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"content": "\u003cp>Rihanna has brought the world many gifts. She’s an influential musician, actress, cosmetics and lingerie mogul, billionaire and national hero of her native Barbados.\u003c/p>\n\u003cp>And now she’s poised to add another title to that list: parent. The global superstar is expecting her first child with rapper A$AP Rocky.\u003c/p>\n\u003cp>Photos of the couple walking hand-in-hand in New York City are making the rounds on Twitter, with news of their announcement spreading like wildfire across social media and celebrity-focused media outlets.\u003c/p>\n\u003cp>https://twitter.com/CoutureIsBeyond/status/1488170065686114309\u003c/p>\n\u003cp>The power couple’s exact relationship timeline is unclear, but they reportedly went official in the summer of 2020. They made their red carpet debut at the 2021 Met Gala in September, which made headlines while simultaneously being very casual.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We weren’t even sure if we were going to go, so separately we were planning our looks just to be prepared,” Rihanna later told E! News. “We ended up getting ready together and going and I didn’t even realize we were on a carpet together until somebody said, ‘You’re making your debut,’ and I was like, ‘Oh, s––t.'”\u003c/p>\n\u003cp>A$AP Rocky spoke about their relationship in an interview with GQ in May 2021, in which he called Rihanna “the love of my life” and “the One.”\u003c/p>\n\u003cp>When asked whether he was ready to be a father at some point, he said he thought he would be an “incredible, remarkably, overall amazing dad.”\u003c/p>\n\u003cp>“I would have a very fly child,” he said. “Very.”\u003c/p>\n\u003cp>For her part, Rihanna told Vogue in May 2020 that she wants to have three or four kids, and would do it on her own if she didn’t meet the right person.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I feel like society makes me want to feel like, ‘Oh, you got it wrong…’ They diminish you as a mother if there’s not a dad in your kids’ lives,” she said. “But the only thing that matters is happiness, that’s the only healthy relationship between a parent and a child. That’s the only thing that can raise a child truly, is love.”\u003c/p>\n\n",
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"content": "\u003cp>Ostensibly, \u003cem>I Am a Cliché\u003c/em> is a profile of British punk icon Poly Styrene, who founded and fronted X-Ray Spex between 1976 and ’79. But this 95-minute documentary, directed by Poly’s daughter \u003ca href=\"https://www.instagram.com/celestabella/\" target=\"_blank\" rel=\"noopener noreferrer\">Celeste Bell-Dos Santos\u003c/a> and filmmaker \u003ca href=\"https://www.imdb.com/name/nm7098521/\" target=\"_blank\" rel=\"noopener noreferrer\">Paul Sng\u003c/a>, proves to be much, much more than that.\u003c/p>\n\u003cp>[aside postid='arts_13902953']\u003cem>Cliché\u003c/em> unpacks a lot. It’s about art on the margins. It’s about the race and gender barriers that have historically policed popular culture. It’s about mental illness, the stigma it carries, and society’s reluctance to deal with it. It’s about dysfunctional families and finding love. And, most surprisingly of all—because of Poly Styrene’s lifelong fear of a culture built on plastic and artifice—it’s about now.\u003c/p>\n\u003cp>That sounds like a lot. Maybe too much. But nothing about \u003cem>I Am a Cliché\u003c/em> feels in the least bit labored. It moves with ease and grace thanks in large part to the forthright narration and emotional grounding provided by Celeste. Styrene’s daughter—who spent portions of her childhood terrified of her own mother—is determined not just to tell her mother’s story, but also to grant the singer a new degree of understanding.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=stXSFuUOdeU\u003c/p>\n\u003cp>Poly Styrene’s story starts out simply enough: mixed-race girl grows up in working-class neighborhood of South London during a turbulent time in Britain. She discovers punk, takes the initiative to form a band, smashes expectations and breaks boundaries.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The impact of Poly—staunchly unconventional, even in a sea of snarling punks—is worth pausing on to appreciate. Rhoda Dakar of \u003ca href=\"https://en.wikipedia.org/wiki/The_Bodysnatchers_(band)\" target=\"_blank\" rel=\"noopener noreferrer\">The Bodysnatchers\u003c/a> explains that, in some ways, she and Poly were readily accepted into a punk scene dominated by white men, precisely for the ways that they didn’t fit into it.\u003c/p>\n\u003cp>“Back then,” Dakar explains, “it was fairly unusual to be biracial. In a way, we were embraced by punk because it was full of people that nobody else wanted. We were welcomed because we were already outsiders.”\u003c/p>\n\u003cp>It is Dakar and Poly’s other female peers in \u003cem>Cliché\u003c/em>, who best express the quagmire of being a woman in punk in 1970s Britain. Gina Birch from \u003ca href=\"http://www.theraincoats.net/\" target=\"_blank\" rel=\"noopener noreferrer\">The Raincoats\u003c/a> says: “A lot of men in the media didn’t want women to step into that place. To be given more power and more say and more visibility.”\u003c/p>\n\u003cp>Writer \u003ca href=\"https://www.viviengoldman.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Vivien Goldman\u003c/a> notes: “Everyone always talks about ‘\u003ca href=\"https://www.youtube.com/watch?v=ogypBUCb7DA\" target=\"_blank\" rel=\"noopener noreferrer\">Oh Bondage Up Yours\u003c/a>’ because, in a way, that sound cut through a sort of glass ceiling of what women singers could do with their voice.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=RUBXwxjoAus\u003c/p>\n\u003cp>Beyond her fearless on-stage persona, Poly was sensitive, empathic and deeply philosophical. She worried about humanity’s future; she worried about a life lived without substance. And unrelenting, sexist scrutiny of her body and image in the music press made her worry she wasn’t good enough.\u003c/p>\n\u003cp>[aside postid='arts_13852873']“She felt like journalists were celebrating her by insinuating that she was unattractive and overweight,” Celeste remembers. “[They were] totally not getting what she was trying to achieve by choosing not to overexpose her voluptuous form on stage.”\u003c/p>\n\u003cp>Poly’s situation was further destabilized by the fact that she was bipolar but initially misdiagnosed as schizophrenic. All of those elements together made the chaos and propulsion of touring particularly difficult for her. This became very apparent in 1977 when X-Ray Spex spent time in New York and played the legendary punk venue CBGB. (Sonic Youth’s Thurston Moore was in attendance and the memories he shares of the show in \u003cem>Cliché\u003c/em> are pure gold.)\u003c/p>\n\u003cfigure id=\"attachment_13907828\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13907828\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/01/Poly-mirror-800x538.png\" alt=\"The singer for X-Ray Spex, wearing a red and yellow band jacket, gazes into a mirror and applies make-up to her cheeks.\" width=\"800\" height=\"538\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Poly-mirror-800x538.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Poly-mirror-1020x687.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Poly-mirror-160x108.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Poly-mirror-768x517.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Poly-mirror-1536x1034.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Poly-mirror-2048x1379.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Poly-mirror-1920x1292.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Poly Styrene getting ready to perform, sometime in the late 1970s. \u003ccite>('I Am a Cliché')\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While the rest of her band simply found New York fascinating and fun, Poly was so overwhelmed by the rampant consumerism, seedy underbelly and drug culture of the city that she never quite recovered from the trip. Celeste says New York annihilated the last shreds of “whatever innocence [Poly Styrene] had left.”\u003c/p>\n\u003cp>And Poly’s own writings prove it. After returning to London, she wrote:\u003c/p>\n\u003cblockquote>\u003cp>New York totally blew me apart. I saw everything I’d been writing about, but extreme and for real. For them it wasn’t a joke, it was the way they lived. For me, it was all a joke … It’s so bad that you think ‘God, if that’s what it’s gonna be like, I don’t want it.’ The weird thing about all the plastic is that people don’t actually like it. But in order to cope with it, they develop a perverse kind of fondness for it. Which is what I did … That was what was so frightening about New York.\u003c/p>\u003c/blockquote>\n\u003cp>Viewed from 2022, Poly’s fears about the future—and in particular a culture dominated by plastic (in all senses of the word)—seem positively prophetic. That they were shrugged off by most people in her own time can’t help but feel tragic.\u003c/p>\n\u003cp>By 1979, Poly’s inner struggles led her to break up the band at the peak of its powers. “Poly Styrene had to die,” Celeste explains, “so that Marianne Elliott [Styrene’s real name] could survive.”\u003c/p>\n\u003cp>For a time after X-Ray Spex, Celeste and her mother lived in a Hare Krishna community. Later, the two lived alone and Poly lapsed into a severe state of depression. Celeste describes being hungry and neglected to the degree that, at the age of eight, she climbed out of a window to get to the social service employees who had come to check on her. Celeste later declared in court that she would rather live with her grandmother—a choice that caused long-term rifts in the family.\u003c/p>\n\u003cp>[aside postid='arts_13894169']Almost a decade before Poly’s death from cancer in 2011, mother and daughter reunited and became close. But much remained a mystery about Poly when Celeste suddenly lost her. “By the time I started to really appreciate how lucky I was to have such a remarkable woman as a mother and a role model,” Celeste says, “it was too late. She was leaving her body.”\u003c/p>\n\u003cp>If it sounds like I’ve told you the whole story laid bare in \u003cem>I Am a Cliché\u003c/em>, fear not—I’ve barely scratched the surface. I haven’t yet mentioned that it’s also a brilliant snapshot of British punk in its late-’70s heyday. Or that it’s about the importance of community, empathy and tolerance. Or that, at its core, it’s a beautiful meditation on what parents and children owe to one other. More than that, it’s about the tiny earthquakes that rumble around the world and forever change it when marginalized people elbow their way into closed-off spaces, and force other people to listen to them.\u003c/p>\n\u003cp>Poly Styrene was one of those people. Her legacy is bigger than you might think.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘I Am a Cliché’ arrives in movie theaters across the U.S. on Wednesday, Feb. 2, 2022. It will be available on demand starting Feb. 4, and begins streaming on Showtime in June. \u003ca href=\"https://www.polystyrenefilm.net/release\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Celeste Bell-Dos Santos’ film about her mother is a beautiful meditation on what parents and children owe to one another.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ostensibly, \u003cem>I Am a Cliché\u003c/em> is a profile of British punk icon Poly Styrene, who founded and fronted X-Ray Spex between 1976 and ’79. But this 95-minute documentary, directed by Poly’s daughter \u003ca href=\"https://www.instagram.com/celestabella/\" target=\"_blank\" rel=\"noopener noreferrer\">Celeste Bell-Dos Santos\u003c/a> and filmmaker \u003ca href=\"https://www.imdb.com/name/nm7098521/\" target=\"_blank\" rel=\"noopener noreferrer\">Paul Sng\u003c/a>, proves to be much, much more than that.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>Cliché\u003c/em> unpacks a lot. It’s about art on the margins. It’s about the race and gender barriers that have historically policed popular culture. It’s about mental illness, the stigma it carries, and society’s reluctance to deal with it. It’s about dysfunctional families and finding love. And, most surprisingly of all—because of Poly Styrene’s lifelong fear of a culture built on plastic and artifice—it’s about now.\u003c/p>\n\u003cp>That sounds like a lot. Maybe too much. But nothing about \u003cem>I Am a Cliché\u003c/em> feels in the least bit labored. It moves with ease and grace thanks in large part to the forthright narration and emotional grounding provided by Celeste. Styrene’s daughter—who spent portions of her childhood terrified of her own mother—is determined not just to tell her mother’s story, but also to grant the singer a new degree of understanding.