “I’m coming from rhythm. That’s how I start a tune, whether it’s blues, R&B or Latin music. I thought long and hard about calling it JAZZphoria because I didn’t want to typecast the group, that we’d be swinging all the time. But it is all improvised music. The tunes are vehicles for the soloists, but it’s very eclectic because I like so many different things. I’m tired of going to concerts where everything sounds the same.”\u003c/p>\n\u003cp>If there’s one thing that doesn’t seem to have changed much over the years it’s the predictable reaction to a woman with a horn. Fineberg recently posted on Facebook about a random encounter at a hotel in Wisconsin where “a 77-year-old lawyer and university professor, upon hearing that I’m a sax player, said ‘That’s a big instrument for a little girl.’” The post elicited more than 250 comments, with women bassists, drummers, saxophonists, percussionists and trombonists all describing similarly witless comments.\u003c/p>\n\u003cp>Fineberg has no time for fogies of any age. She’s looking to carry her horn into all the best places, bringing JAZZphoria to “the Monterey Jazz Festival, San Jose, Healdsburg, SFJAZZ, Yoshi’s. What everybody wants.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/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>Jean Fineberg & JAZZphoria perform at \u003ca href=\"https://secure.thefreight.org/11707/jean-feinberg-and-jazzphoria\" target=\"_blank\" rel=\"noopener noreferrer\">Freight & Salvage in Berkeley on Nov. 20\u003c/a> at 7 p.m.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Carry your horn with you and you never know where you might end up. For East Bay saxophonist and flutist \u003ca href=\"https://jeanfineberg.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Jean Fineberg\u003c/a>, toting an instrument around has led to some memorable encounters, like the time she ended up at a drug-fueled Electric Ladyland Studios recording session with David Bowie and John Lennon, contributing backup vocals on the 1975 hit “Fame.”\u003c/p>\n\u003cp>A Bronx native who spent more than a decade on the New York music scene playing R&B, pop, jazz and fusion, Fineberg has been a creative force in the Bay Area since moving west in 1989 with trumpeter Ellen Seeling, her partner in music and life. A versatile and well-traveled performer with more than 50 albums to her credit, including recordings by Patti LaBelle, Bo Diddley and Laura Nyro, Fineberg also played on Sister Sledge’s iconic hit “We Are Family” and anchored the horn section on Chic’s influential albums \u003cem>C’est Chic\u003c/em> and \u003cem>Risqué\u003c/em>.\u003c/p>\n\u003cp>In the Bay Area she and Seeling have long co-led the \u003ca href=\"https://www.montclairwomensbigband.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Montclair Women’s Big Band\u003c/a>, but in April of this year the saxophonist released her first album under her own name, \u003cem>Jean Fineberg & JAZZphoria. \u003c/em>Drawing from the Montclair band’s deep pool of talent, the eight-piece combo makes its \u003ca href=\"https://secure.thefreight.org/11707/jean-feinberg-and-jazzphoria\">Freight & Salvage debut Sunday, Nov. 20\u003c/a>. Featuring her original tunes and arrangements, the album reflects Fineberg’s love of improvisation and her conviction that music should be inextricably tied to dance and communal celebration, both of which served her well in her session with Bowie.\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/VWjucGsfzg4'\n title='//www.youtube.com/embed/VWjucGsfzg4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Fineberg drifted into Bowie’s orbit because a friend was dating him at the time, and she invited Fineberg to the studio. “I happened to have my flute with me and he asked if I wanted to play,” she recalls. “I ended up taking a solo on ‘Fame.’ And I sang on that too, and I’m not a singer! We all spent the night at his brownstone all coked up listening back to all the tracks. Philip Glass was there too, though I don’t know if he was doing coke. Two weeks later Bowie’s people called and asked for my info. I was in a 20-something daze and didn’t grasp the import. I was credited for vocals, but he cut most of the flute solo, which was totally fine. It’s an amazing song.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Many years later, the track with \u003ca href=\"https://www.youtube.com/watch?v=BGbWQn7cXxc\">Fineberg’s flute work\u003c/a> surfaced online.\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/BGbWQn7cXxc'\n title='//www.youtube.com/embed/BGbWQn7cXxc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In making her own musical statement, Fineberg wanted to document a diverse program of her originals exploring a variety of forms and grooves. While her burly tenor sax guides the proceedings, she gives plenty of space to top-shelf players like trumpeter Marina Garza, guitarist Nancy Wenstrom and low-reed expert Carolyn Walter on baritone sax and bass clarinet\u003c/p>\n\u003cp>They’re all well-traveled veterans, but Fineberg always has her eye out for young talent. Handling acoustic and electric bass duties is Jodi Durst, a recent graduate of the California Jazz Conservatory. And \u003ca href=\"https://erikaoba.com/bio\" target=\"_blank\" rel=\"noopener noreferrer\">Erika Oba\u003c/a> is a rising composer with an Oberlin Conservatory jazz piano degree who serves as resident YouthStage musical director at Berkeley Playhouse. She holds down the JAZZphoria keyboard bench while also contributing on flute and piccolo.\u003c/p>\n\u003cp>Oba credits Fineberg and Seeling, who are devoted to championing rising female musicians, with hiring her for some of her first gigs when she moved back to the East Bay, starting with a faculty spot on the summer \u003ca href=\"https://cjc.edu/jazzschool/camps-and-intensives/summer-youth-programs/girls-jazz-blues-camp/\" target=\"_blank\" rel=\"noopener noreferrer\">Girls’ Jazz & Blues Camp\u003c/a> they’ve produced at the California Jazz Conservatory since 2011. Before long she was subbing in the Montclair Women’s Big Band for pianist \u003ca href=\"https://www.kqed.org/arts/13875256/a-solution-for-musicians-suffering-from-exposure-labor-organizing\" target=\"_blank\" rel=\"noopener noreferrer\">Tammy Hall\u003c/a>, “who was a great mentor for me,” says Oba. She also connected so well with new JAZZphoria drummer Jeremy Steinkoler that they’ve started performing in another trio (including a \u003ca href=\"https://erikaoba.com/calendar/erika-oba-trio-at-the-back-room-8a35j-jyklw\">Dec. 11 Outsound date\u003c/a> at Musicians Union in San Francisco). \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Jeanie’s band is always a really good time,” Oba says. “All of her concerts feel like a party. Her music is really fun, and while a lot of it is pretty complicated with shifting meters, it still feels like party music. We love it when people dance.”\u003c/p>\n\u003cp>Fineberg also plays drums in \u003ca href=\"https://www.youtube.com/watch?v=a_vTKBxT8bk\">Party Monsters\u003c/a>, a five-women cover band that often gets booked at county fairs. She’s worked in lots of mixed-gender combos, and has found that she prefers the camaraderie of all- or majority-women ensembles, which is what she was looking for in JAZZphoria. As a composer and arranger, she puts a premium on good readers and multi-instrumentalists, “because the bigger the palette the better,” she says. “And I wanted team players, people who were into the music, not hired guns. If I found two players who met those criteria and one was a man and one was a woman, I went with the woman. I wanted these underrecognized to players to have more visibility, and it turned out to be seven women and one man.”\u003c/p>\n\u003cfigure id=\"attachment_13921593\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921593\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Jean-Fineberg-JAZZphoria-PHOTO-LoRes-Horizontal_Credit-Irene-Young-Copy-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Jean-Fineberg-JAZZphoria-PHOTO-LoRes-Horizontal_Credit-Irene-Young-Copy-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Jean-Fineberg-JAZZphoria-PHOTO-LoRes-Horizontal_Credit-Irene-Young-Copy-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Jean-Fineberg-JAZZphoria-PHOTO-LoRes-Horizontal_Credit-Irene-Young-Copy-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Jean-Fineberg-JAZZphoria-PHOTO-LoRes-Horizontal_Credit-Irene-Young-Copy-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Jean-Fineberg-JAZZphoria-PHOTO-LoRes-Horizontal_Credit-Irene-Young-Copy.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jean Fineberg & JAZZphoria. \u003ccite>(Irene Young)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If Hollywood ever makes a film about women horn players, Fineberg and Seeling’s story could serve as a model for the romantic subplot. They met via the all-women band Isis, which Carol MacDonald and Ginger Bianco launched in 1972 when horn-driven bands like Chicago and Blood, Sweat and Tears were juggernauts. Fineberg was a founding member, and Seeling connected with the group several years later during the making of the third Isis album \u003cem>Breaking Through\u003c/em> “in Allen Toussaint’s studio in New Orleans,” Fineberg says.\u003c/p>\n\u003cp>Recommended by the great multi-instrumentalist Howard Johnson, Seeling arrived at the session “and we did \u003cem>not\u003c/em> get along at all,” Fineberg says. “I was a wild rock ‘n’ roll player, so here we were, me and trombonist Lolly Bienenfeld, and Ellen starts instructing us that the trumpet always leads the horn section. That’s what she learned in school.”\u003c/p>\n\u003cp>Whatever the tensions, Seeling joined the band for an East Coast tour, and somewhere along the Atlantic seaboard, their relationship changed. They both went on to tour and record with Laura Nyro, becoming close friends with her while the women in the band joined Nyro in the RV and the men flew to the next gig. Playing horn parts they created behind her vocals, they’re featured throughout her 1977 live album \u003cem>Season of Lights \u003c/em>(in a band that included jazz bass legend Richard Davis, vibraphonist Mike Mainieri and drummer Andy Newmark). \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“‘\u003ca href=\"https://www.youtube.com/watch?v=GBCfJ0MqqVY\">Upstairs By A Chinese Lamp\u003c/a>’ has some of my best flute work on record, and ‘I Am the Blues’ is some of Ellen’s best trumpet playing,” Fineberg says. “Laura didn’t have any charts and couldn’t tell you what chords you were playing. She’d say, ‘I want you to play palm trees on this section, or ocean waves.’”\u003c/p>\n\u003cp>Looking for an outlet for her songwriting, Fineberg and Seeling launched the Brecker Brothers-inspired fusion band \u003ca href=\"https://www.youtube.com/watch?v=xvvOAo1Z5qE\">DEUCE\u003c/a>, which performed at jazz festivals and clubs around the world in the 1980s while releasing several well-received albums. The band continued to tour and perform after they relocated to the East Bay in 1989, but when the opportunity arose to create the Montclair Women’s Big Band in 1997, they quickly established the 17-piece orchestra. Over the past decade or so Seeling has often taken a more visible role as an activist demanding equal opportunities for women instrumentalists, who are still often overlooked when it comes to major festivals. With JAZZphoria, Fineberg is making a potent musical statement that draws on her wealth of accumulated experience.\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/xvvOAo1Z5qE'\n title='//www.youtube.com/embed/xvvOAo1Z5qE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“I’m coming from the blues essentially in everything I do,” she says. “I’m coming from rhythm. That’s how I start a tune, whether it’s blues, R&B or Latin music. I thought long and hard about calling it JAZZphoria because I didn’t want to typecast the group, that we’d be swinging all the time. But it is all improvised music. The tunes are vehicles for the soloists, but it’s very eclectic because I like so many different things. I’m tired of going to concerts where everything sounds the same.”