\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/stXSFuUOdeU'\n title='//www.youtube.com/embed/stXSFuUOdeU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Poly Styrene’s story starts out simply enough: mixed-race girl grows up in working-class neighborhood of South London during a turbulent time in Britain. She discovers punk, takes the initiative to form a band, smashes expectations and breaks boundaries.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The impact of Poly—staunchly unconventional, even in a sea of snarling punks—is worth pausing on to appreciate. Rhoda Dakar of \u003ca href=\"https://en.wikipedia.org/wiki/The_Bodysnatchers_(band)\" target=\"_blank\" rel=\"noopener noreferrer\">The Bodysnatchers\u003c/a> explains that, in some ways, she and Poly were readily accepted into a punk scene dominated by white men, precisely for the ways that they didn’t fit into it.\u003c/p>\n\u003cp>“Back then,” Dakar explains, “it was fairly unusual to be biracial. In a way, we were embraced by punk because it was full of people that nobody else wanted. We were welcomed because we were already outsiders.”\u003c/p>\n\u003cp>It is Dakar and Poly’s other female peers in \u003cem>Cliché\u003c/em>, who best express the quagmire of being a woman in punk in 1970s Britain. Gina Birch from \u003ca href=\"http://www.theraincoats.net/\" target=\"_blank\" rel=\"noopener noreferrer\">The Raincoats\u003c/a> says: “A lot of men in the media didn’t want women to step into that place. To be given more power and more say and more visibility.”\u003c/p>\n\u003cp>Writer \u003ca href=\"https://www.viviengoldman.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Vivien Goldman\u003c/a> notes: “Everyone always talks about ‘\u003ca href=\"https://www.youtube.com/watch?v=ogypBUCb7DA\" target=\"_blank\" rel=\"noopener noreferrer\">Oh Bondage Up Yours\u003c/a>’ because, in a way, that sound cut through a sort of glass ceiling of what women singers could do with their voice.”\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/RUBXwxjoAus'\n title='//www.youtube.com/embed/RUBXwxjoAus'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Beyond her fearless on-stage persona, Poly was sensitive, empathic and deeply philosophical. She worried about humanity’s future; she worried about a life lived without substance. And unrelenting, sexist scrutiny of her body and image in the music press made her worry she wasn’t good enough.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“She felt like journalists were celebrating her by insinuating that she was unattractive and overweight,” Celeste remembers. “[They were] totally not getting what she was trying to achieve by choosing not to overexpose her voluptuous form on stage.”\u003c/p>\n\u003cp>Poly’s situation was further destabilized by the fact that she was bipolar but initially misdiagnosed as schizophrenic. All of those elements together made the chaos and propulsion of touring particularly difficult for her. This became very apparent in 1977 when X-Ray Spex spent time in New York and played the legendary punk venue CBGB. (Sonic Youth’s Thurston Moore was in attendance and the memories he shares of the show in \u003cem>Cliché\u003c/em> are pure gold.)\u003c/p>\n\u003cfigure id=\"attachment_13907828\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13907828\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/01/Poly-mirror-800x538.png\" alt=\"The singer for X-Ray Spex, wearing a red and yellow band jacket, gazes into a mirror and applies make-up to her cheeks.\" width=\"800\" height=\"538\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Poly-mirror-800x538.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Poly-mirror-1020x687.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Poly-mirror-160x108.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Poly-mirror-768x517.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Poly-mirror-1536x1034.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Poly-mirror-2048x1379.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Poly-mirror-1920x1292.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Poly Styrene getting ready to perform, sometime in the late 1970s. \u003ccite>('I Am a Cliché')\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While the rest of her band simply found New York fascinating and fun, Poly was so overwhelmed by the rampant consumerism, seedy underbelly and drug culture of the city that she never quite recovered from the trip. Celeste says New York annihilated the last shreds of “whatever innocence [Poly Styrene] had left.”\u003c/p>\n\u003cp>And Poly’s own writings prove it. After returning to London, she wrote:\u003c/p>\n\u003cblockquote>\u003cp>New York totally blew me apart. I saw everything I’d been writing about, but extreme and for real. For them it wasn’t a joke, it was the way they lived. For me, it was all a joke … It’s so bad that you think ‘God, if that’s what it’s gonna be like, I don’t want it.’ The weird thing about all the plastic is that people don’t actually like it. But in order to cope with it, they develop a perverse kind of fondness for it. Which is what I did … That was what was so frightening about New York.\u003c/p>\u003c/blockquote>\n\u003cp>Viewed from 2022, Poly’s fears about the future—and in particular a culture dominated by plastic (in all senses of the word)—seem positively prophetic. That they were shrugged off by most people in her own time can’t help but feel tragic.\u003c/p>\n\u003cp>By 1979, Poly’s inner struggles led her to break up the band at the peak of its powers. “Poly Styrene had to die,” Celeste explains, “so that Marianne Elliott [Styrene’s real name] could survive.”\u003c/p>\n\u003cp>For a time after X-Ray Spex, Celeste and her mother lived in a Hare Krishna community. Later, the two lived alone and Poly lapsed into a severe state of depression. Celeste describes being hungry and neglected to the degree that, at the age of eight, she climbed out of a window to get to the social service employees who had come to check on her. Celeste later declared in court that she would rather live with her grandmother—a choice that caused long-term rifts in the family.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Almost a decade before Poly’s death from cancer in 2011, mother and daughter reunited and became close. But much remained a mystery about Poly when Celeste suddenly lost her. “By the time I started to really appreciate how lucky I was to have such a remarkable woman as a mother and a role model,” Celeste says, “it was too late. She was leaving her body.”\u003c/p>\n\u003cp>If it sounds like I’ve told you the whole story laid bare in \u003cem>I Am a Cliché\u003c/em>, fear not—I’ve barely scratched the surface. I haven’t yet mentioned that it’s also a brilliant snapshot of British punk in its late-’70s heyday. Or that it’s about the importance of community, empathy and tolerance. Or that, at its core, it’s a beautiful meditation on what parents and children owe to one other. More than that, it’s about the tiny earthquakes that rumble around the world and forever change it when marginalized people elbow their way into closed-off spaces, and force other people to listen to them.\u003c/p>\n\u003cp>Poly Styrene was one of those people. Her legacy is bigger than you might think.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘I Am a Cliché’ arrives in movie theaters across the U.S. on Wednesday, Feb. 2, 2022. It will be available on demand starting Feb. 4, and begins streaming on Showtime in June. \u003ca href=\"https://www.polystyrenefilm.net/release\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "A Professor X for Oakland: Mistah F.A.B. Is On a Quest to Uplift His City",
"headTitle": "A Professor X for Oakland: Mistah F.A.B. Is On a Quest to Uplift His City | KQED",
"content": "\u003cp>[dropcap]W[/dropcap]hen Mistah F.A.B. was a kid growing up in North Oakland, he took notes from his heroes. Malcolm X and Huey P. Newton ignited his political consciousness. Tupac showed him that hip-hop could move the masses. And Stan Lee taught him about the power of imagination.\u003c/p>\n\u003cp>Now, just days after his 40th birthday, the beloved Oakland artist is reflecting on how these lessons prepared him for all that he’s accomplished in rap, community activism and business. And it’s Lee, the creator of the ever-expanding Marvel universe, who’s inspiring him to think about what he wants out of his next chapter. As he enters his fourth decade, he’s preparing to open his new downtown Oakland nightclub, Dezi’s, and is starting to work on his biggest ambition: a youth development-focused community arts and culture center called Dope Era Academy.\u003c/p>\n\u003cp>“In my mind, it’s like Professor X, and this is the school for mutants,” he says, dropping an \u003cem>X-Men\u003c/em> reference on a recent afternoon at his streetwear boutique-turned-community hub, \u003ca href=\"https://www.yelp.com/biz/dope-era-oakland-2\" target=\"_blank\" rel=\"noopener noreferrer\">Dope Era\u003c/a>. “If you’ve ever had a creative side and you’re an artist or you’re a dancer or you have some genius, you have this mutant-like ability. But coming from the areas that we come from, we don’t have the luxury of having Professor Xs. There’s no one that’s cultivating that.”\u003c/p>\n\u003cfigure id=\"attachment_13908603\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13908603\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/01/MF40_1685-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/MF40_1685-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/MF40_1685-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/MF40_1685-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/MF40_1685-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/MF40_1685-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/MF40_1685-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/MF40_1685-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mistah F.A.B. celebrates his 40th birthday at Bowlero in Alameda on Jan. 24, 2022. \u003ccite>(Amaya Edwards)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mistah F.A.B., born Stanley Cox, wants to be that guiding force in his community. He opened Dope Era six years ago at its first location in his childhood neighborhood on the corner of 45th and Market Streets. Before he signed the lease on a humble storefront next to a laundromat and a barbershop, he sold sweat suits and T-shirts out of the trunk of his car, much like he used to sling CDs when he was a rising star of the hyphy movement in the mid 2000s.\u003c/p>\n\u003cp>The shop was decorated with murals of Mac Dre and Mistah F.A.B.’s childhood friend Nguyen, both lost to gun violence. An airbrushed portrait of his biggest champion and best friend, his late mother Desrie Jeffery, watched over the space like a guardian angel. Dope Era became a love letter from Mistah F.A.B. to his neighborhood, a hub for his Thanksgiving turkey giveaways, school supply drives and many other community initiatives to make sure that his people were fed and taken care of.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The 45th and Market location had its challenges: in 2017, there were instances of \u003ca href=\"https://www.kqed.org/arts/12982699/public-safety-or-racial-profiling-mistah-f-a-b-alleges-harassment-by-the-opd\" target=\"_blank\" rel=\"noopener noreferrer\">alleged racial profiling by police\u003c/a>, and the \u003ca href=\"https://www.kqed.org/arts/13082904/oakland-store-owned-by-mistah-f-a-b-damaged-in-fire\" target=\"_blank\" rel=\"noopener noreferrer\">storefront was damaged\u003c/a> in a case of what Mistah F.A.B. suspected to be arson. But there were also great successes on the other side. In 2018, Mistah F.A.B. moved Dope Era into a bigger, swankier location on 19th and Broadway, and the brand became a pillar of downtown’s retail landscape. As upscale bars and new high-rise apartments continue to spring up, Dope Era offers a vision of Oakland’s Black pre-gentrification culture evolving and thriving alongside new developments.\u003c/p>\n\u003cp>Dope Era’s colorful, Super Mario-inspired logo has basically become an Oakland uniform, and when Snoop Dogg, Amber Rose, Lil Jon and E-40 started rocking it too, the brand’s reach spread well beyond the Bay.\u003c/p>\n\u003cp>Mistah F.A.B. is harnessing that momentum into Dezi’s, located at 1802 Telegraph Avenue across from the Fox Theater and around the block from the trendy hip-hop club Hello Stranger. The soft opening this Saturday, Jan. 29, is part of his \u003ca href=\"https://www.instagram.com/p/CY-sJ1UrouS/\" target=\"_blank\" rel=\"noopener noreferrer\">F.A.B. Week\u003c/a> of 40th birthday festivities, which also include multiple parties and club nights Thursday and Friday, and a brunch and celebrity basketball game to close things out on Sunday, Jan. 30. E-40, Marshawn Lynch, Steph Curry and Too $hort have already joined in on the celebrations, which started last Sunday.\u003c/p>\n\u003cfigure id=\"attachment_13908605\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13908605\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/01/MF40_TooShort_1971-800x596.jpg\" alt=\"\" width=\"800\" height=\"596\">\u003cfigcaption class=\"wp-caption-text\">Too $hort bowls at Mistah F.A.B.’s birthday party at Bowlero in Alameda on Jan. 24, 2022. \u003ccite>(Amaya Edwards)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I don’t want [Dezi’s] to be a performance club, but to be more like a lounge where people can come network and listen to some good music,” he says. “I want to represent for the Bay Area growth. I want to show the other artists that are on the up-and-coming—and some of my constituents and peers that are colleagues now—that there are other ways and avenues for us to do things, for us to continue to be successful.”\u003c/p>\n\u003cp>[dropcap]W[/dropcap]ith plans for Dezi’s in motion, Mistah F.A.B. is looking for capital and space to realize his dreams for Dope Era Academy. Ideally, he’d buy a building with multiple rooms that could support a music studio, business classes, culinary classes, coding classes and all kinds of other creative and professional development. Young people would be the target audience, but he doesn’t believe that there’s an age cap for learning and self-improvement. [aside postid='arts_13906176']\u003c/p>\n\u003cp>And he’s in a unique position to reach those a lot of other organizations might not. The Bay Area nonprofit and educational fields are known for having a majority-white leadership that often comes from wealth. Even with the best intentions, they can’t always relate to the cultures or struggles of the people they want to serve.\u003c/p>\n\u003cp>That’s where Mistah F.A.B. comes in. “I think it’s very much so possible, especially living in the areas that we live in, and we got all these major millionaires and billionaires that are looking for ways to help,” he says. “They need some people that they can actually trust with those intentions in the community. And if you look at our track record, my track record has shown nothing but that. I may not have done it the NAACP Image Award way, but we did the work and we got it done.”\u003c/p>\n\u003cp>Mistah F.A.B. is now going on his 19th year of community work (in 2014, Mayor Jean Quan created \u003ca href=\"https://www.eastbaytimes.com/2014/02/10/mayor-jean-quan-honors-oakland-rapper/\" target=\"_blank\" rel=\"noopener noreferrer\">a day in his honor\u003c/a> because of it). People from rough family backgrounds, survivors of neighborhood violence and those who’ve been incarcerated feel comfortable around him. He knows that struggle himself: he lost his father when he was 12 years old (Stanley Cox Sr. contracted AIDS from shared needles). His mother was also addicted to drugs but got clean and became the provider and role model he needed. That’s why Mistah F.A.B. is conscious of the fact that people need acceptance when they’re dealing with trauma—he’s never scolded anyone to pull their pants up. With big hugs, firm handshakes and warm smiles, he’s constantly welcoming people into his orbit.\u003c/p>\n\u003cfigure id=\"attachment_13908602\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13908602\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/01/MF40_1666-800x593.jpg\" alt=\"\" width=\"800\" height=\"593\">\u003cfigcaption class=\"wp-caption-text\">Mistah F.A.B. greets friends and fans at Bowlero in Alameda on Jan. 24, 2022. \u003ccite>(Amaya Edwards)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There are some people who are very brilliant and very smart, but they may have a speech impediment so they don’t want to talk,” he says of his non-judgmental approach. “There are people that may be social introverts, but could do something to change the social dynamics of the world. They just don’t know how to express themselves. There are people who are autistic who are still artistic. You know what I’m saying?”\u003c/p>\n\u003cp>A project like Dope Era Academy is Mistah F.A.B.’s way of contributing to a vision of a community that leaves fewer people behind, and he sees it as part of a long-term solution to Oakland’s gun violence problem. In 2021, \u003ca href=\"https://oaklandside.org/2021/12/23/2021-oakland-deadliest-year-since-2006-homicides-shootings-gun-violence/\" target=\"_blank\" rel=\"noopener noreferrer\">Oakland saw more killings than in any other year since 2006\u003c/a>, and neighborhood shootings leave families caught in the middle of \u003ca href=\"https://www.theguardian.com/us-news/2021/dec/09/california-gun-violence-teenagers-youth\" target=\"_blank\" rel=\"noopener noreferrer\">cycles of retaliation and more violence\u003c/a>. [aside postid='news_11892026']\u003c/p>\n\u003cp>“A lot of the gun violence comes from young, frustrated youth who are going out venting, and they haven’t had an ability to heal,” says Mistah F.A.B. “We grow up in the ghetto. You know, PTSD. You watching your friends get killed every day. You got to heal from that. … Children 15, 16 years old with a wall full of obituaries. That’s not normal. That’s traumatic.”\u003c/p>\n\u003cp>[dropcap]A[/dropcap]t 40, Mistah F.A.B. sees his music as an extension of his quest to uplift the community. At the top of the new year, he lost his close friend and collaborator, Traxamillion. And this week is the anniversary of the passing of G Field, who was his right-hand man at Dope Era. With so many important hip-hop artists who’ve died in their 40s and 50s over the past couple of years (Shock G, DMX, Zumbi and Gift of Gab also come to mind), Mistah F.A.B. wants to make a statement about maturation and growth. [aside postid='arts_13907735']\u003c/p>\n\u003cp>He’s putting finishing touches on his next album, \u003cem>Black Designer\u003c/em>, whose title pays homage to Black people’s immense contributions to art and culture world over. “It’s the music that a 40 year old should be making,” he says. “It’s easy for me to make hyphy music or whatever the sound is now to modernize my flow. … But I think in doing that, a lot of people are just making music that’s popular. But will it last?”\u003c/p>\n\u003cp>Though he’s best known for his hyphy songs from the 2000s (“N.E.W. Oakland,” “Sideshow” and “Super Sic Wit It” are considered classics), Mistah F.A.B.’s discography since then has been wide-ranging. He’s released emotional albums about trauma (see the \u003cem>Thug Tears\u003c/em> series), missives about racism (\u003cem>Amerikkka Don’t Love Us\u003c/em>), player anthems and party music. But with \u003cem>Black Designer\u003c/em>, he says we’re getting a different, more grown-up side of him. In fact, for the first time, there are no curse words on the album.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“I’ve got kids now and I got responsibilities. … I’m running several businesses now. Things are different. Life is different,” he says. “I’m growing. It’s not that I’m not keeping it real. I would be keeping it fake if I was still in the neighborhood. I think it’s imperative that we show the next generation what growth looks like.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">W\u003c/span>\u003c/p>\u003cp>hen Mistah F.A.B. was a kid growing up in North Oakland, he took notes from his heroes. Malcolm X and Huey P. Newton ignited his political consciousness. Tupac showed him that hip-hop could move the masses. And Stan Lee taught him about the power of imagination.\u003c/p>\n\u003cp>Now, just days after his 40th birthday, the beloved Oakland artist is reflecting on how these lessons prepared him for all that he’s accomplished in rap, community activism and business. And it’s Lee, the creator of the ever-expanding Marvel universe, who’s inspiring him to think about what he wants out of his next chapter. As he enters his fourth decade, he’s preparing to open his new downtown Oakland nightclub, Dezi’s, and is starting to work on his biggest ambition: a youth development-focused community arts and culture center called Dope Era Academy.\u003c/p>\n\u003cp>“In my mind, it’s like Professor X, and this is the school for mutants,” he says, dropping an \u003cem>X-Men\u003c/em> reference on a recent afternoon at his streetwear boutique-turned-community hub, \u003ca href=\"https://www.yelp.com/biz/dope-era-oakland-2\" target=\"_blank\" rel=\"noopener noreferrer\">Dope Era\u003c/a>. “If you’ve ever had a creative side and you’re an artist or you’re a dancer or you have some genius, you have this mutant-like ability. But coming from the areas that we come from, we don’t have the luxury of having Professor Xs. There’s no one that’s cultivating that.”\u003c/p>\n\u003cfigure id=\"attachment_13908603\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13908603\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/01/MF40_1685-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/MF40_1685-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/MF40_1685-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/MF40_1685-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/MF40_1685-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/MF40_1685-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/MF40_1685-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/MF40_1685-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mistah F.A.B. celebrates his 40th birthday at Bowlero in Alameda on Jan. 24, 2022. \u003ccite>(Amaya Edwards)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mistah F.A.B., born Stanley Cox, wants to be that guiding force in his community. He opened Dope Era six years ago at its first location in his childhood neighborhood on the corner of 45th and Market Streets. Before he signed the lease on a humble storefront next to a laundromat and a barbershop, he sold sweat suits and T-shirts out of the trunk of his car, much like he used to sling CDs when he was a rising star of the hyphy movement in the mid 2000s.\u003c/p>\n\u003cp>The shop was decorated with murals of Mac Dre and Mistah F.A.B.’s childhood friend Nguyen, both lost to gun violence. An airbrushed portrait of his biggest champion and best friend, his late mother Desrie Jeffery, watched over the space like a guardian angel. Dope Era became a love letter from Mistah F.A.B. to his neighborhood, a hub for his Thanksgiving turkey giveaways, school supply drives and many other community initiatives to make sure that his people were fed and taken care of.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The 45th and Market location had its challenges: in 2017, there were instances of \u003ca href=\"https://www.kqed.org/arts/12982699/public-safety-or-racial-profiling-mistah-f-a-b-alleges-harassment-by-the-opd\" target=\"_blank\" rel=\"noopener noreferrer\">alleged racial profiling by police\u003c/a>, and the \u003ca href=\"https://www.kqed.org/arts/13082904/oakland-store-owned-by-mistah-f-a-b-damaged-in-fire\" target=\"_blank\" rel=\"noopener noreferrer\">storefront was damaged\u003c/a> in a case of what Mistah F.A.B. suspected to be arson. But there were also great successes on the other side. In 2018, Mistah F.A.B. moved Dope Era into a bigger, swankier location on 19th and Broadway, and the brand became a pillar of downtown’s retail landscape. As upscale bars and new high-rise apartments continue to spring up, Dope Era offers a vision of Oakland’s Black pre-gentrification culture evolving and thriving alongside new developments.\u003c/p>\n\u003cp>Dope Era’s colorful, Super Mario-inspired logo has basically become an Oakland uniform, and when Snoop Dogg, Amber Rose, Lil Jon and E-40 started rocking it too, the brand’s reach spread well beyond the Bay.\u003c/p>\n\u003cp>Mistah F.A.B. is harnessing that momentum into Dezi’s, located at 1802 Telegraph Avenue across from the Fox Theater and around the block from the trendy hip-hop club Hello Stranger. The soft opening this Saturday, Jan. 29, is part of his \u003ca href=\"https://www.instagram.com/p/CY-sJ1UrouS/\" target=\"_blank\" rel=\"noopener noreferrer\">F.A.B. Week\u003c/a> of 40th birthday festivities, which also include multiple parties and club nights Thursday and Friday, and a brunch and celebrity basketball game to close things out on Sunday, Jan. 30. E-40, Marshawn Lynch, Steph Curry and Too $hort have already joined in on the celebrations, which started last Sunday.\u003c/p>\n\u003cfigure id=\"attachment_13908605\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13908605\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/01/MF40_TooShort_1971-800x596.jpg\" alt=\"\" width=\"800\" height=\"596\">\u003cfigcaption class=\"wp-caption-text\">Too $hort bowls at Mistah F.A.B.’s birthday party at Bowlero in Alameda on Jan. 24, 2022. \u003ccite>(Amaya Edwards)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I don’t want [Dezi’s] to be a performance club, but to be more like a lounge where people can come network and listen to some good music,” he says. “I want to represent for the Bay Area growth. I want to show the other artists that are on the up-and-coming—and some of my constituents and peers that are colleagues now—that there are other ways and avenues for us to do things, for us to continue to be successful.