\u003c/p>\n\u003cp>If there’s one thing that doesn’t seem to have changed much over the years it’s the predictable reaction to a woman with a horn. Fineberg recently posted on Facebook about a random encounter at a hotel in Wisconsin where “a 77-year-old lawyer and university professor, upon hearing that I’m a sax player, said ‘That’s a big instrument for a little girl.’” The post elicited more than 250 comments, with women bassists, drummers, saxophonists, percussionists and trombonists all describing similarly witless comments.\u003c/p>\n\u003cp>Fineberg has no time for fogies of any age. She’s looking to carry her horn into all the best places, bringing JAZZphoria to “the Monterey Jazz Festival, San Jose, Healdsburg, SFJAZZ, Yoshi’s. What everybody wants.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/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": "\u003cp>Rhythm has long been thought to be a uniquely human trait, but researchers have found that rats possess the ability and can keep the beat to Mozart, \u003ca href=\"https://www.u-tokyo.ac.jp/focus/en/press/z0508_00262.html\">a new study shows\u003c/a>.\u003c/p>\n\u003cp>Scientists at the University of Tokyo found that rats’ beat synchronicity came from the time constant of their brains, not their bodies, which is similar across species. \u003c/p>\n\u003cp>“Rats displayed innate — that is, without any training or prior exposure to music — beat synchronization most distinctly within 120–140 bpm (beats per minute), to which humans also exhibit the clearest beat synchronization,” said University of Tokyo Associate Professor Hirokazu Takahashi. \u003c/p>\n\u003cp>Researchers equipped 20 rats with wireless accelerometers to measure their head movements. They were played one-minute excerpts of “Sonata for two pianos (K. 448)” by Mozart at four different speeds – 75%, 100%, 200% and 400% of the original speed.[aside postID='pop_18679'] \u003c/p>\n\u003cp>The study focused on responses to “K. 448” by Mozart. But the study also played four other musical pieces to human and animal participants: “Born This Way” by Lady Gaga, “Another One Bites the Dust” by Queen, “Beat It” by Michael Jackson and “Sugar” by Maroon 5.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Copyright 2022 \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The publisher said it was in communication with both Drake and 21 Savage leading up to the release of \u003cem>Her Loss, \u003c/em>but according to the lawsuit, the rappers’ “disregard for Condé Nast’s rights” left it no choice but to take legal action.\u003c/p>\n\u003cp>Representatives for both Drake and 21 Savage did not immediately respond to NPR’s request for comment on the lawsuit. NPR also reached out to attorneys representing Condé Nast for comment but did not immediately hear back.\u003c/p>\n\u003cp>The distribution of the counterfeit \u003cem>Vogue\u003c/em> cover is among several parodies the two rappers produced in support of their latest album. The two pretended to perform on NBC’s \u003ca href=\"https://www.youtube.com/watch?v=vZo3KgqU6oY\">\u003cem>Saturday Night Live\u003c/em>\u003c/a> and to have been interviewed on Howard Stern’s SiriusXM radio show. The duo also \u003ca href=\"https://www.npr.org/2022/11/03/1133784017/drake-21-savage-npr-tiny-desk\">pretended to perform on NPR Music’s Tiny Desk series\u003c/a>, where the rappers are seated in front of a backdrop of books and \u003cem>All Songs Considered\u003c/em> signage.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cem>Welcome to \u003ca href=\"http://kqed.org/passtheaux\">Pass the Aux\u003c/a>, where KQED Arts & Culture brings you our favorite new tracks by Bay Area artists.\u003c/em>\u003c/p>\n\u003cp>When jazz musicians \u003ca href=\"https://jackiegage.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Jackie Gage\u003c/a> and \u003ca href=\"https://www.kevin-goldberg.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Kevin Goldberg\u003c/a> wrote “Green,” they weren’t sure they would release it. But whenever they played the track live, they found their fans singing along by the end, even though they’d never heard it before. Maybe listeners were captivated by the steady strum of Goldberg’s tango-style guitar, or the intriguing way Gage sings “Tell me what you mean by green,” as if challenging the listener.\u003c/p>\n\u003cp>Or maybe their audiences were just as pissed off about climate change and corporate greed as Gage and Goldberg were.\u003c/p>\n\u003cp>“It felt like there was a community where I didn’t feel like we were alone in this anger,” says Gage. “[I realized] like, ‘OK, music is powerful, and this is another way that people can kind of discover the power they have in themselves, too.’”\u003c/p>\n\u003cp>https://youtu.be/SwWO7-1hYWY\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Gage, an \u003ca href=\"https://www.kqed.org/arts/13910742/jc-smith-jackie-gage-san-jose-musicians-russia-war-ukraine\" target=\"_blank\" rel=\"noopener noreferrer\">internationally touring singer\u003c/a>, began writing the lyrics for “Green” earlier this year after witnessing the devastation of yet another California wildfire season, flooding in her family’s home state of Louisiana and a deadly hurricane in Florida. Meanwhile, as Americans continue to struggle with high gas prices, \u003ca href=\"https://www.pbs.org/newshour/show/oil-companies-post-massive-profits-as-consumers-feel-squeeze-from-high-gas-prices\" target=\"_blank\" rel=\"noopener noreferrer\">oil companies posted record profits\u003c/a> in the most recent quarter.\u003c/p>\n\u003cp>“It doesn’t make sense. It feels very predatory,” Gage says.\u003c/p>\n\u003cp>A sense of sadness drifted in after the indignation. “I think that I’ve experienced, at least in these last few years, a huge amount of grief,” says Goldberg. “Now our kids might not get the chance to experience this amazing redwood forest that we have in California because, you know, who knows what the future of the climate holds these next five, ten years?”\u003c/p>\n\u003cp>In the new music video for “Green,” out today, Gage, Goldberg and accordion player Imanuel Junaedy perform in Bay Area landmarks, contrasting oases of nature with the impacts of industrialization. Shots of the stunning Pacific coast cut to the trio playing in polluted areas like the former Mare Island military base and West Oakland underpasses.\u003c/p>\n\u003cp>With the e\u003ca href=\"https://www.kqed.org/voterguide\" target=\"_blank\" rel=\"noopener noreferrer\">lection approaching on Nov. 8\u003c/a>, Gage and Goldberg decided it was the perfect time to put climate on people’s minds.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I think for me it just feels it feels like an opportunity to make a little bit of a difference,” says Goldberg. “I think a lot of times it’s really easy to get to a feeling of powerlessness around climate change and around these forces that are spinning so wildly out of control.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Gage, an \u003ca href=\"https://www.kqed.org/arts/13910742/jc-smith-jackie-gage-san-jose-musicians-russia-war-ukraine\" target=\"_blank\" rel=\"noopener noreferrer\">internationally touring singer\u003c/a>, began writing the lyrics for “Green” earlier this year after witnessing the devastation of yet another California wildfire season, flooding in her family’s home state of Louisiana and a deadly hurricane in Florida. Meanwhile, as Americans continue to struggle with high gas prices, \u003ca href=\"https://www.pbs.org/newshour/show/oil-companies-post-massive-profits-as-consumers-feel-squeeze-from-high-gas-prices\" target=\"_blank\" rel=\"noopener noreferrer\">oil companies posted record profits\u003c/a> in the most recent quarter.\u003c/p>\n\u003cp>“It doesn’t make sense. It feels very predatory,” Gage says.\u003c/p>\n\u003cp>A sense of sadness drifted in after the indignation. “I think that I’ve experienced, at least in these last few years, a huge amount of grief,” says Goldberg. “Now our kids might not get the chance to experience this amazing redwood forest that we have in California because, you know, who knows what the future of the climate holds these next five, ten years?”\u003c/p>\n\u003cp>In the new music video for “Green,” out today, Gage, Goldberg and accordion player Imanuel Junaedy perform in Bay Area landmarks, contrasting oases of nature with the impacts of industrialization. Shots of the stunning Pacific coast cut to the trio playing in polluted areas like the former Mare Island military base and West Oakland underpasses.\u003c/p>\n\u003cp>With the e\u003ca href=\"https://www.kqed.org/voterguide\" target=\"_blank\" rel=\"noopener noreferrer\">lection approaching on Nov. 8\u003c/a>, Gage and Goldberg decided it was the perfect time to put climate on people’s minds.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I think for me it just feels it feels like an opportunity to make a little bit of a difference,” says Goldberg. “I think a lot of times it’s really easy to get to a feeling of powerlessness around climate change and around these forces that are spinning so wildly out of control.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp dir=\"ltr\">Today we’re passing the mic to a group that’s doing some substantive work, both in the community and in the media.\u003c/p>\n\u003cp dir=\"ltr\">The \u003ca href=\"https://www.hellablackpod.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Hella Black Podcast\u003c/a>, hosted by \u003ca href=\"https://www.instagram.com/delency_/\" target=\"_blank\" rel=\"noopener noreferrer\">Delency Parham\u003c/a> and \u003ca href=\"https://www.instagram.com/abbas_muntaqim/\" target=\"_blank\" rel=\"noopener noreferrer\">Abbas Muntaqim\u003c/a>, is a show focused on movements toward Black liberation.\u003c/p>\n\u003cp dir=\"ltr\">Right now the Hella Black Podcast is running a unique series called \u003ca href=\"https://podcasts.apple.com/us/podcast/introducing-tales-of-the-town-a-podcast-about-black-oakland/id1235932328?i=1000579592977\" target=\"_blank\" rel=\"noopener noreferrer\">Tales Of The Town.\u003c/a> It’s produced by \u003ca href=\"https://www.kqed.org/arts/13915669/filmmaker-maya-cueva-focuses-on-reproductive-rights-and-immigration\" target=\"_blank\" rel=\"noopener noreferrer\">former Rightnowish guest\u003c/a> and award winning filmmaker,\u003ca href=\"https://www.instagram.com/maya.cueva_/\" target=\"_blank\" rel=\"noopener noreferrer\"> Maya Cueva\u003c/a>.\u003c/p>\n\u003cp dir=\"ltr\">Over the course of 12 weeks, Tales of The Town is looking back at historical movements for Black liberation in Oakland, and diving into current efforts as well. On top of that, they’re making sure to note the arts and culture that has, and continues to fuel movements.\u003c/p>\n\u003cp dir=\"ltr\">The show features conversations with the hosts’ family members and former members of the Black Panther Party. There’s input from historians and culture keepers and there’s interviews with jazz scholars and R&B singers.\u003c/p>\n\u003cp dir=\"ltr\">In addition to the Tales of The Town series, the group is publishing a photo book, a short film and \u003ca href=\"https://open.spotify.com/artist/1ZgPUEWXZparNifIcZgsKT\" target=\"_blank\" rel=\"noopener noreferrer\">an album\u003c/a> full of original music from some big names in the Bay Area’s hip-hop and R&B circles. The album, podcast, and all of the companion pieces are an extension of the work of the \u003ca href=\"https://www.peoplesprograms.com/\">Peoples Program\u003ci>s\u003c/i>\u003c/a>, an organization co-founded by Hella Black Podcast hosts, Delency and Abbas.\u003c/p>\n\u003cp>Peoples Programs works with unhoused folks, providing food through grocery giveaways. They also have a community garden at UC Berkeley, which is maintained by \u003ca href=\"https://www.kqed.org/arts/13908905/rightnowish-big-love-ab-banks\" target=\"_blank\" rel=\"noopener noreferrer\">Former Rightnowish guest AB Banks. \u003c/a>The group has a mobile medical clinic, as well as a program that assists with bail and legal-support for incarcerated Black protesters.\u003c/p>\n\u003cp>So this week, we’re featuring episode number four from the Tales of The Town series. This episode dives into the history of West Oakland’s 7th Street, once a main thoroughfare for Black artists– home to jazz clubs and show venues where folks like Aretha Franklin would perform.\u003c/p>\n\u003cp>That is, until eminent domain brought about BART train tracks and a freeway that ran right through the community, ultimately causing many businesses to close. A blow to the neighborhood that still lingers to this day.\u003c/p>\n\u003cp>Abbas and Delency talk about that and more on this episode.\u003c/p>\n\u003ch5 id=\"embed-code\" class=\"inconsolata\">\n\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC6488238937&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003cbr>\n\u003c/h5>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp dir=\"ltr\">Today we’re passing the mic to a group that’s doing some substantive work, both in the community and in the media.\u003c/p>\n\u003cp dir=\"ltr\">The \u003ca href=\"https://www.hellablackpod.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Hella Black Podcast\u003c/a>, hosted by \u003ca href=\"https://www.instagram.com/delency_/\" target=\"_blank\" rel=\"noopener noreferrer\">Delency Parham\u003c/a> and \u003ca href=\"https://www.instagram.com/abbas_muntaqim/\" target=\"_blank\" rel=\"noopener noreferrer\">Abbas Muntaqim\u003c/a>, is a show focused on movements toward Black liberation.\u003c/p>\n\u003cp dir=\"ltr\">Right now the Hella Black Podcast is running a unique series called \u003ca href=\"https://podcasts.apple.com/us/podcast/introducing-tales-of-the-town-a-podcast-about-black-oakland/id1235932328?i=1000579592977\" target=\"_blank\" rel=\"noopener noreferrer\">Tales Of The Town.\u003c/a> It’s produced by \u003ca href=\"https://www.kqed.org/arts/13915669/filmmaker-maya-cueva-focuses-on-reproductive-rights-and-immigration\" target=\"_blank\" rel=\"noopener noreferrer\">former Rightnowish guest\u003c/a> and award winning filmmaker,\u003ca href=\"https://www.instagram.com/maya.cueva_/\" target=\"_blank\" rel=\"noopener noreferrer\"> Maya Cueva\u003c/a>.\u003c/p>\n\u003cp dir=\"ltr\">Over the course of 12 weeks, Tales of The Town is looking back at historical movements for Black liberation in Oakland, and diving into current efforts as well. 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The album, podcast, and all of the companion pieces are an extension of the work of the \u003ca href=\"https://www.peoplesprograms.com/\">Peoples Program\u003ci>s\u003c/i>\u003c/a>, an organization co-founded by Hella Black Podcast hosts, Delency and Abbas.\u003c/p>\n\u003cp>Peoples Programs works with unhoused folks, providing food through grocery giveaways. They also have a community garden at UC Berkeley, which is maintained by \u003ca href=\"https://www.kqed.org/arts/13908905/rightnowish-big-love-ab-banks\" target=\"_blank\" rel=\"noopener noreferrer\">Former Rightnowish guest AB Banks. \u003c/a>The group has a mobile medical clinic, as well as a program that assists with bail and legal-support for incarcerated Black protesters.\u003c/p>\n\u003cp>So this week, we’re featuring episode number four from the Tales of The Town series. This episode dives into the history of West Oakland’s 7th Street, once a main thoroughfare for Black artists– home to jazz clubs and show venues where folks like Aretha Franklin would perform.\u003c/p>\n\u003cp>That is, until eminent domain brought about BART train tracks and a freeway that ran right through the community, ultimately causing many businesses to close. A blow to the neighborhood that still lingers to this day.\u003c/p>\n\u003cp>Abbas and Delency talk about that and more on this episode.\u003c/p>\n\u003ch5 id=\"embed-code\" class=\"inconsolata\">\n\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC6488238937&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003cbr>\n\u003c/h5>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Deuce Eclipse Celebrates Día de los Muertos With a New Track and Rap Showcase",
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"content": "\u003cp>With its lovingly crafted ofrendas and orange marigolds, Día de los Muertos is a beautiful reminder to honor those who’ve passed while celebrating the people and experiences that make life worth living. In that spirit, Bay Area underground hip-hop veteran \u003ca href=\"https://www.deuceeclipse.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Deuce Eclipse\u003c/a> has a new track called “Time is Now.”\u003c/p>\n\u003cp>“If I got time and you got time / Let’s build something now that we can take to the divine,” raps the Nicaraguan American MC over the high-energy strum of a vinyl-stringed guitar and bursts of horns. The track is all about nurturing the relationships that matter while we still can.\u003c/p>\n\u003cp>https://youtu.be/bcXhS7IiMbc\u003c/p>\n\u003cp>Deuce Eclipse is a thoughtful lyricist with bilingual bars, and is well known in the Bay Area as the co-founder of the cumbia-reggae-hip-hop band Bang Data and his work with the \u003ca href=\"https://www.kqed.org/arts/13920198/zumbi-zion-i-improper-restraint-at-hospital\" target=\"_blank\" rel=\"noopener noreferrer\">late Zumbi of Zion I\u003c/a>. On Nov. 5, he headlines a \u003ca href=\"http://www.amadossf.com/shows/2022/11/5-dia-de-los-muertos-showcase-deuce-eclipse-frisco-baby-wanda-cruda-more\" target=\"_blank\" rel=\"noopener noreferrer\">Día de los Muertos hip-hop showcase at the Mission District venue Amado’s\u003c/a>.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=2944541219/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=1636475486/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Joining him on the bill is The Shop Studios engineer and rising rapper \u003ca href=\"https://www.instagram.com/_friscobaby/\" target=\"_blank\" rel=\"noopener noreferrer\">Frisco Baby\u003c/a>, whose versatile flows have made her one to watch. Even though Frisco Baby’s debut album has yet to come, she’s posted freestyles on Instagram for 38 consecutive Fridays and appears on \u003ca href=\"https://www.kqed.org/arts/13916721/sucka-free-history-with-dregs-one\" target=\"_blank\" rel=\"noopener noreferrer\">Dregs One\u003c/a>’s August album, \u003ci>Sucka Repellent\u003c/i>, where she raps with a commanding double-time cadence alongside heavyweight Spice 1. MC Pauze — whose laidback new track “\u003ca href=\"https://www.youtube.com/watch?v=SxR3twUSL7Y\" target=\"_blank\" rel=\"noopener noreferrer\">Woo\u003c/a>” features underground rap mainstays Professa Gabel and Equipto — Wanda Kruda, DJ Mixtek and DJ Ras Rican join the bill for this all-ages, intergenerational event.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>The Día de Los Muertos Showcase takes place at Amado’s on Nov. 5 at 8pm. \u003ca href=\"http://www.amadossf.com/shows/2022/11/5-dia-de-los-muertos-showcase-deuce-eclipse-frisco-baby-wanda-cruda-more\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>With its lovingly crafted ofrendas and orange marigolds, Día de los Muertos is a beautiful reminder to honor those who’ve passed while celebrating the people and experiences that make life worth living. In that spirit, Bay Area underground hip-hop veteran \u003ca href=\"https://www.deuceeclipse.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Deuce Eclipse\u003c/a> has a new track called “Time is Now.”\u003c/p>\n\u003cp>“If I got time and you got time / Let’s build something now that we can take to the divine,” raps the Nicaraguan American MC over the high-energy strum of a vinyl-stringed guitar and bursts of horns. The track is all about nurturing the relationships that matter while we still can.\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/bcXhS7IiMbc'\n title='//www.youtube.com/embed/bcXhS7IiMbc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Deuce Eclipse is a thoughtful lyricist with bilingual bars, and is well known in the Bay Area as the co-founder of the cumbia-reggae-hip-hop band Bang Data and his work with the \u003ca href=\"https://www.kqed.org/arts/13920198/zumbi-zion-i-improper-restraint-at-hospital\" target=\"_blank\" rel=\"noopener noreferrer\">late Zumbi of Zion I\u003c/a>. On Nov. 5, he headlines a \u003ca href=\"http://www.amadossf.com/shows/2022/11/5-dia-de-los-muertos-showcase-deuce-eclipse-frisco-baby-wanda-cruda-more\" target=\"_blank\" rel=\"noopener noreferrer\">Día de los Muertos hip-hop showcase at the Mission District venue Amado’s\u003c/a>.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=2944541219/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=1636475486/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Joining him on the bill is The Shop Studios engineer and rising rapper \u003ca href=\"https://www.instagram.com/_friscobaby/\" target=\"_blank\" rel=\"noopener noreferrer\">Frisco Baby\u003c/a>, whose versatile flows have made her one to watch. Even though Frisco Baby’s debut album has yet to come, she’s posted freestyles on Instagram for 38 consecutive Fridays and appears on \u003ca href=\"https://www.kqed.org/arts/13916721/sucka-free-history-with-dregs-one\" target=\"_blank\" rel=\"noopener noreferrer\">Dregs One\u003c/a>’s August album, \u003ci>Sucka Repellent\u003c/i>, where she raps with a commanding double-time cadence alongside heavyweight Spice 1. MC Pauze — whose laidback new track “\u003ca href=\"https://www.youtube.com/watch?v=SxR3twUSL7Y\" target=\"_blank\" rel=\"noopener noreferrer\">Woo\u003c/a>” features underground rap mainstays Professa Gabel and Equipto — Wanda Kruda, DJ Mixtek and DJ Ras Rican join the bill for this all-ages, intergenerational event.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>The Día de Los Muertos Showcase takes place at Amado’s on Nov. 5 at 8pm. \u003ca href=\"http://www.amadossf.com/shows/2022/11/5-dia-de-los-muertos-showcase-deuce-eclipse-frisco-baby-wanda-cruda-more\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "The Gripping ‘Louis Armstrong’s Black & Blues’ Confronts the Artist’s Complexities",