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">W\u003c/span>\u003c/p>\u003cp>ith plans for Dezi’s in motion, Mistah F.A.B. is looking for capital and space to realize his dreams for Dope Era Academy. Ideally, he’d buy a building with multiple rooms that could support a music studio, business classes, culinary classes, coding classes and all kinds of other creative and professional development. Young people would be the target audience, but he doesn’t believe that there’s an age cap for learning and self-improvement. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And he’s in a unique position to reach those a lot of other organizations might not. The Bay Area nonprofit and educational fields are known for having a majority-white leadership that often comes from wealth. Even with the best intentions, they can’t always relate to the cultures or struggles of the people they want to serve.\u003c/p>\n\u003cp>That’s where Mistah F.A.B. comes in. “I think it’s very much so possible, especially living in the areas that we live in, and we got all these major millionaires and billionaires that are looking for ways to help,” he says. “They need some people that they can actually trust with those intentions in the community. And if you look at our track record, my track record has shown nothing but that. I may not have done it the NAACP Image Award way, but we did the work and we got it done.”\u003c/p>\n\u003cp>Mistah F.A.B. is now going on his 19th year of community work (in 2014, Mayor Jean Quan created \u003ca href=\"https://www.eastbaytimes.com/2014/02/10/mayor-jean-quan-honors-oakland-rapper/\" target=\"_blank\" rel=\"noopener noreferrer\">a day in his honor\u003c/a> because of it). People from rough family backgrounds, survivors of neighborhood violence and those who’ve been incarcerated feel comfortable around him. He knows that struggle himself: he lost his father when he was 12 years old (Stanley Cox Sr. contracted AIDS from shared needles). His mother was also addicted to drugs but got clean and became the provider and role model he needed. That’s why Mistah F.A.B. is conscious of the fact that people need acceptance when they’re dealing with trauma—he’s never scolded anyone to pull their pants up. With big hugs, firm handshakes and warm smiles, he’s constantly welcoming people into his orbit.\u003c/p>\n\u003cfigure id=\"attachment_13908602\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13908602\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/01/MF40_1666-800x593.jpg\" alt=\"\" width=\"800\" height=\"593\">\u003cfigcaption class=\"wp-caption-text\">Mistah F.A.B. greets friends and fans at Bowlero in Alameda on Jan. 24, 2022. \u003ccite>(Amaya Edwards)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There are some people who are very brilliant and very smart, but they may have a speech impediment so they don’t want to talk,” he says of his non-judgmental approach. “There are people that may be social introverts, but could do something to change the social dynamics of the world. They just don’t know how to express themselves. There are people who are autistic who are still artistic. You know what I’m saying?”\u003c/p>\n\u003cp>A project like Dope Era Academy is Mistah F.A.B.’s way of contributing to a vision of a community that leaves fewer people behind, and he sees it as part of a long-term solution to Oakland’s gun violence problem. In 2021, \u003ca href=\"https://oaklandside.org/2021/12/23/2021-oakland-deadliest-year-since-2006-homicides-shootings-gun-violence/\" target=\"_blank\" rel=\"noopener noreferrer\">Oakland saw more killings than in any other year since 2006\u003c/a>, and neighborhood shootings leave families caught in the middle of \u003ca href=\"https://www.theguardian.com/us-news/2021/dec/09/california-gun-violence-teenagers-youth\" target=\"_blank\" rel=\"noopener noreferrer\">cycles of retaliation and more violence\u003c/a>. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“A lot of the gun violence comes from young, frustrated youth who are going out venting, and they haven’t had an ability to heal,” says Mistah F.A.B. “We grow up in the ghetto. You know, PTSD. You watching your friends get killed every day. You got to heal from that. … Children 15, 16 years old with a wall full of obituaries. That’s not normal. That’s traumatic.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">A\u003c/span>\u003c/p>\u003cp>t 40, Mistah F.A.B. sees his music as an extension of his quest to uplift the community. At the top of the new year, he lost his close friend and collaborator, Traxamillion. And this week is the anniversary of the passing of G Field, who was his right-hand man at Dope Era. With so many important hip-hop artists who’ve died in their 40s and 50s over the past couple of years (Shock G, DMX, Zumbi and Gift of Gab also come to mind), Mistah F.A.B. wants to make a statement about maturation and growth. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>He’s putting finishing touches on his next album, \u003cem>Black Designer\u003c/em>, whose title pays homage to Black people’s immense contributions to art and culture world over. “It’s the music that a 40 year old should be making,” he says. “It’s easy for me to make hyphy music or whatever the sound is now to modernize my flow. … But I think in doing that, a lot of people are just making music that’s popular. But will it last?”\u003c/p>\n\u003cp>Though he’s best known for his hyphy songs from the 2000s (“N.E.W. Oakland,” “Sideshow” and “Super Sic Wit It” are considered classics), Mistah F.A.B.’s discography since then has been wide-ranging. He’s released emotional albums about trauma (see the \u003cem>Thug Tears\u003c/em> series), missives about racism (\u003cem>Amerikkka Don’t Love Us\u003c/em>), player anthems and party music. But with \u003cem>Black Designer\u003c/em>, he says we’re getting a different, more grown-up side of him. In fact, for the first time, there are no curse words on the album.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I’ve got kids now and I got responsibilities. … I’m running several businesses now. Things are different. Life is different,” he says. “I’m growing. It’s not that I’m not keeping it real. I would be keeping it fake if I was still in the neighborhood. I think it’s imperative that we show the next generation what growth looks like.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Meat Loaf, Grammy-Winning Singer of 'I'd Do Anything For Love,' Has Died",
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"content": "\u003cp>Meat Loaf, the Grammy-winning American singer and actor, has died at the age of 74. An official announcement \u003ca href=\"https://www.facebook.com/MeatLoaf\" target=\"_blank\" rel=\"noopener noreferrer\">was posted to his Facebook page\u003c/a> early Friday morning.\u003c/p>\n\u003cp>Meat Loaf, born Marvin Lee Aday, was best known for the 1977 album \u003cem>Bat Out Of Hell\u003c/em>, one of the best selling albums of all time, having sold 43 million copies worldwide. Meat Loaf won a 1994 Grammy Award for the song “I’d Do Anything For Love.”\u003c/p>\n\u003cp>Meat Loaf also appeared in over 65 movies, with iconic roles in \u003cem>The Rocky Horror Picture Show\u003c/em> and \u003cem>Fight Club\u003c/em>, among others.\u003c/p>\n\u003cp>“We know how much he meant to so many of you and we truly appreciate all of the love and support as we move through this time of grief in losing such an inspiring artist and beautiful man,” the statement read. “We thank you for your understanding of our need for privacy at this time. From his heart to your souls…don’t ever stop rocking!”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=3QGMCSCFoKA\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The cause of death is unknown at this time.\u003c/p>\n\u003cp>\u003cem>Bat Out Of Hell\u003c/em> was a landmark album for the singer and for rock n’ roll overall, with one critic describing it as “\u003ca href=\"https://jimsteinman.com/batmusical/kickedopendoor.htm\" target=\"_blank\" rel=\"noopener noreferrer\">like Springsteen on Broadway on steroids\u003c/a>.” \u003cem>Rolling Stone\u003c/em> listed \u003ca href=\"https://www.rollingstone.com/music/music-lists/500-greatest-albums-of-all-time-156826/the-yardbirds-roger-the-engineer-a-k-a-over-under-sideways-down-46344/\" target=\"_blank\" rel=\"noopener noreferrer\">the album at 343 on its list\u003c/a> of the 500 greatest albums of all time published in 2003 and 2012, but \u003ca href=\"https://www.rollingstone.com/music/music-lists/best-albums-of-all-time-1062063/jay-z-the-blueprint-3-1063183/\" target=\"_blank\" rel=\"noopener noreferrer\">was left off its 2020 revision\u003c/a>.\u003c/p>\n\u003cp>Meat Loaf’s death comes one year after composer, lyricist, and record producer Jim Steinman, his creative partner on \u003cem>Bat Out Of Hell\u003c/em> and many other projects, \u003ca href=\"https://www.npr.org/2021/04/20/989245089/jim-steinman-writer-of-operatic-rock-hits-for-meat-loaf-and-celine-dion-dies-at-\" target=\"_blank\" rel=\"noopener noreferrer\">died of kidney failure.\u003c/a>\u003c/p>\n\u003cp>In 2017, \u003cem>Bat Out Of Hell\u003c/em> \u003ca href=\"https://www.telegraph.co.uk/music/what-to-listen-to/everyone-hated-bat-jim-steinman-meat-loaf-made-misunderstood/\" target=\"_blank\" rel=\"noopener noreferrer\">was adapted by Steinman\u003c/a> into a stage production, \u003cem>Bat Out Of Hell: The Musical\u003c/em>. It opened at Manchester’s Opera House in the U.K. and later made its U.S. debut at New York City Center.\u003c/p>\n\u003cp>The full statement is below:\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13908423 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/01/Screen-Shot-2022-01-21-at-1.21.32-AM-800x908.png\" alt=\"\" width=\"800\" height=\"908\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Screen-Shot-2022-01-21-at-1.21.32-AM-800x908.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Screen-Shot-2022-01-21-at-1.21.32-AM-1020x1158.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Screen-Shot-2022-01-21-at-1.21.32-AM-160x182.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Screen-Shot-2022-01-21-at-1.21.32-AM-768x872.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Screen-Shot-2022-01-21-at-1.21.32-AM-1353x1536.png 1353w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Screen-Shot-2022-01-21-at-1.21.32-AM.png 1360w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Meat+Loaf%2C+Grammy-winning+singer+famous+for+%27I%27d+Do+Anything+For+Love%2C%27+has+died&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The cause of death is unknown at this time.\u003c/p>\n\u003cp>\u003cem>Bat Out Of Hell\u003c/em> was a landmark album for the singer and for rock n’ roll overall, with one critic describing it as “\u003ca href=\"https://jimsteinman.com/batmusical/kickedopendoor.htm\" target=\"_blank\" rel=\"noopener noreferrer\">like Springsteen on Broadway on steroids\u003c/a>.” \u003cem>Rolling Stone\u003c/em> listed \u003ca href=\"https://www.rollingstone.com/music/music-lists/500-greatest-albums-of-all-time-156826/the-yardbirds-roger-the-engineer-a-k-a-over-under-sideways-down-46344/\" target=\"_blank\" rel=\"noopener noreferrer\">the album at 343 on its list\u003c/a> of the 500 greatest albums of all time published in 2003 and 2012, but \u003ca href=\"https://www.rollingstone.com/music/music-lists/best-albums-of-all-time-1062063/jay-z-the-blueprint-3-1063183/\" target=\"_blank\" rel=\"noopener noreferrer\">was left off its 2020 revision\u003c/a>.\u003c/p>\n\u003cp>Meat Loaf’s death comes one year after composer, lyricist, and record producer Jim Steinman, his creative partner on \u003cem>Bat Out Of Hell\u003c/em> and many other projects, \u003ca href=\"https://www.npr.org/2021/04/20/989245089/jim-steinman-writer-of-operatic-rock-hits-for-meat-loaf-and-celine-dion-dies-at-\" target=\"_blank\" rel=\"noopener noreferrer\">died of kidney failure.\u003c/a>\u003c/p>\n\u003cp>In 2017, \u003cem>Bat Out Of Hell\u003c/em> \u003ca href=\"https://www.telegraph.co.uk/music/what-to-listen-to/everyone-hated-bat-jim-steinman-meat-loaf-made-misunderstood/\" target=\"_blank\" rel=\"noopener noreferrer\">was adapted by Steinman\u003c/a> into a stage production, \u003cem>Bat Out Of Hell: The Musical\u003c/em>. It opened at Manchester’s Opera House in the U.K. and later made its U.S. debut at New York City Center.\u003c/p>\n\u003cp>The full statement is below:\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13908423 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/01/Screen-Shot-2022-01-21-at-1.21.32-AM-800x908.png\" alt=\"\" width=\"800\" height=\"908\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Screen-Shot-2022-01-21-at-1.21.32-AM-800x908.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Screen-Shot-2022-01-21-at-1.21.32-AM-1020x1158.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Screen-Shot-2022-01-21-at-1.21.32-AM-160x182.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Screen-Shot-2022-01-21-at-1.21.32-AM-768x872.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Screen-Shot-2022-01-21-at-1.21.32-AM-1353x1536.png 1353w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Screen-Shot-2022-01-21-at-1.21.32-AM.png 1360w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Meat+Loaf%2C+Grammy-winning+singer+famous+for+%27I%27d+Do+Anything+For+Love%2C%27+has+died&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Castro Theatre to Become Live Music and Events Venue After Renovation",