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"content": "\u003cp>Louis Armstrong made his first transatlantic voyage in July of 1932, sailing from New York City to Plymouth, England, aboard the ocean liner RMS Majestic. This was a triumphant visit for Armstrong, whose bravura feats as a trumpeter and rugged ebullience as a singer had already made him a sensation on both sides of the pond. But while the British tour is one of many pivotal events in\u003ca href=\"https://www.apple.com/tv-pr/originals/louis-armstrongs-black-blues/\"> \u003cem>Louis Armstrong’s Black & Blues\u003c/em>\u003c/a>\u003cem>, \u003c/em>a revelatory new documentary out Friday on Apple TV+, its inclusion is most striking for the glimpse we get \u003cem>behind\u003c/em> the curtain, where Satchmo allows his famous grin to constrict into a scowl.\u003c/p>\n\u003cp>[aside postid='arts_13912108']His manager at the time was a potbellied white gangster named Johnny Collins, who wasted little on social niceties. The exploitative tilt of their working relationship was never a matter of public record — but the film, drawing extensively from Armstrong’s private recordings, shares audio of Armstrong recalling a furious confrontation on the ship, with language that’s jarring to hear in his iconic gravel-drawl. “I said, ‘Listen, c*********. You might be my manager, and you might be the biggest s***, and book me in the biggest places in the world,’” he says. ““But when I get out on that f***** stage with that horn and get in trouble, you can’t save me.’” When Collins retorts by invoking the N-word, Armstrong fights the urge to break a wine bottle over his head, in order to kill him. “But the first thing I thought,” he says, “[was] all them Black c********** in Harlem who’d say: \u003cem>I knew he would blow his top someday\u003c/em>.”\u003c/p>\n\u003cp>There’s so much straining beneath the surface of this moment: the stark indignity and mortal risk faced by even the elite African American entertainers of the day; the fraught prospect of a white protector, with all the attendant imbalances of power; the notion of a mask, and what it means to vent freely without one; the sporting interest of a community, or at least a constituency, taking their bets as the pressure builds.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=o5jbSeBHVTQ&t=80s\u003c/p>\n\u003cp>\u003cem>Louis Armstrong’s Black & Blues \u003c/em>is brilliantly steeped in these considerations — tracing them from the artist’s rough childhood in New Orleans to his pop culture transcendence, to his life as a neighborhood fixture in Corona, Queens. His modest brick home three is now the\u003ca href=\"https://www.louisarmstronghouse.org/\"> Louis Armstrong House Museum\u003c/a>, which maintains a trove of scrapbooks, home recordings and other archival treasures that made this film possible. (Ricky Riccardi, Director of Research Collections at the museum, is credited as a consulting producer.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Sacha Jenkins, the film’s director, hails from Queens himself. So does the narrator he enlists to portray Armstrong in voiceover, the rapper Nas. Hip-hop is the cultural frame through which Jenkins approached this project — he’s the CCO of\u003ca href=\"https://massappeal.com/\"> Mass Appeal\u003c/a> and has made previous documentaries about \u003ca href=\"https://www.npr.org/artists/16318054/rick-james\">Rick James\u003c/a> and the \u003ca href=\"https://www.npr.org/artists/15769897/wu-tang-clan\">Wu-Tang Clan\u003c/a> — and that influence can be felt in the film’s stylish visual flow as well as the frankness of its racial disquisition.\u003c/p>\n\u003cp>\u003cem>Louis Armstrong’s Black & Blues \u003c/em>isn’t the film to unpack what made Armstrong such an incandescent jazz pioneer, though it allows a few noted experts, like Wynton Marsalis, to rhapsodize about his music. What the documentary does instead, with focus and flair, is explore Armstrong’s multifaceted experience as a Black American musician who came of age right along with the 20th century, enduring the worst and somehow embodying the best.\u003c/p>\n\u003cp>[aside postid='arts_13916363']The academic field of jazz studies has long apprehended Armstrong as a richly layered subject, possessed of more agency and ambiguity than his popular reputation would suggest. More than any other film that addresses his legacy, this one manages a similar depth of field. “Pops, he faced a lot of challenges, and he always faced them with style and maintained his sanity and his joy and his embrace of life,” attests Marsalis in the film. “And it was not a simpleminded happiness. It was a transcendent joy.”\u003c/p>\n\u003cp>So much of the archival material assembled by Jenkins and his team — notably the vibrant footage of Armstrong with his wife Lucille, in the harbor of their home or as far afield as Ghana (on a 1956 tour) — aligns with this characterization. But there’s also a strong subtext of critique that the film addresses in earnest, by revisiting a common complaint that Satchmo’s style reeked of “Uncle Tom” subservience.\u003c/p>\n\u003cp>It’s a perspective birthed out of the civil rights movement and an ensuing era of Black pride, though the film demonstrates how engaged Armstrong was in the cause — often from a pragmatic position behind the scenes but sometimes in an utterly exposed position along its front lines. We get to witness the dissonance of a time when Armstrong is being sent across the world by the U.S. State Department, even as white supremacy is rearing its head back home. Time and again, we see his guarded composure in the company of white interviewers, set against the exasperation of candid moments among friends or in the solitude of his study.\u003c/p>\n\u003cp>Hardly any of the film’s insightful commentators — old Armstrong associates like guitarist and banjoist Danny Barker, trusted advocates like journalist Dan Morgenstern and photographer Jack Bradley, Black cultural critics as ideologically distinct as Amiri Baraka and Stanley Crouch — ever appear on screen. That decision sharpens the focus on the archival photographs and scrapbook collages that Jenkins chooses to feature. It also heightens the power of the footage he does include, whether from concert films, home movies or clips from \u003cem>The Mike Douglas Show, The Danny Kaye Show\u003c/em> and the 1980s PBS series \u003cem>With Ossie and Ruby.\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ILFTWqYSMxg\u003c/p>\n\u003cp>In that last scrap of footage, actor Ossie Davis recalls his own youthful ridicule of Armstrong’s onstage image — “sweat poppin’, eyes buggin’, mouth wide open, grinnin’ oh my Lord from ear to ear” — and then describes the moment he came around. He’d been cast alongside Armstrong in the 1966 Sammy Davis Jr. vehicle \u003cem>A Man Called Adam, \u003c/em>and spotted Pops in an unguarded moment on set, with a lonesome and faraway look on his face. “I never laughed at Louis after that,” Ossie Davis says gravely. “For beneath that gravel voice and that shuffle — under all that mouth, with more teeth than a piano had keys — was a horn that could kill a man.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The admission lands with force, because of the way that Jenkins has set the stakes in the film. Armstrong was a titan who never forgot his humble upbringings, and also a public figure who carefully assessed his own weight in the world. He kept a history of slights and injustices in his back pocket, like anybody else. He strove toward a universal message with his music, while preserving the particularities that shaped his language. \u003cem>Louis Armstrong’s Black & Blues \u003c/em>isn’t the only valuable resource for those looking to understand him and it certainly won’t be the last. But it’s a gripping and essential addition to the historical record, precisely because it creates a space for Armstrong that can only ever be as complex and unresolved as America itself.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+gripping+%27Louis+Armstrong%27s+Black+%26+Blues%27+confronts+the+artist%27s+complexities&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Louis Armstrong made his first transatlantic voyage in July of 1932, sailing from New York City to Plymouth, England, aboard the ocean liner RMS Majestic. This was a triumphant visit for Armstrong, whose bravura feats as a trumpeter and rugged ebullience as a singer had already made him a sensation on both sides of the pond. But while the British tour is one of many pivotal events in\u003ca href=\"https://www.apple.com/tv-pr/originals/louis-armstrongs-black-blues/\"> \u003cem>Louis Armstrong’s Black & Blues\u003c/em>\u003c/a>\u003cem>, \u003c/em>a revelatory new documentary out Friday on Apple TV+, its inclusion is most striking for the glimpse we get \u003cem>behind\u003c/em> the curtain, where Satchmo allows his famous grin to constrict into a scowl.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>His manager at the time was a potbellied white gangster named Johnny Collins, who wasted little on social niceties. The exploitative tilt of their working relationship was never a matter of public record — but the film, drawing extensively from Armstrong’s private recordings, shares audio of Armstrong recalling a furious confrontation on the ship, with language that’s jarring to hear in his iconic gravel-drawl. “I said, ‘Listen, c*********. You might be my manager, and you might be the biggest s***, and book me in the biggest places in the world,’” he says. ““But when I get out on that f***** stage with that horn and get in trouble, you can’t save me.’” When Collins retorts by invoking the N-word, Armstrong fights the urge to break a wine bottle over his head, in order to kill him. “But the first thing I thought,” he says, “[was] all them Black c********** in Harlem who’d say: \u003cem>I knew he would blow his top someday\u003c/em>.”\u003c/p>\n\u003cp>There’s so much straining beneath the surface of this moment: the stark indignity and mortal risk faced by even the elite African American entertainers of the day; the fraught prospect of a white protector, with all the attendant imbalances of power; the notion of a mask, and what it means to vent freely without one; the sporting interest of a community, or at least a constituency, taking their bets as the pressure builds.\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/o5jbSeBHVTQ'\n title='//www.youtube.com/embed/o5jbSeBHVTQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Louis Armstrong’s Black & Blues \u003c/em>is brilliantly steeped in these considerations — tracing them from the artist’s rough childhood in New Orleans to his pop culture transcendence, to his life as a neighborhood fixture in Corona, Queens. His modest brick home three is now the\u003ca href=\"https://www.louisarmstronghouse.org/\"> Louis Armstrong House Museum\u003c/a>, which maintains a trove of scrapbooks, home recordings and other archival treasures that made this film possible. (Ricky Riccardi, Director of Research Collections at the museum, is credited as a consulting producer.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Sacha Jenkins, the film’s director, hails from Queens himself. So does the narrator he enlists to portray Armstrong in voiceover, the rapper Nas. Hip-hop is the cultural frame through which Jenkins approached this project — he’s the CCO of\u003ca href=\"https://massappeal.com/\"> Mass Appeal\u003c/a> and has made previous documentaries about \u003ca href=\"https://www.npr.org/artists/16318054/rick-james\">Rick James\u003c/a> and the \u003ca href=\"https://www.npr.org/artists/15769897/wu-tang-clan\">Wu-Tang Clan\u003c/a> — and that influence can be felt in the film’s stylish visual flow as well as the frankness of its racial disquisition.\u003c/p>\n\u003cp>\u003cem>Louis Armstrong’s Black & Blues \u003c/em>isn’t the film to unpack what made Armstrong such an incandescent jazz pioneer, though it allows a few noted experts, like Wynton Marsalis, to rhapsodize about his music. What the documentary does instead, with focus and flair, is explore Armstrong’s multifaceted experience as a Black American musician who came of age right along with the 20th century, enduring the worst and somehow embodying the best.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The academic field of jazz studies has long apprehended Armstrong as a richly layered subject, possessed of more agency and ambiguity than his popular reputation would suggest. More than any other film that addresses his legacy, this one manages a similar depth of field. “Pops, he faced a lot of challenges, and he always faced them with style and maintained his sanity and his joy and his embrace of life,” attests Marsalis in the film. “And it was not a simpleminded happiness. It was a transcendent joy.”\u003c/p>\n\u003cp>So much of the archival material assembled by Jenkins and his team — notably the vibrant footage of Armstrong with his wife Lucille, in the harbor of their home or as far afield as Ghana (on a 1956 tour) — aligns with this characterization. But there’s also a strong subtext of critique that the film addresses in earnest, by revisiting a common complaint that Satchmo’s style reeked of “Uncle Tom” subservience.\u003c/p>\n\u003cp>It’s a perspective birthed out of the civil rights movement and an ensuing era of Black pride, though the film demonstrates how engaged Armstrong was in the cause — often from a pragmatic position behind the scenes but sometimes in an utterly exposed position along its front lines. We get to witness the dissonance of a time when Armstrong is being sent across the world by the U.S. State Department, even as white supremacy is rearing its head back home. Time and again, we see his guarded composure in the company of white interviewers, set against the exasperation of candid moments among friends or in the solitude of his study.\u003c/p>\n\u003cp>Hardly any of the film’s insightful commentators — old Armstrong associates like guitarist and banjoist Danny Barker, trusted advocates like journalist Dan Morgenstern and photographer Jack Bradley, Black cultural critics as ideologically distinct as Amiri Baraka and Stanley Crouch — ever appear on screen. That decision sharpens the focus on the archival photographs and scrapbook collages that Jenkins chooses to feature. It also heightens the power of the footage he does include, whether from concert films, home movies or clips from \u003cem>The Mike Douglas Show, The Danny Kaye Show\u003c/em> and the 1980s PBS series \u003cem>With Ossie and Ruby.\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/ILFTWqYSMxg'\n title='//www.youtube.com/embed/ILFTWqYSMxg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In that last scrap of footage, actor Ossie Davis recalls his own youthful ridicule of Armstrong’s onstage image — “sweat poppin’, eyes buggin’, mouth wide open, grinnin’ oh my Lord from ear to ear” — and then describes the moment he came around. He’d been cast alongside Armstrong in the 1966 Sammy Davis Jr. vehicle \u003cem>A Man Called Adam, \u003c/em>and spotted Pops in an unguarded moment on set, with a lonesome and faraway look on his face. “I never laughed at Louis after that,” Ossie Davis says gravely. “For beneath that gravel voice and that shuffle — under all that mouth, with more teeth than a piano had keys — was a horn that could kill a man.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The admission lands with force, because of the way that Jenkins has set the stakes in the film. Armstrong was a titan who never forgot his humble upbringings, and also a public figure who carefully assessed his own weight in the world. He kept a history of slights and injustices in his back pocket, like anybody else. He strove toward a universal message with his music, while preserving the particularities that shaped his language. \u003cem>Louis Armstrong’s Black & Blues \u003c/em>isn’t the only valuable resource for those looking to understand him and it certainly won’t be the last. But it’s a gripping and essential addition to the historical record, precisely because it creates a space for Armstrong that can only ever be as complex and unresolved as America itself.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+gripping+%27Louis+Armstrong%27s+Black+%26+Blues%27+confronts+the+artist%27s+complexities&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "All Rappers From Out Here Sound The Same? What Are You Smokin’?",
"headTitle": "All Rappers From Out Here Sound The Same? What Are You Smokin’? | KQED",
"content": "\u003cp>\u003cem>\u003cstrong>Editor’s Note\u003c/strong>: Be sure to see ‘\u003ca href=\"https://www.kqed.org/bayareahiphop\">That’s My Word\u003c/a>,’ KQED’s series on \u003ca href=\"https://www.kqed.org/bayareahiphop\">Bay Area hip-hop\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>A heated text message exchange about hip-hop artists from our region had my phone’s battery at less than 10%. You know it was bad because I was sitting on the couch with the phone charger right next to me. No time to plug in that stupid cord. I had points to make.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">The friend on the other end of the line was saying something I’ve heard for years: “I don’t listen to rappers from out here, they all sound alike.”\u003c/p>\n\u003cp>I’ve heard this way too often. Let’s set the record straight.\u003c/p>\n\u003cp>Yes, people do sound alike. As humans, our vocal cords only range so far. And despite our region’s unique lingo, our slang is still a derivative of the Queen’s English — the \u003ca href=\"https://statisticsanddata.org/data/the-most-spoken-languages-2022/\">most popular language in the world\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Add to that, for something to be “hip-hop” it has to fall within the broad but limited confines of a certain sound. And a major part of hip-hop is repping your region. So it would make sense for an artist to make music that’s easily identifiable as something from the West Coast, specifically Northern California.\u003c/p>\n\u003cp>So when we’re talking about one region, in one specific genre of audible artistic expression, you’re not going to get some expansive, thousand-miles-long variety of vibes. \u003cem>Sawry bruddah\u003c/em>.\u003c/p>\n\u003cp>But come on man, this region is (and has been) home to some of the most diverse artists you’ll find. And right now, at this very moment, music makers from this rich soil are putting their foot down deep in this proverbial thing called “the rap game.”\u003c/p>\n\u003cp>And you mean to tell me you don’t listen to any of them?\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Rexx Life Raj - Save Yourself (Official Video)\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/_HkZCOsXBTY?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>You’re not tapped into the spiritually healing bars of Berkeley’s \u003ca href=\"https://www.rexxliferaj.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Rexx Life Raj\u003c/a>? Vallejo’s \u003ca href=\"https://linktr.ee/Gcompenny\" target=\"_blank\" rel=\"noopener noreferrer\">LaRussell\u003c/a> isn’t inspiring you to become a Zen-like Croc-wearing entrepreneur who spits ether? You’re not pushing the speed limit in a mid-sized hybrid sedan while slappin’ the high energy music of East Oakland’s \u003ca href=\"https://www.instagram.com/officialsulan/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Su’Lan\u003c/a>? \u003cem>What are you smoking?\u003c/em>\u003c/p>\n\u003cp>In the time it takes you to order and eat four tacos from your favorite truck, you could listen to tracks from Stockton’s \u003ca href=\"https://www.instagram.com/haiti_babii/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Haiti Babii\u003c/a>, Sacramento’s \u003ca href=\"https://www.instagram.com/konyginobili/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">ShooterGang Kony\u003c/a> and Oakland duo \u003ca href=\"https://www.instagram.com/1100himself/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">1100 Himself\u003c/a> & \u003ca href=\"https://www.instagram.com/producedbymitchell/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Mitchell\u003c/a>, and get very different, lyrically sound approaches to modern gangsterism.\u003c/p>\n\u003cp>Looking for the revolution? Just last week Oakland’s \u003ca href=\"https://linktr.ee/PBO\" target=\"_blank\" rel=\"noopener noreferrer\">People’s Programs\u003c/a> dropped \u003cem>Tales of The Town\u003c/em>, a companion project to \u003ca href=\"https://linktr.ee/hellablackpod\" target=\"_blank\" rel=\"noopener noreferrer\">their latest podcast series\u003c/a>. The album features a litany of big-name artists from the region: There’s the cool-kid flow of \u003ca href=\"https://www.instagram.com/p_lo/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">P-Lo\u003c/a> and \u003ca href=\"https://www.instagram.com/g_eazy/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">G-Eazy\u003c/a>. The rugged bars of \u003ca href=\"https://www.instagram.com/whoisallblack/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">ALLBLACK \u003c/a>and \u003ca href=\"https://www.instagram.com/jstalinlivewire/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">J. Stalin\u003c/a>. The wisdom of \u003ca href=\"https://www.instagram.com/kvnalln/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Kevin Allen\u003c/a>. The smooth flow of \u003ca href=\"https://www.instagram.com/iamfijiana/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Pallaví aka Fijiana\u003c/a>. The wordplay of \u003ca href=\"https://www.instagram.com/firstnameian/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Ian Kelly\u003c/a>. The laid-back gangsta of \u003ca href=\"https://www.instagram.com/22ndjim/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">22nd Jim\u003c/a>. And \u003ca href=\"https://www.instagram.com/shyan_g/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Shy’an G\u003c/a> absolutely obliterates a track with her storytelling.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=zSO-zDfYcm4&feature=emb_title\u003c/p>\n\u003cp>That album features the song “Risen” by the immensely talented \u003ca href=\"https://elujay.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Elujay\u003c/a> and the newly appointed First Lady of Death Row, \u003ca href=\"https://www.instagram.com/msjanehandcock/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Jane Handcock.\u003c/a> On another project that dropped last week, Snoop Dogg’s Gangsta Grillz album \u003cem>I Still Got It\u003c/em>, Jane is featured on multiple tracks flaunting dope rhymes and high-quality vocals. I said she’s killin’ it in R&B and hip-hop, and she’s on Death Row. \u003cem>Don’t check me, check your ears.\u003c/em>\u003c/p>\n\u003cp>Stop being lazy and writing off an entire group of artists just because of where they’re from.\u003c/p>\n\u003cp>Yes, there are artists who undeniably sound like “Cali rappers” — which, to be clear, \u003cem>isn’t a bad thing\u003c/em>. Maybe it’s the clear pronunciation of Richmond’s \u003ca href=\"https://www.instagram.com/iamsu/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">IAMSU!\u003c/a>, the carefree gangsta flow of Vallejo’s \u003ca href=\"https://www.instagram.com/nefthepharaoh/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Nef The Pharaoh\u003c/a>, or the cold mackin’ lines coming from Antioch’s \u003ca href=\"https://www.instagram.com/mike_sherm/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Mike Sherm\u003c/a>. But differences remain even among those with regional proximity.\u003c/p>\n\u003cp>Take, for instance, rising star \u003ca href=\"https://www.instagram.com/youngjr/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Young JR\u003c/a>, who clearly sounds like he’s from here. And at the same time, he just sounds \u003ci>different\u003c/i>.\u003c/p>\n\u003cp>“I mean, I got a young JR sound,” Young JR tells me over the phone earlier this year. The East Oakland artist’s delivery has a sharp pitch and bit of a mumble, with a blatant tongue that’ll say some wild stuff over heavy beats that blap in your trunk. He looks the part too, from his fly attire and short locs to his turf dancing-inspired gigs. “I let it be known: for sure I’m a Town nigga, you feel me?” he says, about his aesthetics.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=7WZDFGeqA9I\u003c/p>\n\u003cp>Young JR says he’s gotten comparisons to other Bay Area rappers, as well as southern artists, which makes sense. The amount of Black folks in the Bay with direct ties to the Bible Belt is astounding. Even a generation or three removed from the Great Migration, accents linger. (Have you ever heard someone with a heavy Richmond accent say “car”?)\u003c/p>\n\u003cp>At the same time, because Northern California is home to so many people from places all around the globe, we inherently have an eclectic array of artists.