"headTitle": "Castro Theatre to Become Live Music and Events Venue After Renovation | KQED",
"content": "\u003cp>The Castro Theatre, a 100-year-old jewel of the film community in San Francisco, is set to become a live music and events venue after a year-long makeover. The renovated theater will broaden its programming to include “comedy, music, film, community and private events and more,” according to \u003ca href=\"https://apeconcerts.com/venues/castro-theatre/\" rel=\"noopener noreferrer\" target=\"_blank\">a statement\u003c/a> by the new operators.\u003c/p>\n\u003cp>The theater will be managed by Another Planet Entertainment, the Bay Area-based live music promoter which co-produces the Outside Lands music festival and operates the Bill Graham Civic Auditorium, the Greek Theatre, the Fox Theatre, the Independent and other music venues. Another Planet does not operate any movie theaters, or venues with regular film programming.\u003c/p>\n\u003cp>Currently it is unclear exactly how much film will be shown at the renovated Castro Theatre. Speaking with KQED on Wednesday, Another Planet CEO Gregg Perloff repeatedly said it was too soon to tell.\u003c/p>\n\u003cp>“I know this isn’t a great answer for you, but we’ve just started,” Perloff said, in response to questions about film programming. “This is really our first week talking to people. And we plan on talking to a lot of people in the community. And of course all the people who have rented the theater—find out what it is they’re all about and what they plan on doing. So I can’t give you definitive answers right now.”\u003c/p>\n\u003cp>As of Wednesday, Another Planet had not been been in touch with any independent film bookers who would book a regular daily schedule of films, Perloff said. \u003c/p>\n\u003cfigure id=\"attachment_13908354\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/01/Castro.Street-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13908354\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Castro.Street-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Castro.Street-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Castro.Street-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Castro.Street-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Castro.Street-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Castro.Street.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Castro Theatre has been a central fixture of San Francisco’s Castro District since 1922. \u003ccite>(Tobias Kleinlercher / Wikipedia)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“You don’t want to change the historic nature of the theatre,” said Perloff. “We absolutely want to do film. We absolutely want to honor the LGBTQ community. And so, what they’ve historically done, we want to do a lot of that. We also want to add to it by doing other things. What those other things are? Could be a lecture. Could be comedy. Could be music. We plan to try anything.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For the past decade, the Castro Theatre had been booked by Keith Arnold, whose experience working with Berkeley’s Fine Arts Cinema and the Sundance Film Festival informed the Castro’s repertory programming, which included movies both new and old on a daily basis. The Castro Theatre has also long been home to several film festivals like Frameline, the San Francisco Silent Film Festival, and the San Francisco Jewish Film Festival, among others.\u003c/p>\n\u003cp>Existing contracts with the Castro are being honored before renovation begins, Perloff said. Frameline’s executive director James Woolley said, in an email to KQED: “We are pleased to confirm that the Frameline46 San Francisco International LGBTQ+ Film Festival will proceed at the Castro Theatre, June 16-26, 2022.”\u003c/p>\n\u003cp>SFFILM, the San Francisco International Film Festival, is still scheduled to run April 21–May 1 this year, as well. (The Noir City film festival had planned to move to the Grand Lake Theatre in Oakland this month before postponing due to the spread of the omicron variant.) \u003c/p>\n\u003cp>Construction on the theater will begin later this year.\u003c/p>\n\u003cfigure id=\"attachment_13827376\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/03/SFIFFLogo_COVER-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13827376\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SFIFFLogo_COVER-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SFIFFLogo_COVER-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SFIFFLogo_COVER-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SFIFFLogo_COVER-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SFIFFLogo_COVER.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SFIFFLogo_COVER-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SFIFFLogo_COVER-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SFIFFLogo_COVER-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SFIFFLogo_COVER-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SFIFFLogo_COVER-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A packed house at the Castro Theatre. \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The Castro Theatre is a wonderful building that we will upgrade for more use in the future,” said Perloff in a \u003ca href=\"https://apeconcerts.com/venues/castro-theatre/\" rel=\"noopener noreferrer\" target=\"_blank\">statement\u003c/a> Wednesday morning. “We want to activate and re-energize the building, making improvements to the customer and artist experience, including dressing room upgrades, restoring the marquee and blade and expanding food and beverage service.” \u003c/p>\n\u003cp>Additional upgrades would include a new sound system, sound, lighting, production, and heating and air conditioning system. An expanded backstage and lobby and a renovated marquee are planned, along with a restoration of the theater’s iconic neon sign. \u003c/p>\n\u003cp>Chris Nasser Padian, the vice president of Bay Properties Inc., which owns the Castro Theatre, called Another Planet “an ideal partner” for the Castro, “as they have a rich history with the City and in rehabilitating historic venues.”\u003c/p>\n\u003cp>Perloff said that Another Planet approached the Nasser family to make a deal for the building, and that, to his knowledge, no other promoters were in contention for management of the theater. \u003c/p>\n\u003cp>https://www.instagram.com/p/CY69fTPrI4G/\u003c/p>\n\u003cp>Today’s news answers a long-standing question on the lips of moviegoers over the past year and a half.\u003c/p>\n\u003cp>During the pandemic, while other independent movie theaters like the Roxie Theatre, the Balboa Theatre and the New Parkway Theatre cautiously re-opened, the Castro Theatre sat conspicuously dark, hosting occasional one-off concerts and events.\u003c/p>\n\u003cp>Most recently, the theatre hosted the world premiere for \u003cem>The Matrix Resurrections\u003c/em> and a special screening of \u003cem>West Side Story\u003c/em> with Rita Moreno in attendance.\u003c/p>\n\u003cp>A fundraising campaign for a new organ at the Castro Theatre, to be played by beloved fixture David Hegarty, had \u003ca href=\"https://hoodline.com/2021/01/castro-theatre-s-massive-new-hybrid-organ-may-get-installed-in-time-for-cinemas-to-reopen/\" rel=\"noopener noreferrer\" target=\"_blank\">recently raised\u003c/a> over $800,000 in donations. Perloff said that while there are no renovation plans for the stage that would make it impossible to install the organ, Another Planet has yet to get specifications for it.\u003c/p>\n\u003cp>“We got kind of thrown a curveball by this idea of a new organ,” Perloff said, adding that Another Planet has been in touch with Hegarty and the nonprofit CODA. “This is the kind of thing we’re dealing with in working out our construction plans: what does the organ need? So we’re certainly working or planning on working with CODA.”\u003c/p>\n\u003cp>Asked about moviegoers who think of the Castro Theatre as a family member, and are worried that they’re losing it forever, Perloff emphasized the upcoming restoration.\u003c/p>\n\u003cp>“They’re not losing it,” Perloff said of the Castro. “This is a labor of love for us. We make our money doing big shows like Outside Lands. What we’re doing is: this is a diamond, and we’re polishing the diamond. That’s how you should look at it.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>A grand reopening for the theater is scheduled for 2023. \u003c/p>\n\n",
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"excerpt": "Concerts, comedy and live events are coming to a renovated Castro Theatre next year. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Castro Theatre, a 100-year-old jewel of the film community in San Francisco, is set to become a live music and events venue after a year-long makeover. The renovated theater will broaden its programming to include “comedy, music, film, community and private events and more,” according to \u003ca href=\"https://apeconcerts.com/venues/castro-theatre/\" rel=\"noopener noreferrer\" target=\"_blank\">a statement\u003c/a> by the new operators.\u003c/p>\n\u003cp>The theater will be managed by Another Planet Entertainment, the Bay Area-based live music promoter which co-produces the Outside Lands music festival and operates the Bill Graham Civic Auditorium, the Greek Theatre, the Fox Theatre, the Independent and other music venues. Another Planet does not operate any movie theaters, or venues with regular film programming.\u003c/p>\n\u003cp>Currently it is unclear exactly how much film will be shown at the renovated Castro Theatre. Speaking with KQED on Wednesday, Another Planet CEO Gregg Perloff repeatedly said it was too soon to tell.\u003c/p>\n\u003cp>“I know this isn’t a great answer for you, but we’ve just started,” Perloff said, in response to questions about film programming. “This is really our first week talking to people. And we plan on talking to a lot of people in the community. And of course all the people who have rented the theater—find out what it is they’re all about and what they plan on doing. So I can’t give you definitive answers right now.”\u003c/p>\n\u003cp>As of Wednesday, Another Planet had not been been in touch with any independent film bookers who would book a regular daily schedule of films, Perloff said. \u003c/p>\n\u003cfigure id=\"attachment_13908354\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/01/Castro.Street-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13908354\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Castro.Street-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Castro.Street-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Castro.Street-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Castro.Street-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Castro.Street-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Castro.Street.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Castro Theatre has been a central fixture of San Francisco’s Castro District since 1922. \u003ccite>(Tobias Kleinlercher / Wikipedia)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“You don’t want to change the historic nature of the theatre,” said Perloff. “We absolutely want to do film. We absolutely want to honor the LGBTQ community. And so, what they’ve historically done, we want to do a lot of that. We also want to add to it by doing other things. What those other things are? Could be a lecture. Could be comedy. Could be music. We plan to try anything.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For the past decade, the Castro Theatre had been booked by Keith Arnold, whose experience working with Berkeley’s Fine Arts Cinema and the Sundance Film Festival informed the Castro’s repertory programming, which included movies both new and old on a daily basis. The Castro Theatre has also long been home to several film festivals like Frameline, the San Francisco Silent Film Festival, and the San Francisco Jewish Film Festival, among others.\u003c/p>\n\u003cp>Existing contracts with the Castro are being honored before renovation begins, Perloff said. Frameline’s executive director James Woolley said, in an email to KQED: “We are pleased to confirm that the Frameline46 San Francisco International LGBTQ+ Film Festival will proceed at the Castro Theatre, June 16-26, 2022.”\u003c/p>\n\u003cp>SFFILM, the San Francisco International Film Festival, is still scheduled to run April 21–May 1 this year, as well. (The Noir City film festival had planned to move to the Grand Lake Theatre in Oakland this month before postponing due to the spread of the omicron variant.) \u003c/p>\n\u003cp>Construction on the theater will begin later this year.\u003c/p>\n\u003cfigure id=\"attachment_13827376\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/03/SFIFFLogo_COVER-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13827376\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SFIFFLogo_COVER-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SFIFFLogo_COVER-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SFIFFLogo_COVER-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SFIFFLogo_COVER-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SFIFFLogo_COVER.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SFIFFLogo_COVER-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SFIFFLogo_COVER-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SFIFFLogo_COVER-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SFIFFLogo_COVER-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SFIFFLogo_COVER-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A packed house at the Castro Theatre. \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The Castro Theatre is a wonderful building that we will upgrade for more use in the future,” said Perloff in a \u003ca href=\"https://apeconcerts.com/venues/castro-theatre/\" rel=\"noopener noreferrer\" target=\"_blank\">statement\u003c/a> Wednesday morning. “We want to activate and re-energize the building, making improvements to the customer and artist experience, including dressing room upgrades, restoring the marquee and blade and expanding food and beverage service.” \u003c/p>\n\u003cp>Additional upgrades would include a new sound system, sound, lighting, production, and heating and air conditioning system. An expanded backstage and lobby and a renovated marquee are planned, along with a restoration of the theater’s iconic neon sign. \u003c/p>\n\u003cp>Chris Nasser Padian, the vice president of Bay Properties Inc., which owns the Castro Theatre, called Another Planet “an ideal partner” for the Castro, “as they have a rich history with the City and in rehabilitating historic venues.”\u003c/p>\n\u003cp>Perloff said that Another Planet approached the Nasser family to make a deal for the building, and that, to his knowledge, no other promoters were in contention for management of the theater. \u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Today’s news answers a long-standing question on the lips of moviegoers over the past year and a half.\u003c/p>\n\u003cp>During the pandemic, while other independent movie theaters like the Roxie Theatre, the Balboa Theatre and the New Parkway Theatre cautiously re-opened, the Castro Theatre sat conspicuously dark, hosting occasional one-off concerts and events.\u003c/p>\n\u003cp>Most recently, the theatre hosted the world premiere for \u003cem>The Matrix Resurrections\u003c/em> and a special screening of \u003cem>West Side Story\u003c/em> with Rita Moreno in attendance.\u003c/p>\n\u003cp>A fundraising campaign for a new organ at the Castro Theatre, to be played by beloved fixture David Hegarty, had \u003ca href=\"https://hoodline.com/2021/01/castro-theatre-s-massive-new-hybrid-organ-may-get-installed-in-time-for-cinemas-to-reopen/\" rel=\"noopener noreferrer\" target=\"_blank\">recently raised\u003c/a> over $800,000 in donations. Perloff said that while there are no renovation plans for the stage that would make it impossible to install the organ, Another Planet has yet to get specifications for it.\u003c/p>\n\u003cp>“We got kind of thrown a curveball by this idea of a new organ,” Perloff said, adding that Another Planet has been in touch with Hegarty and the nonprofit CODA. “This is the kind of thing we’re dealing with in working out our construction plans: what does the organ need? So we’re certainly working or planning on working with CODA.”\u003c/p>\n\u003cp>Asked about moviegoers who think of the Castro Theatre as a family member, and are worried that they’re losing it forever, Perloff emphasized the upcoming restoration.\u003c/p>\n\u003cp>“They’re not losing it,” Perloff said of the Castro. “This is a labor of love for us. We make our money doing big shows like Outside Lands. What we’re doing is: this is a diamond, and we’re polishing the diamond. That’s how you should look at it.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>A grand reopening for the theater is scheduled for 2023. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The Residents’ New Book Illustrates 50 Years of Art-Rock Weirdness",
"headTitle": "The Residents’ New Book Illustrates 50 Years of Art-Rock Weirdness | KQED",
"content": "\u003cp>Ask even the most ardent fans of \u003ca href=\"https://www.residents.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The Residents\u003c/a> about their first exposure to the art rock group, and their responses are likely to focus on the visual rather than the aural—the unsettling, unforgettable sight of four men in top hats and tails whose heads have been replaced with giant eyeballs.\u003c/p>\n\u003cp>“My first memory of seeing The Residents was on \u003ca href=\"https://www.nightflightplus.com/videos/night-flight-40th-anniversary-the-residents-peformance/60bae3fa274731000169a648\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Night Flight\u003c/em>\u003c/a> back in the ’80s,” remembers graphic designer \u003ca href=\"https://sugarpressart.com/artists/aaron-tanner/\" target=\"_blank\" rel=\"noopener noreferrer\">Aaron Tanner\u003c/a>. “However, I was too young to comprehend what my still-developing brain had actually witnessed. Fast forward to the early ’90s when Primus covered ‘\u003ca href=\"https://youtu.be/DOyy501jsgc\" target=\"_blank\" rel=\"noopener noreferrer\">Sinister Exaggerator\u003c/a>,’ and all of those memories of ‘creatures’ with eyeballs for heads came flooding back.”\u003c/p>\n\u003cfigure id=\"attachment_13907920\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13907920\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/01/Melodic-Virtue-The-Residents-A-Sight-for-Sore-Eyes-Vol-1-Cover-800x800.jpg\" alt=\"\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Melodic-Virtue-The-Residents-A-Sight-for-Sore-Eyes-Vol-1-Cover-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Melodic-Virtue-The-Residents-A-Sight-for-Sore-Eyes-Vol-1-Cover-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Melodic-Virtue-The-Residents-A-Sight-for-Sore-Eyes-Vol-1-Cover-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Melodic-Virtue-The-Residents-A-Sight-for-Sore-Eyes-Vol-1-Cover-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Melodic-Virtue-The-Residents-A-Sight-for-Sore-Eyes-Vol-1-Cover-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Melodic-Virtue-The-Residents-A-Sight-for-Sore-Eyes-Vol-1-Cover.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cover of ‘The Residents: Site for Sore Eyes, Vol. 1,’ a visual history of the famed art rock group. \u003ccite>(Melodic Virtue)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Or as \u003ca href=\"http://thirdworlds.net/\" target=\"_blank\" rel=\"noopener noreferrer\">Death Grips\u003c/a> drummer and co-founder Zach Hill puts it, “Being a Bay Area/Northern California native, the eyeball was like the weirdo kids’ Mickey Mouse. And you’d see it before even knowing what it was.”\u003c/p>\n\u003cp>Bay Area mainstays The Residents remain masters of media and mystery. Though the band has been around in one form or another since the late ’60s, no one is entirely sure who the members of the group are (although there are \u003ca href=\"https://en.wikipedia.org/wiki/The_Residents#Identity\" target=\"_blank\" rel=\"noopener noreferrer\">some theories\u003c/a>). The enigma has an undeniable allure, and The Residents add to their strange appeal through off-kilter music—jazz-inflected psychedelic rock and electronic experimentation that warps and wriggles like a worm under a heat lamp. Their striking album art, film and video work, and eye-popping stage performances make them all the more intriguing.\u003c/p>\n\u003cp>It feels entirely appropriate then that the first official book to track the history of this unique group, \u003cem>\u003ca href=\"https://www.melodicvirtue.com/products/the-residents-a-sight-for-sore-eyes-vol-1-deluxe-edition\" target=\"_blank\" rel=\"noopener noreferrer\">The Residents: A Sight For Sore Eyes Vol. 1\u003c/a>\u003c/em> (out Jan. 7 via Melodic Virtue), is an almost entirely visual document. The hefty tome tracks through group’s evolution from their earliest days as hippie dropouts who landed in San Mateo in 1968 to their 1983 performances of \u003cem>The Mole Show\u003c/em>, a stage show featuring magician and collaborator Penn Jillette. The volume is a sumptuous feast of photos, film stills, promotional material and collages of critical reactions to the music. (“Somehow, I thought of it as sounding like what Steely Dan or Frank Zappa might sound like on strong acid,” said one critic of the Residents’ 1977 album \u003cem>Fingerprince\u003c/em>.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://youtu.be/PJ7qaCSRIUY\u003c/p>\n\u003cp>Though it was created with the active participation of The Residents and their appropriately named management group, The Cryptic Corporation, the book itself was initiated by Tanner, who made his way into their circle through another similarly unclassifiable group that he works with closely.\u003c/p>\n\u003cp>“I’ve been \u003ca href=\"https://ween.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Ween\u003c/a>’s primary designer for over 15 years, and all of their self-released albums were distributed through MVD,” Tanner says, referring to the entertainment company. “After I had started producing books and realized that MVD was also working with The Residents, I asked for an introduction.”\u003c/p>\n\u003cp>From there, Tanner was allowed access to The Residents’ voluminous archives. “Digging through those old boxes was my version of visiting Disneyland,” he says.\u003c/p>\n\u003cp>He unearthed all manner of ephemera, including the legendary rejection letters the group received after submitting their demo tapes to Warner Brothers Records’ merchandising director, Hal Halverstadt. “I hate to tell you this,” reads one, “but \u003cem>Baby Sex\u003c/em>”—the group’s now-fabled 1971 demo—“did not (repeat, did not) set Burbank on its ear.”\u003c/p>\n\u003cp>Other surprises include some stark digital visuals that the group put together in 1992 as a proposal to turn their 1979 album \u003cem>Eskimo\u003c/em>, an unsettling ambient work, into an opera, and pictures of a prototype video game for the Atari 2600 based on their 1981 album \u003cem>The Mark of the Mole\u003c/em>.\u003c/p>\n\u003cp>https://youtu.be/0BoU1YTWENA\u003c/p>\n\u003cp>Tanner also didn’t shy away from including the controversial album art and promotional photos for the group’s second album, \u003cem>The Third Reich ’n Roll\u003c/em>. The former includes a cartoon of \u003cem>American Bandstand\u003c/em> host Dick Clark in a Nazi uniform, and the latter finds the band members dressed up as oversized swastikas. All of it tied into the concept for the album—the original liner notes are a snarky treatise on the ways “rock and roll has brainwashed the youth of the world,” and the music is made up of heavily edited and deconstructed versions of pop hits like “The Twist” and “Papa’s Got A Brand New Bag.” Still, the album was originally banned in Germany, and a window display announcing its release caused a protest at a Berkeley record shop.\u003c/p>\n\u003cp>“I knew I was going to deal with a few taboo artifacts before taking this project on,” says Tanner. “But ultimately, the use of Nazi symbols by The Residents in 1976 was done as satire and in no way represents our or their support for that ideology. It’s unfortunate that there’s been an unironic resurgence of this iconography, and that it’s no longer just history but evidence of a current threat within the U.S. and abroad.”\u003c/p>\n\u003cp>https://youtu.be/WsEz1OAUBBM\u003c/p>\n\u003cp>What is not included in \u003cem>A Sight For Sore Eyes\u003c/em> is any kind of critical essays or liner notes to walk the uninitiated through this period of The Residents’ past. (That work was already done by the 2015 documentary \u003cem>\u003ca href=\"https://www.imdb.com/title/tt2833768/\" target=\"_blank\" rel=\"noopener noreferrer\">The Theory of Obscurity\u003c/a>\u003c/em>.) Instead, Tanner peppers short quotes and tributes from artists that have worked directly with the group or cite them as an influence.