\u003c/p>\n\u003cp>In June of this year Young JR dropped his project \u003cem>Born Again\u003c/em>, which features San Francisco’s \u003ca href=\"https://www.instagram.com/stunnaman02/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Stunnaman02\u003c/a>, Antioch’s \u003ca href=\"https://symba.komi.io/\" target=\"_blank\" rel=\"noopener noreferrer\">Symba\u003c/a>, Oakland’s \u003ca href=\"https://www.instagram.com/uc_kayla/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">UC Kayla\u003c/a> and Sacramento’s \u003ca href=\"https://www.instagram.com/omb_peezy/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">OMB Peezy\u003c/a>, to name a few. “It was intentional to get different sounds,” Young JR tells me, noting the diversity in the region and then pointing out what’s going on in the Central Valley. “We’ve got a few Sacramento artists that sound \u003cem>different\u003c/em>,” he says, bringing to my mind artists like \u003ca href=\"https://www.instagram.com/cellyru/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Celly Ru\u003c/a>, \u003ca href=\"https://www.instagram.com/mozzy/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Mozzy,\u003c/a> \u003ca href=\"https://www.instagram.com/db.boutabag/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">DB Boutabag\u003c/a> and \u003ca href=\"https://www.instagram.com/natecurry_/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Nate Curry.\u003c/a> “They got their own sound; they kept their own sound and perfected their own sound,” says Young JR.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Gritty Lex - Juice (Official Visual)\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/uM2ietSPtX4?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Sacramento’s \u003ca href=\"https://www.instagram.com/grittylex/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Gritty Lex\u003c/a> has heard the Cali-rappers-sound-the-same claim, although she says it’s more about the men. “I don’t think there are a whole bunch of female rappers who get put into that category,” she tells me during a phone call a few months ago.\u003c/p>\n\u003cp>She floats in between genres, but identifies as an alternative hip-hop artist. Someone once described her sound as “if Jhené Aiko and XXXTentacion had a baby,” she says with a laugh.\u003c/p>\n\u003cp>Lex, who performed at Rolling Loud last year and just this month dropped a new project with Myles titled \u003cem>High Tolerance\u003c/em>, says the confining definition of the “West Coast sound” is something rappers deal with across the board. “A lot of rappers are already boxed in, no matter what they do. It’s not how I see it, but people’s attention spans are really short nowadays. Once a listener gets \u003cem>that\u003c/em>, they classify you as \u003cem>that\u003c/em>; it’s hard to break that barrier down.”\u003c/p>\n\u003cp>It’s a point that I’ve contemplated for some time, and a bit of a chicken or egg question. Was “that barrier” put there because the people said early on that West Coast hip-hop is the standard, and anything from out here has to fit into that mold? Or did the industry say this is how the West Coast sounds, so only artists who fit that mold rise to the top?\u003c/p>\n\u003cp>I called someone who knows about vocals, the industry and the coast.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"P-Lo - Luh U ft. Bosko (Official Video)\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/bM50ahgsRMc?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/CRXN6porW_G/?hl=en\">Bosko Kante\u003c/a>, an Oakland-based, Grammy-winning musician and creator of the handheld autotune instrument called the \u003ca href=\"https://www.electrospit.com/products/bosko-electrospit-talkbox-feature\" target=\"_blank\" rel=\"noopener noreferrer\">ElectroSpit Talkbox\u003c/a>, is originally from Portland, Oregon. Before moving to the Bay, he spent years in Los Angeles working with Bay Area artists like E-40, the Luniz and Dru Down. He also spent some time in Atlanta, where he worked Big Boi of Outkast. In 2020, Bosko contributed to Dua Lipa’s “Levitate,” arguably the biggest song of the year.\u003c/p>\n\u003cp>Back when he first moved to Los Angeles, Bosko says the popular artists of the time were Snoop and Warren G. “So I put out records, myself as a rapper, that sounded like those, because in my mind that’s what you had to do and that’s how you should sound to be successful,” Bosko tells me during a phone call. “To be within the West Coast rap genre, you have to be within a certain circle, but you want to be more toward the edge of that circle to stand out,” says Bosko, noting the odd balance of fitting in and simultaneously standing out.\u003c/p>\n\u003cp>As the founder of the \u003ca href=\"https://hiiiwav.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Black Music Incubator\u003c/a> nonprofit, housed at the former site of Zoo Labs, Bosko helps artists develop their sound. So, clearly, I had to ask him if we all sound alike.\u003c/p>\n\u003cp>“I do not agree that all Northern Californian artists sound the same,” says Bosko. “What I will say is that I think the Bay Area culture is one where we want to be different. So, in some ways, maybe we sound the same in that we sound different than the rest of the country.”\u003c/p>\n\u003cp>He adds that most artists from this region are proud of being from here, and that’s shown through their unique slang and style. “I’ll give it up to the Bay for being the most unique region in the country, in my opinion,” he says.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Larry June & Cardo - Gas Station Run (Official Music Video)\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/Hyod7v38Ho0?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Whatever your flavor, you’ll find it between the Sierra Mountains and the Pacific Ocean.\u003c/p>\n\u003cp>You could be on some healthy player stuff and listen to San Francisco’s \u003ca href=\"https://www.instagram.com/larryjunetfm/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Larry June\u003c/a>. Or you could be on some ten-toes down “real P” stuff and listen to Oakland’s \u003ca href=\"https://www.instagram.com/capolow304/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Capolow\u003c/a>. Both of these artists use the ad-lib “Aye,” but do it in a different way. And you mean to tell me neither of them float your boat?\u003c/p>\n\u003cp>Sacramento’s \u003ca href=\"https://www.instagram.com/stunnagirl/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Stunna Girl\u003c/a> just dropped the braggadocio track “\u003ca href=\"https://www.youtube.com/watch?v=R8r-s0OyDHc\" target=\"_blank\" rel=\"noopener noreferrer\">Shut Me Up\u003c/a>.” Oakland’s \u003ca href=\"https://www.instagram.com/fredobagz4500/\" target=\"_blank\" rel=\"noopener noreferrer\">Fredo Bagz\u003c/a> has the aggressive flow on this week’s release “\u003ca href=\"https://www.youtube.com/watch?v=RT-NUfQns6U\" target=\"_blank\" rel=\"noopener noreferrer\">123\u003c/a>“. There’s the the spacey creative concepts found in \u003ca href=\"https://www.instagram.com/senorgigio/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Señor Gigio’s\u003c/a> music. The boom-bap music of Oakland’s \u003ca href=\"https://www.instagram.com/ovrkast/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Ovrkast\u003c/a>. San Francisco’s \u003ca href=\"https://www.instagram.com/thereal_lilkayla/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Lil Kayla\u003c/a> has been running it up all year — her confident but relaxed bars on “\u003ca href=\"https://www.youtube.com/watch?v=ySjDu0rZSKM\" target=\"_blank\" rel=\"noopener noreferrer\">11:11\u003c/a>” illustrate her approach to the game. Oakland’s \u003ca href=\"https://www.instagram.com/paris.nights/\" target=\"_blank\" rel=\"noopener noreferrer\">Paris Nights\u003c/a> is spittin’ with aggression on a track she dropped earlier this month, “\u003ca href=\"https://www.youtube.com/watch?v=7CSIc2Cvwh4\" target=\"_blank\" rel=\"noopener noreferrer\">Coldest\u003c/a>.”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Stunna Girl - Shut me up (Official Music Video)\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/R8r-s0OyDHc?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/allhailtheqing/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Qing Qi\u003c/a>, the Bay Area actor and active member of the \u003ca href=\"https://www.instagram.com/putangclanofficial/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Pu Tang Clan\u003c/a>, just released the first episode of her web series \u003cem>All Hail The Qing\u003c/em>. But if you need some raunchy bars, I’d suggest checking last year’s song “\u003ca href=\"https://www.youtube.com/watch?v=rsMhenbNtjE\" target=\"_blank\" rel=\"noopener noreferrer\">Big D\u003c/a>.” Frisco factor \u003ca href=\"https://www.instagram.com/dregs_one/\" target=\"_blank\" rel=\"noopener noreferrer\">Dregs-One\u003c/a> is a graffiti writer, hip-hop historian and lyricist who has a beer named after one of his recent projects, \u003cem>Fog Mode\u003c/em>. San Lorenzo’s \u003ca href=\"https://www.instagram.com/rubyibarra/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Ruby Ibarra\u003c/a>, \u003ca href=\"https://www.today.com/tmrw/vaccine-scientist-day-rapper-night-how-ruby-ibarra-defying-stereotypes-t218167\" target=\"_blank\" rel=\"noopener noreferrer\">a scientist\u003c/a> outside of her rap career, raps in English and Tagalog in the song “Us,” and it \u003ca href=\"https://www.youtube.com/watch?v=fgDki5-FQgY\" target=\"_blank\" rel=\"noopener noreferrer\">was featured on NBA 2K23\u003c/a>.\u003c/p>\n\u003cp>There’s the Spanglish wordplay about street life coming from Oakland’s \u003ca href=\"https://www.instagram.com/babygas/\" target=\"_blank\" rel=\"noopener noreferrer\">Baby Gas\u003c/a>. That gritty straightforward flow San Francisco’s \u003ca href=\"https://www.instagram.com/blimesbrixton/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Blimes Brixton\u003c/a>. The cutthroat bars of Stockton’s \u003ca href=\"https://www.youtube.com/watch?v=xMO5gBczc7Q\" target=\"_blank\" rel=\"noopener noreferrer\">EBK Bckdoe\u003c/a>. The flashy and uptempo music of \u003ca href=\"https://www.instagram.com/drebaexo/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Drebae\u003c/a>. The openly honest and catchy tunes coming from \u003ca href=\"https://www.instagram.com/marikasage/\" target=\"_blank\" rel=\"noopener noreferrer\">Marika Sage\u003c/a>. And there’s the multi-layered sounds of R&B, ranchera and rap coming from \u003ca href=\"https://www.instagram.com/ladona415/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">La Doña\u003c/a>, a daughter of the Mission District.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"La Doña - Le Lo Lai (Official Music Video)\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/f13atQz5QtI?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Look, \u003ca href=\"https://www.instagram.com/professagabel/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Professa Gabel\u003c/a> has a chill flow. \u003ca href=\"https://www.instagram.com/fraktheperson/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Frak The Person\u003c/a> is a punchline and battle rapper. And \u003ca href=\"https://www.instagram.com/richiecunning/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Richie Cunning\u003c/a> just dropped an album, \u003cem>Big Deal\u003c/em>, that merges rap with that smoky, jazz-club Sinatra sound. All three are white dudes from San Francisco, and even \u003cem>they\u003c/em> sound different from one another.\u003c/p>\n\u003cp>There’s the hardened tales of returning from being incarcerated and getting back into the streets coming from artists like Oakland’s \u003ca href=\"https://www.instagram.com/killa_fonte/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Killa Fonte\u003c/a> and Richmond’s \u003ca href=\"https://www.instagram.com/_blastacannon_/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Bla$ta\u003c/a>. And there’s the glossy pop-style sound of Frisco’s \u003ca href=\"https://www.instagram.com/24kgoldn/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">24KGoldn\u003c/a>, who just might be the next Bieber — but with more bars.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"24kGoldn - Mood (Official Video) ft. iann dior\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/GrAchTdepsU?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Literally everything you could ask for.\u003c/p>\n\u003cp>To overlook the diversity of sounds coming from the people who call this place home is to completely dismiss what makes this place unique.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>And you’re telling me everyone from this region sounds the same? You, my friend, sound like everyone making that same old played-out-ass claim.\u003c/p>\n\n",
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"excerpt": "The Bay Area is stacked with stylistic variety right now — you just gotta listen for it.",
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"headline": "All Rappers From Out Here Sound The Same? What Are You Smokin’?",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>Editor’s Note\u003c/strong>: Be sure to see ‘\u003ca href=\"https://www.kqed.org/bayareahiphop\">That’s My Word\u003c/a>,’ KQED’s series on \u003ca href=\"https://www.kqed.org/bayareahiphop\">Bay Area hip-hop\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>A heated text message exchange about hip-hop artists from our region had my phone’s battery at less than 10%. You know it was bad because I was sitting on the couch with the phone charger right next to me. No time to plug in that stupid cord. I had points to make.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">The friend on the other end of the line was saying something I’ve heard for years: “I don’t listen to rappers from out here, they all sound alike.”\u003c/p>\n\u003cp>I’ve heard this way too often. Let’s set the record straight.\u003c/p>\n\u003cp>Yes, people do sound alike. As humans, our vocal cords only range so far. And despite our region’s unique lingo, our slang is still a derivative of the Queen’s English — the \u003ca href=\"https://statisticsanddata.org/data/the-most-spoken-languages-2022/\">most popular language in the world\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Add to that, for something to be “hip-hop” it has to fall within the broad but limited confines of a certain sound. And a major part of hip-hop is repping your region. So it would make sense for an artist to make music that’s easily identifiable as something from the West Coast, specifically Northern California.\u003c/p>\n\u003cp>So when we’re talking about one region, in one specific genre of audible artistic expression, you’re not going to get some expansive, thousand-miles-long variety of vibes. \u003cem>Sawry bruddah\u003c/em>.\u003c/p>\n\u003cp>But come on man, this region is (and has been) home to some of the most diverse artists you’ll find. And right now, at this very moment, music makers from this rich soil are putting their foot down deep in this proverbial thing called “the rap game.”\u003c/p>\n\u003cp>And you mean to tell me you don’t listen to any of them?\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Rexx Life Raj - Save Yourself (Official Video)\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/_HkZCOsXBTY?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>You’re not tapped into the spiritually healing bars of Berkeley’s \u003ca href=\"https://www.rexxliferaj.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Rexx Life Raj\u003c/a>? Vallejo’s \u003ca href=\"https://linktr.ee/Gcompenny\" target=\"_blank\" rel=\"noopener noreferrer\">LaRussell\u003c/a> isn’t inspiring you to become a Zen-like Croc-wearing entrepreneur who spits ether? You’re not pushing the speed limit in a mid-sized hybrid sedan while slappin’ the high energy music of East Oakland’s \u003ca href=\"https://www.instagram.com/officialsulan/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Su’Lan\u003c/a>? \u003cem>What are you smoking?\u003c/em>\u003c/p>\n\u003cp>In the time it takes you to order and eat four tacos from your favorite truck, you could listen to tracks from Stockton’s \u003ca href=\"https://www.instagram.com/haiti_babii/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Haiti Babii\u003c/a>, Sacramento’s \u003ca href=\"https://www.instagram.com/konyginobili/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">ShooterGang Kony\u003c/a> and Oakland duo \u003ca href=\"https://www.instagram.com/1100himself/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">1100 Himself\u003c/a> & \u003ca href=\"https://www.instagram.com/producedbymitchell/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Mitchell\u003c/a>, and get very different, lyrically sound approaches to modern gangsterism.\u003c/p>\n\u003cp>Looking for the revolution? Just last week Oakland’s \u003ca href=\"https://linktr.ee/PBO\" target=\"_blank\" rel=\"noopener noreferrer\">People’s Programs\u003c/a> dropped \u003cem>Tales of The Town\u003c/em>, a companion project to \u003ca href=\"https://linktr.ee/hellablackpod\" target=\"_blank\" rel=\"noopener noreferrer\">their latest podcast series\u003c/a>. The album features a litany of big-name artists from the region: There’s the cool-kid flow of \u003ca href=\"https://www.instagram.com/p_lo/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">P-Lo\u003c/a> and \u003ca href=\"https://www.instagram.com/g_eazy/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">G-Eazy\u003c/a>. The rugged bars of \u003ca href=\"https://www.instagram.com/whoisallblack/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">ALLBLACK \u003c/a>and \u003ca href=\"https://www.instagram.com/jstalinlivewire/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">J. Stalin\u003c/a>. The wisdom of \u003ca href=\"https://www.instagram.com/kvnalln/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Kevin Allen\u003c/a>. The smooth flow of \u003ca href=\"https://www.instagram.com/iamfijiana/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Pallaví aka Fijiana\u003c/a>. The wordplay of \u003ca href=\"https://www.instagram.com/firstnameian/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Ian Kelly\u003c/a>. The laid-back gangsta of \u003ca href=\"https://www.instagram.com/22ndjim/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">22nd Jim\u003c/a>. And \u003ca href=\"https://www.instagram.com/shyan_g/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Shy’an G\u003c/a> absolutely obliterates a track with her storytelling.\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/zSO-zDfYcm4'\n title='//www.youtube.com/embed/zSO-zDfYcm4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>That album features the song “Risen” by the immensely talented \u003ca href=\"https://elujay.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Elujay\u003c/a> and the newly appointed First Lady of Death Row, \u003ca href=\"https://www.instagram.com/msjanehandcock/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Jane Handcock.\u003c/a> On another project that dropped last week, Snoop Dogg’s Gangsta Grillz album \u003cem>I Still Got It\u003c/em>, Jane is featured on multiple tracks flaunting dope rhymes and high-quality vocals. I said she’s killin’ it in R&B and hip-hop, and she’s on Death Row. \u003cem>Don’t check me, check your ears.\u003c/em>\u003c/p>\n\u003cp>Stop being lazy and writing off an entire group of artists just because of where they’re from.\u003c/p>\n\u003cp>Yes, there are artists who undeniably sound like “Cali rappers” — which, to be clear, \u003cem>isn’t a bad thing\u003c/em>. Maybe it’s the clear pronunciation of Richmond’s \u003ca href=\"https://www.instagram.com/iamsu/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">IAMSU!\u003c/a>, the carefree gangsta flow of Vallejo’s \u003ca href=\"https://www.instagram.com/nefthepharaoh/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Nef The Pharaoh\u003c/a>, or the cold mackin’ lines coming from Antioch’s \u003ca href=\"https://www.instagram.com/mike_sherm/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Mike Sherm\u003c/a>. But differences remain even among those with regional proximity.\u003c/p>\n\u003cp>Take, for instance, rising star \u003ca href=\"https://www.instagram.com/youngjr/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Young JR\u003c/a>, who clearly sounds like he’s from here. And at the same time, he just sounds \u003ci>different\u003c/i>.\u003c/p>\n\u003cp>“I mean, I got a young JR sound,” Young JR tells me over the phone earlier this year. The East Oakland artist’s delivery has a sharp pitch and bit of a mumble, with a blatant tongue that’ll say some wild stuff over heavy beats that blap in your trunk. He looks the part too, from his fly attire and short locs to his turf dancing-inspired gigs. “I let it be known: for sure I’m a Town nigga, you feel me?” he says, about his aesthetics.\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/7WZDFGeqA9I'\n title='//www.youtube.com/embed/7WZDFGeqA9I'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Young JR says he’s gotten comparisons to other Bay Area rappers, as well as southern artists, which makes sense. The amount of Black folks in the Bay with direct ties to the Bible Belt is astounding. Even a generation or three removed from the Great Migration, accents linger. (Have you ever heard someone with a heavy Richmond accent say “car”?)\u003c/p>\n\u003cp>At the same time, because Northern California is home to so many people from places all around the globe, we inherently have an eclectic array of artists.\u003c/p>\n\u003cp>In June of this year Young JR dropped his project \u003cem>Born Again\u003c/em>, which features San Francisco’s \u003ca href=\"https://www.instagram.com/stunnaman02/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Stunnaman02\u003c/a>, Antioch’s \u003ca href=\"https://symba.komi.io/\" target=\"_blank\" rel=\"noopener noreferrer\">Symba\u003c/a>, Oakland’s \u003ca href=\"https://www.instagram.com/uc_kayla/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">UC Kayla\u003c/a> and Sacramento’s \u003ca href=\"https://www.instagram.com/omb_peezy/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">OMB Peezy\u003c/a>, to name a few. “It was intentional to get different sounds,” Young JR tells me, noting the diversity in the region and then pointing out what’s going on in the Central Valley. “We’ve got a few Sacramento artists that sound \u003cem>different\u003c/em>,” he says, bringing to my mind artists like \u003ca href=\"https://www.instagram.com/cellyru/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Celly Ru\u003c/a>, \u003ca href=\"https://www.instagram.com/mozzy/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Mozzy,\u003c/a> \u003ca href=\"https://www.instagram.com/db.boutabag/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">DB Boutabag\u003c/a> and \u003ca href=\"https://www.instagram.com/natecurry_/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Nate Curry.\u003c/a> “They got their own sound; they kept their own sound and perfected their own sound,” says Young JR.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Gritty Lex - Juice (Official Visual)\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/uM2ietSPtX4?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Sacramento’s \u003ca href=\"https://www.instagram.com/grittylex/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Gritty Lex\u003c/a> has heard the Cali-rappers-sound-the-same claim, although she says it’s more about the men. “I don’t think there are a whole bunch of female rappers who get put into that category,” she tells me during a phone call a few months ago.\u003c/p>\n\u003cp>She floats in between genres, but identifies as an alternative hip-hop artist. Someone once described her sound as “if Jhené Aiko and XXXTentacion had a baby,” she says with a laugh.\u003c/p>\n\u003cp>Lex, who performed at Rolling Loud last year and just this month dropped a new project with Myles titled \u003cem>High Tolerance\u003c/em>, says the confining definition of the “West Coast sound” is something rappers deal with across the board. “A lot of rappers are already boxed in, no matter what they do. It’s not how I see it, but people’s attention spans are really short nowadays. Once a listener gets \u003cem>that\u003c/em>, they classify you as \u003cem>that\u003c/em>; it’s hard to break that barrier down.”