\u003c/p>\n\u003cp>It’s an appropriately motley bunch. The Zach Hill quote above is taken from the book, and he’s joined by Pee-Wee Herman creator Paul Reubens, “Weird Al” Yankovic, XTC’s Andy Partridge, Dan Deacon and Ween co-founder Aaron Freeman, who says that hearing “Constantinople,” a track from the Residents’ 1978 EP \u003cem>Duck Stab\u003c/em>, “fucked up the way I hear music.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>When it comes to the legacy of this singular American ensemble, there’s really no higher praise than that.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ask even the most ardent fans of \u003ca href=\"https://www.residents.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The Residents\u003c/a> about their first exposure to the art rock group, and their responses are likely to focus on the visual rather than the aural—the unsettling, unforgettable sight of four men in top hats and tails whose heads have been replaced with giant eyeballs.\u003c/p>\n\u003cp>“My first memory of seeing The Residents was on \u003ca href=\"https://www.nightflightplus.com/videos/night-flight-40th-anniversary-the-residents-peformance/60bae3fa274731000169a648\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Night Flight\u003c/em>\u003c/a> back in the ’80s,” remembers graphic designer \u003ca href=\"https://sugarpressart.com/artists/aaron-tanner/\" target=\"_blank\" rel=\"noopener noreferrer\">Aaron Tanner\u003c/a>. “However, I was too young to comprehend what my still-developing brain had actually witnessed. Fast forward to the early ’90s when Primus covered ‘\u003ca href=\"https://youtu.be/DOyy501jsgc\" target=\"_blank\" rel=\"noopener noreferrer\">Sinister Exaggerator\u003c/a>,’ and all of those memories of ‘creatures’ with eyeballs for heads came flooding back.”\u003c/p>\n\u003cfigure id=\"attachment_13907920\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13907920\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/01/Melodic-Virtue-The-Residents-A-Sight-for-Sore-Eyes-Vol-1-Cover-800x800.jpg\" alt=\"\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Melodic-Virtue-The-Residents-A-Sight-for-Sore-Eyes-Vol-1-Cover-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Melodic-Virtue-The-Residents-A-Sight-for-Sore-Eyes-Vol-1-Cover-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Melodic-Virtue-The-Residents-A-Sight-for-Sore-Eyes-Vol-1-Cover-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Melodic-Virtue-The-Residents-A-Sight-for-Sore-Eyes-Vol-1-Cover-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Melodic-Virtue-The-Residents-A-Sight-for-Sore-Eyes-Vol-1-Cover-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Melodic-Virtue-The-Residents-A-Sight-for-Sore-Eyes-Vol-1-Cover.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cover of ‘The Residents: Site for Sore Eyes, Vol. 1,’ a visual history of the famed art rock group. \u003ccite>(Melodic Virtue)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Or as \u003ca href=\"http://thirdworlds.net/\" target=\"_blank\" rel=\"noopener noreferrer\">Death Grips\u003c/a> drummer and co-founder Zach Hill puts it, “Being a Bay Area/Northern California native, the eyeball was like the weirdo kids’ Mickey Mouse. And you’d see it before even knowing what it was.”\u003c/p>\n\u003cp>Bay Area mainstays The Residents remain masters of media and mystery. Though the band has been around in one form or another since the late ’60s, no one is entirely sure who the members of the group are (although there are \u003ca href=\"https://en.wikipedia.org/wiki/The_Residents#Identity\" target=\"_blank\" rel=\"noopener noreferrer\">some theories\u003c/a>). The enigma has an undeniable allure, and The Residents add to their strange appeal through off-kilter music—jazz-inflected psychedelic rock and electronic experimentation that warps and wriggles like a worm under a heat lamp. Their striking album art, film and video work, and eye-popping stage performances make them all the more intriguing.\u003c/p>\n\u003cp>It feels entirely appropriate then that the first official book to track the history of this unique group, \u003cem>\u003ca href=\"https://www.melodicvirtue.com/products/the-residents-a-sight-for-sore-eyes-vol-1-deluxe-edition\" target=\"_blank\" rel=\"noopener noreferrer\">The Residents: A Sight For Sore Eyes Vol. 1\u003c/a>\u003c/em> (out Jan. 7 via Melodic Virtue), is an almost entirely visual document. The hefty tome tracks through group’s evolution from their earliest days as hippie dropouts who landed in San Mateo in 1968 to their 1983 performances of \u003cem>The Mole Show\u003c/em>, a stage show featuring magician and collaborator Penn Jillette. The volume is a sumptuous feast of photos, film stills, promotional material and collages of critical reactions to the music. (“Somehow, I thought of it as sounding like what Steely Dan or Frank Zappa might sound like on strong acid,” said one critic of the Residents’ 1977 album \u003cem>Fingerprince\u003c/em>.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/PJ7qaCSRIUY'\n title='//www.youtube.com/embed/PJ7qaCSRIUY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Though it was created with the active participation of The Residents and their appropriately named management group, The Cryptic Corporation, the book itself was initiated by Tanner, who made his way into their circle through another similarly unclassifiable group that he works with closely.\u003c/p>\n\u003cp>“I’ve been \u003ca href=\"https://ween.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Ween\u003c/a>’s primary designer for over 15 years, and all of their self-released albums were distributed through MVD,” Tanner says, referring to the entertainment company. “After I had started producing books and realized that MVD was also working with The Residents, I asked for an introduction.”\u003c/p>\n\u003cp>From there, Tanner was allowed access to The Residents’ voluminous archives. “Digging through those old boxes was my version of visiting Disneyland,” he says.\u003c/p>\n\u003cp>He unearthed all manner of ephemera, including the legendary rejection letters the group received after submitting their demo tapes to Warner Brothers Records’ merchandising director, Hal Halverstadt. “I hate to tell you this,” reads one, “but \u003cem>Baby Sex\u003c/em>”—the group’s now-fabled 1971 demo—“did not (repeat, did not) set Burbank on its ear.”\u003c/p>\n\u003cp>Other surprises include some stark digital visuals that the group put together in 1992 as a proposal to turn their 1979 album \u003cem>Eskimo\u003c/em>, an unsettling ambient work, into an opera, and pictures of a prototype video game for the Atari 2600 based on their 1981 album \u003cem>The Mark of the Mole\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/0BoU1YTWENA'\n title='//www.youtube.com/embed/0BoU1YTWENA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Tanner also didn’t shy away from including the controversial album art and promotional photos for the group’s second album, \u003cem>The Third Reich ’n Roll\u003c/em>. The former includes a cartoon of \u003cem>American Bandstand\u003c/em> host Dick Clark in a Nazi uniform, and the latter finds the band members dressed up as oversized swastikas. All of it tied into the concept for the album—the original liner notes are a snarky treatise on the ways “rock and roll has brainwashed the youth of the world,” and the music is made up of heavily edited and deconstructed versions of pop hits like “The Twist” and “Papa’s Got A Brand New Bag.” Still, the album was originally banned in Germany, and a window display announcing its release caused a protest at a Berkeley record shop.\u003c/p>\n\u003cp>“I knew I was going to deal with a few taboo artifacts before taking this project on,” says Tanner. “But ultimately, the use of Nazi symbols by The Residents in 1976 was done as satire and in no way represents our or their support for that ideology. It’s unfortunate that there’s been an unironic resurgence of this iconography, and that it’s no longer just history but evidence of a current threat within the U.S. and abroad.”\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/WsEz1OAUBBM'\n title='//www.youtube.com/embed/WsEz1OAUBBM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>What is not included in \u003cem>A Sight For Sore Eyes\u003c/em> is any kind of critical essays or liner notes to walk the uninitiated through this period of The Residents’ past. (That work was already done by the 2015 documentary \u003cem>\u003ca href=\"https://www.imdb.com/title/tt2833768/\" target=\"_blank\" rel=\"noopener noreferrer\">The Theory of Obscurity\u003c/a>\u003c/em>.) Instead, Tanner peppers short quotes and tributes from artists that have worked directly with the group or cite them as an influence.\u003c/p>\n\u003cp>It’s an appropriately motley bunch. The Zach Hill quote above is taken from the book, and he’s joined by Pee-Wee Herman creator Paul Reubens, “Weird Al” Yankovic, XTC’s Andy Partridge, Dan Deacon and Ween co-founder Aaron Freeman, who says that hearing “Constantinople,” a track from the Residents’ 1978 EP \u003cem>Duck Stab\u003c/em>, “fucked up the way I hear music.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>When it comes to the legacy of this singular American ensemble, there’s really no higher praise than that.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Remembering Traxamillion, Whose Beats Defined the Bay Area Sound",
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"content": "\u003cp>In Bay Area hip-hop, where San Francisco, Oakland, Richmond and Vallejo reign supreme, a producer from San Jose united the region and became a key architect of one of its most notable musical movements: hyphy. The party-centric subgenre became the Bay Area’s signature sound in the 2000s, and wouldn’t have been possible without Traxamillion’s uptempo, bass-heavy production on essential tracks like Keak Da Sneak’s “Super Hyphy,” The Jacka’s “Glamorous Lifestyle” and Traxamillion’s own “Sideshow,” featuring Too $hort and Mistah F.A.B. \u003c/p>\n\u003cp>Traxamillion, born Sultan Banks, died at the age of 42 on Jan. 2 at his aunt’s home in Santa Clara, where he was receiving in-home care for nasopharyngeal cancer. He is survived by his 19-year-old son Elijah Banks, his father Darryl Cudgel and countless friends and collaborators from the Bay Area hip-hop community, where he was a key figure. \u003c/p>\n\u003cp>“It’s my loss—it’s every rapper, it’s everybody in the Bay—it’s all our loss,” says Too $hort. “It’s a family, it goes generations. And he was a real member of that family.”\u003c/p>\n\u003cp>“He really left his impact on the culture, on the music we listen to, what we like, our style of music. You know, the whole hyphy movement,” says Keak Da Sneak.\u003c/p>\n\u003cp>“Rest in heaven, man, Trax, we love you,” he continues. “You’ll always be in our hearts, you’ll never be forgotten. We made history together.”\u003c/p>\n\u003cfigure id=\"attachment_13907708\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/01/IMG_1281-800x1200.jpeg\" alt=\"Portrait of hip-hop producer Traxamillion, who died Jan. 2, 2022 at 42 years old.\" width=\"800\" height=\"1200\" class=\"size-medium wp-image-13907708\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/IMG_1281-800x1200.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/IMG_1281-1020x1530.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/IMG_1281-160x240.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/IMG_1281-768x1152.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/IMG_1281-1024x1536.jpeg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/IMG_1281-1365x2048.jpeg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/IMG_1281-1920x2880.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/IMG_1281-scaled.jpeg 1707w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Traxamillion. \u003ccite>(Kevin Allen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A San Jose prodigy\u003c/h2>\n\u003cp>Born in Newark, New Jersey and raised in San Jose from the age of nine, Traxamillion began making beats at 12 years old on a keyboard his grandmother gave him for Christmas. “I used to listen to the radio all the time and just play the songs on the radio,” he said in 2016 during a \u003ca href=\"https://www.youtube.com/watch?v=e-_ZsLFIwmM\" rel=\"noopener noreferrer\" target=\"_blank\">music workshop for youth at the San Jose Public Library\u003c/a>. “That’s how I really learned how to make beats. I felt like I was able to get a peek inside [the artists’] mind and how they did this.” \u003c/p>\n\u003cp>Traxamillion was just 14 when he showed up to a backyard MC battle in San Jose and promptly blew away the competition, according to Demone Carter, now a co-host of the rap podcast \u003cem>Dad Bod Rap Pod\u003c/em>. Soon after, Traxamillion recorded a diss track in his bedroom to another rapper in town, then showed up to school with hand-dubbed cassette tapes of the song, and handed all 20 or 30 of them out to fellow classmates.