\u003c/p>\n\u003cp>It’s a point that I’ve contemplated for some time, and a bit of a chicken or egg question. Was “that barrier” put there because the people said early on that West Coast hip-hop is the standard, and anything from out here has to fit into that mold? Or did the industry say this is how the West Coast sounds, so only artists who fit that mold rise to the top?\u003c/p>\n\u003cp>I called someone who knows about vocals, the industry and the coast.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"P-Lo - Luh U ft. Bosko (Official Video)\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/bM50ahgsRMc?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/CRXN6porW_G/?hl=en\">Bosko Kante\u003c/a>, an Oakland-based, Grammy-winning musician and creator of the handheld autotune instrument called the \u003ca href=\"https://www.electrospit.com/products/bosko-electrospit-talkbox-feature\" target=\"_blank\" rel=\"noopener noreferrer\">ElectroSpit Talkbox\u003c/a>, is originally from Portland, Oregon. Before moving to the Bay, he spent years in Los Angeles working with Bay Area artists like E-40, the Luniz and Dru Down. He also spent some time in Atlanta, where he worked Big Boi of Outkast. In 2020, Bosko contributed to Dua Lipa’s “Levitate,” arguably the biggest song of the year.\u003c/p>\n\u003cp>Back when he first moved to Los Angeles, Bosko says the popular artists of the time were Snoop and Warren G. “So I put out records, myself as a rapper, that sounded like those, because in my mind that’s what you had to do and that’s how you should sound to be successful,” Bosko tells me during a phone call. “To be within the West Coast rap genre, you have to be within a certain circle, but you want to be more toward the edge of that circle to stand out,” says Bosko, noting the odd balance of fitting in and simultaneously standing out.\u003c/p>\n\u003cp>As the founder of the \u003ca href=\"https://hiiiwav.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Black Music Incubator\u003c/a> nonprofit, housed at the former site of Zoo Labs, Bosko helps artists develop their sound. So, clearly, I had to ask him if we all sound alike.\u003c/p>\n\u003cp>“I do not agree that all Northern Californian artists sound the same,” says Bosko. “What I will say is that I think the Bay Area culture is one where we want to be different. So, in some ways, maybe we sound the same in that we sound different than the rest of the country.”\u003c/p>\n\u003cp>He adds that most artists from this region are proud of being from here, and that’s shown through their unique slang and style. “I’ll give it up to the Bay for being the most unique region in the country, in my opinion,” he says.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Larry June & Cardo - Gas Station Run (Official Music Video)\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/Hyod7v38Ho0?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Whatever your flavor, you’ll find it between the Sierra Mountains and the Pacific Ocean.\u003c/p>\n\u003cp>You could be on some healthy player stuff and listen to San Francisco’s \u003ca href=\"https://www.instagram.com/larryjunetfm/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Larry June\u003c/a>. Or you could be on some ten-toes down “real P” stuff and listen to Oakland’s \u003ca href=\"https://www.instagram.com/capolow304/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Capolow\u003c/a>. Both of these artists use the ad-lib “Aye,” but do it in a different way. And you mean to tell me neither of them float your boat?\u003c/p>\n\u003cp>Sacramento’s \u003ca href=\"https://www.instagram.com/stunnagirl/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Stunna Girl\u003c/a> just dropped the braggadocio track “\u003ca href=\"https://www.youtube.com/watch?v=R8r-s0OyDHc\" target=\"_blank\" rel=\"noopener noreferrer\">Shut Me Up\u003c/a>.” Oakland’s \u003ca href=\"https://www.instagram.com/fredobagz4500/\" target=\"_blank\" rel=\"noopener noreferrer\">Fredo Bagz\u003c/a> has the aggressive flow on this week’s release “\u003ca href=\"https://www.youtube.com/watch?v=RT-NUfQns6U\" target=\"_blank\" rel=\"noopener noreferrer\">123\u003c/a>“. There’s the the spacey creative concepts found in \u003ca href=\"https://www.instagram.com/senorgigio/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Señor Gigio’s\u003c/a> music. The boom-bap music of Oakland’s \u003ca href=\"https://www.instagram.com/ovrkast/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Ovrkast\u003c/a>. San Francisco’s \u003ca href=\"https://www.instagram.com/thereal_lilkayla/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Lil Kayla\u003c/a> has been running it up all year — her confident but relaxed bars on “\u003ca href=\"https://www.youtube.com/watch?v=ySjDu0rZSKM\" target=\"_blank\" rel=\"noopener noreferrer\">11:11\u003c/a>” illustrate her approach to the game. Oakland’s \u003ca href=\"https://www.instagram.com/paris.nights/\" target=\"_blank\" rel=\"noopener noreferrer\">Paris Nights\u003c/a> is spittin’ with aggression on a track she dropped earlier this month, “\u003ca href=\"https://www.youtube.com/watch?v=7CSIc2Cvwh4\" target=\"_blank\" rel=\"noopener noreferrer\">Coldest\u003c/a>.”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Stunna Girl - Shut me up (Official Music Video)\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/R8r-s0OyDHc?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/allhailtheqing/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Qing Qi\u003c/a>, the Bay Area actor and active member of the \u003ca href=\"https://www.instagram.com/putangclanofficial/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Pu Tang Clan\u003c/a>, just released the first episode of her web series \u003cem>All Hail The Qing\u003c/em>. But if you need some raunchy bars, I’d suggest checking last year’s song “\u003ca href=\"https://www.youtube.com/watch?v=rsMhenbNtjE\" target=\"_blank\" rel=\"noopener noreferrer\">Big D\u003c/a>.” Frisco factor \u003ca href=\"https://www.instagram.com/dregs_one/\" target=\"_blank\" rel=\"noopener noreferrer\">Dregs-One\u003c/a> is a graffiti writer, hip-hop historian and lyricist who has a beer named after one of his recent projects, \u003cem>Fog Mode\u003c/em>. San Lorenzo’s \u003ca href=\"https://www.instagram.com/rubyibarra/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Ruby Ibarra\u003c/a>, \u003ca href=\"https://www.today.com/tmrw/vaccine-scientist-day-rapper-night-how-ruby-ibarra-defying-stereotypes-t218167\" target=\"_blank\" rel=\"noopener noreferrer\">a scientist\u003c/a> outside of her rap career, raps in English and Tagalog in the song “Us,” and it \u003ca href=\"https://www.youtube.com/watch?v=fgDki5-FQgY\" target=\"_blank\" rel=\"noopener noreferrer\">was featured on NBA 2K23\u003c/a>.\u003c/p>\n\u003cp>There’s the Spanglish wordplay about street life coming from Oakland’s \u003ca href=\"https://www.instagram.com/babygas/\" target=\"_blank\" rel=\"noopener noreferrer\">Baby Gas\u003c/a>. That gritty straightforward flow San Francisco’s \u003ca href=\"https://www.instagram.com/blimesbrixton/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Blimes Brixton\u003c/a>. The cutthroat bars of Stockton’s \u003ca href=\"https://www.youtube.com/watch?v=xMO5gBczc7Q\" target=\"_blank\" rel=\"noopener noreferrer\">EBK Bckdoe\u003c/a>. The flashy and uptempo music of \u003ca href=\"https://www.instagram.com/drebaexo/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Drebae\u003c/a>. The openly honest and catchy tunes coming from \u003ca href=\"https://www.instagram.com/marikasage/\" target=\"_blank\" rel=\"noopener noreferrer\">Marika Sage\u003c/a>. And there’s the multi-layered sounds of R&B, ranchera and rap coming from \u003ca href=\"https://www.instagram.com/ladona415/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">La Doña\u003c/a>, a daughter of the Mission District.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"La Doña - Le Lo Lai (Official Music Video)\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/f13atQz5QtI?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Look, \u003ca href=\"https://www.instagram.com/professagabel/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Professa Gabel\u003c/a> has a chill flow. \u003ca href=\"https://www.instagram.com/fraktheperson/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Frak The Person\u003c/a> is a punchline and battle rapper. And \u003ca href=\"https://www.instagram.com/richiecunning/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Richie Cunning\u003c/a> just dropped an album, \u003cem>Big Deal\u003c/em>, that merges rap with that smoky, jazz-club Sinatra sound. All three are white dudes from San Francisco, and even \u003cem>they\u003c/em> sound different from one another.\u003c/p>\n\u003cp>There’s the hardened tales of returning from being incarcerated and getting back into the streets coming from artists like Oakland’s \u003ca href=\"https://www.instagram.com/killa_fonte/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Killa Fonte\u003c/a> and Richmond’s \u003ca href=\"https://www.instagram.com/_blastacannon_/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Bla$ta\u003c/a>. And there’s the glossy pop-style sound of Frisco’s \u003ca href=\"https://www.instagram.com/24kgoldn/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">24KGoldn\u003c/a>, who just might be the next Bieber — but with more bars.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"24kGoldn - Mood (Official Video) ft. iann dior\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/GrAchTdepsU?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Literally everything you could ask for.\u003c/p>\n\u003cp>To overlook the diversity of sounds coming from the people who call this place home is to completely dismiss what makes this place unique.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And you’re telling me everyone from this region sounds the same? You, my friend, sound like everyone making that same old played-out-ass claim.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/californiareport",
"meta": {
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"source": "kqed",
"order": 8
},
"link": "/californiareport",
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}
},
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"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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}
},
"city-arts": {
"id": "city-arts",
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"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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}
},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"meta": {
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
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"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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"rss": "https://feeds.megaphone.fm/KQINC2275451163"
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"spotify": "https://open.spotify.com/show/0OLWoyizopu6tY1XiuX70x",
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"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"info": "One of public radio's most dynamic voices, Sam Sanders helped launch The NPR Politics Podcast and hosted NPR's hit show It's Been A Minute. Now, the award-winning host returns with something brand new, The Sam Sanders Show. Every week, Sam Sanders and friends dig into the culture that shapes our lives: what's driving the biggest trends, how artists really think, and even the memes you can't stop scrolling past. Sam is beloved for his way of unpacking the world and bringing you up close to fresh currents and engaging conversations. The Sam Sanders Show is smart, funny and always a good time.",
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