\u003c/p>\n\u003cp>“I know he is renowned as a producer, but his rap chops are fuckin’ incredible. He had the rhythm, and the cadence, and the voice,” says Carter. “You could hear the musicality in his raps.”\u003c/p>\n\u003cp>Before long, Traxamillion was producing and rapping alongside Carter and Jesse Jones in a group called Lackadaisical, heavily inspired by Oakland’s Souls of Mischief and fellow San Jose crew The Dereliks. One of the few hip-hop groups in San Jose at the time, Lackadaisical played pep rallies, art galleries and downtown clubs, and recorded an EP that Traxamillion co-produced.\u003c/p>\n\u003cp>“We were super young, didn’t have any production equipment, and he was making pause-loop tapes that we would rap to,” says Carter. “Even then, he had a vision. He wanted to go somewhere with the music—as we all did at that time, but you could tell, internally, he had it, and he wasn’t afraid to own it.” \u003c/p>\n\u003cp>https://youtu.be/eumCos1fh5Y\u003c/p>\n\u003cp>After Lackadaisical disbanded, Traxamillion set his sights beyond the underground scene. With an eye toward the millennial success of producers like The Neptunes, Traxamillion bought new equipment and evolved his production style, combining the high-energy Latin freestyle he’d heard growing up among San Jose’s immigrant communities with the futuristic knock of Timbaland.\u003c/p>\n\u003cp>“Back in the hyphy movement, one of the main conversations going on was, ‘We need to be able to compete on a national level.’ A lot of other regions had their producers, and we had ours, but there had been a lull in the Bay Area,” remembers fellow hip-hop producer Trackademicks, who came up with Traxamillion in the early 2000s. “It was time for new folks. … Traxamillion was kind of the big breakout for the hyphy movement.” \u003c/p>\n\u003ch2>A key architect of hyphy\u003c/h2>\n\u003cp>One night at a party in San Jose, Traxamillion watched people doing a new dance with a particular manic energy. “So I was tryin’ to figure out a beat that went with that while they was in the room dancin’,” \u003ca href=\"https://podcasts.apple.com/mu/podcast/episode-30-super-hyphy-with-guest-traxamillion/id1369624840?i=1000416187793\" rel=\"noopener noreferrer\" target=\"_blank\">Traxamillion told \u003cem>Dad Bod Rap Pod\u003c/em>\u003c/a> podcast in 2018.\u003c/p>\n\u003cp>[pullquote size='large' citation='Keak Da Sneak']“He really left his impact on the culture, on the music we listen to, what we like, our style of music. You know, the whole hyphy movement.”[/pullquote]\u003c/p>\n\u003cp>He knew the beat was special, so he waited outside the stage door after a Keak da Sneak show and passed him a CD. Keak nodded and continued to his van. A few months later, in 2005, Keak’s recording of “Super Hyphy” became Traxamillion’s first hit—and a tectonic shift for Bay Area hip-hop. The song not only coalesced new, frenetic musical ideas bubbling in the region, it coined an entire era.\u003c/p>\n\u003cp>“When I first met Keak, he told me, ‘Man, your beats and my voice—it’s a marriage,’” \u003ca href=\"https://48hills.org/2022/01/rip-bay-genius-producer-traxamillion-read-our-profile-from-2006/\" rel=\"noopener noreferrer\" target=\"_blank\">Traxamillion told \u003cem>San Francisco Bay Guardian\u003c/em>\u003c/a> in 2006. \u003c/p>\n\u003cp>https://youtu.be/w7zd6fVCORE\u003c/p>\n\u003cp>“Super Hyphy” hit No. 40 on Billboard’s Rhythmic Top 40 chart, and took a local movement to the national stage. Propelled by Traxamillion’s production–along with that of Rick Rock, The Mekanix, Droop-E, Sean T and others–hyphy became the West Coast’s answer to Atlanta’s crunk sound that dominated the airwaves at the time. \u003c/p>\n\u003cp>The hyphy movement birthed huge songs—E-40’s “Tell Me When To Go,” Mac Dre’s “Feelin’ Myself,” Mistah F.A.B.’s “N.E.W. Oakland”—but “Super Hyphy” was, indisputably, its namesake anthem.\u003c/p>\n\u003cp>“The impact of that song—that song will never die,” says Keak Da Sneak, adding that he and Traxamillion continued to work together throughout the years and have unreleased music in the pipeline. \u003c/p>\n\u003cp>“We always had fun doing music,” he says. “We would get in there and it would turn into something, you know what I mean. A lot of people don’t just got that ability to always come up with something good. This is a chemistry.”\u003c/p>\n\u003cp>“Traxamillion the composer created sonic adventures that exemplified Bay Area culture,” Mistah F.A.B. says via text message. “I will forever be in debt for what he did, not only for me personally but his role in the elevation and recognition of my region. Stanley to Sultan, thank you for being a friend … way deeper than music.” \u003c/p>\n\u003cp>https://youtu.be/h4d7UwaNrIQ\u003c/p>\n\u003ch2>A lasting legacy\u003c/h2>\n\u003cp>Traxamillion’s mid-2000s reign continued with The Jacka’s “Glamorous Lifestyle,” and his 2006 album \u003cem>The Slapp Addict\u003c/em>—with vocals from Turf Talk, Zion I, Too $hort, Keak Da Sneak, Mistah F.A.B. and his own raps—is considered hyphy music canon. But his output never slowed. His 2016 album, \u003cem>The Tech Boom\u003c/em>, put the spotlight on his hometown, San Jose. \u003c/p>\n\u003cp>“He was a legend in San Jose,” says friend and former manager Kevin “K9” Pringle, adding that Traxamillion would also make sure people outside of the city knew where he was from. “During the hyphy days everyone assumed he was from Oakland, and he would always correct them. ‘No, I’m from San Jose.’”\u003c/p>\n\u003cp>https://youtu.be/bPbgNHDpgAY\u003c/p>\n\u003cp>Through that connection to Pringle, a bond that formed around 2002, Traxamillion met Kevin Allen, formerly known as Erk Tha Jerk. “I called him the Timbaland of the Bay,” says Allen, explaining that Traxamillion was someone who could add a certain sauce to any given project.\u003c/p>\n\u003cp>While recording his 2009 hit “Right Here,” Allen says Traxamillion engineered the session and contributed additional vocals. “We turned a joke into a song,” Allen reflects. “I came back the next day and he added so many layers and textures and harmonies to it, it was like OK—it’s a hit.”\u003c/p>\n\u003cp>Traxamillion was an organized and professional producer who worked on everything from R&B tracks to an album inspired by video game sounds, but nothing spoke more to his brand than the slaps he made during the hyphy movement.\u003c/p>\n\u003cp>[pullquote size='large' citation='Mistah F.A.B.']“I will forever be in debt for what he did, not only for me personally but his role in the elevation and recognition of my region.”[/pullquote]\u003c/p>\n\u003cp>“If you’re from the Bay, Trax probably did one of the biggest songs for your city,” says manager PK, noting how impressive that was for anyone—let alone someone from San Jose. Listing popular songs Traxamillion produced for The Jacka, Dem Hoodstarz and San Quinn, PK says, “There weren’t a lot of songs on the radio from the Bay before he started doing what he was doing. It was like, if you want to get on the radio, ‘I need to get with Trax, I need to make a slap.’”\u003c/p>\n\u003cp>Traxamillion’s last release was his 2021 album \u003cem>Sirens\u003c/em>, which featured over a dozen up-and-coming women rappers and singers. “He spoke about how women are kind of dominating rap music right now, really doing our thing,” says Qing Qi, one of the featured artists on the album. “He was like, ‘I need to get all the talented women from the Bay Area and put them together.’”\u003c/p>\n\u003cp>Qing Qi grew up listening to Traxamillion’s productions, and was nervous when she got to the studio. But she quickly found that he was a generous collaborator. “After I was done [recording], he was going crazy,” she says of their song together, “Big D.” “He was like, ‘Play it back, play it back! That’s a hit!’”\u003c/p>\n\u003cp>https://youtu.be/rsMhenbNtjE\u003c/p>\n\u003cp>In a male-dominated rap scene, Qing Qi appreciated the way Traxamillion used his influence to break down gender barriers. It was an endeavor he wanted to continue. “It’s just so much more of a lane that he could have curated,” she says. \u003c/p>\n\u003cp>Traxamillion continued to branch out and work with national acts. In 2020 he produced City Girls’ “Broke N—-s” featuring Yo Gotti, and last year he was the maestro on E-40’s track “I Stand On That” featuring Joyner Lucas and T.I. PK says that Houston’s Paul Wall also has a forthcoming project entirely produced by Traxamillion and well-known Bay Area producer RobLo.\u003c/p>\n\u003cp>And though his profile continued to grow, over the years Traxamillion kept one foot rooted in his community, working as a mentor to younger artists and high school students. “People were drawn to him and loved his music,” says PK. “He was really a better person than a producer.”\u003c/p>\n\u003cp>With Traxamillion’s passing, the Bay Area mourns the loss of a great. But Traxamillion’s music and influence will endure well beyond this region for years to come. “The hyphy movement will never die if you dissect and listen to the beats,” says Too $hort. “And Trax was instrumental to that evolution. I don’t know who turned me on to Traxamillion, but once they did there was no turning back.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "Too $hort, Mistah F.A.B., Keak Da Sneak and more reflect on the late producer’s lasting legacy, from hyphy and beyond. ",
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"title": "Remembering Traxamillion, Whose Beats Defined the Bay Area Sound | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In Bay Area hip-hop, where San Francisco, Oakland, Richmond and Vallejo reign supreme, a producer from San Jose united the region and became a key architect of one of its most notable musical movements: hyphy. The party-centric subgenre became the Bay Area’s signature sound in the 2000s, and wouldn’t have been possible without Traxamillion’s uptempo, bass-heavy production on essential tracks like Keak Da Sneak’s “Super Hyphy,” The Jacka’s “Glamorous Lifestyle” and Traxamillion’s own “Sideshow,” featuring Too $hort and Mistah F.A.B. \u003c/p>\n\u003cp>Traxamillion, born Sultan Banks, died at the age of 42 on Jan. 2 at his aunt’s home in Santa Clara, where he was receiving in-home care for nasopharyngeal cancer. He is survived by his 19-year-old son Elijah Banks, his father Darryl Cudgel and countless friends and collaborators from the Bay Area hip-hop community, where he was a key figure. \u003c/p>\n\u003cp>“It’s my loss—it’s every rapper, it’s everybody in the Bay—it’s all our loss,” says Too $hort. “It’s a family, it goes generations. And he was a real member of that family.”\u003c/p>\n\u003cp>“He really left his impact on the culture, on the music we listen to, what we like, our style of music. You know, the whole hyphy movement,” says Keak Da Sneak.\u003c/p>\n\u003cp>“Rest in heaven, man, Trax, we love you,” he continues. “You’ll always be in our hearts, you’ll never be forgotten. We made history together.”\u003c/p>\n\u003cfigure id=\"attachment_13907708\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/01/IMG_1281-800x1200.jpeg\" alt=\"Portrait of hip-hop producer Traxamillion, who died Jan. 2, 2022 at 42 years old.\" width=\"800\" height=\"1200\" class=\"size-medium wp-image-13907708\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/IMG_1281-800x1200.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/IMG_1281-1020x1530.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/IMG_1281-160x240.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/IMG_1281-768x1152.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/IMG_1281-1024x1536.jpeg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/IMG_1281-1365x2048.jpeg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/IMG_1281-1920x2880.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/IMG_1281-scaled.jpeg 1707w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Traxamillion. \u003ccite>(Kevin Allen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A San Jose prodigy\u003c/h2>\n\u003cp>Born in Newark, New Jersey and raised in San Jose from the age of nine, Traxamillion began making beats at 12 years old on a keyboard his grandmother gave him for Christmas. “I used to listen to the radio all the time and just play the songs on the radio,” he said in 2016 during a \u003ca href=\"https://www.youtube.com/watch?v=e-_ZsLFIwmM\" rel=\"noopener noreferrer\" target=\"_blank\">music workshop for youth at the San Jose Public Library\u003c/a>. “That’s how I really learned how to make beats. I felt like I was able to get a peek inside [the artists’] mind and how they did this.” \u003c/p>\n\u003cp>Traxamillion was just 14 when he showed up to a backyard MC battle in San Jose and promptly blew away the competition, according to Demone Carter, now a co-host of the rap podcast \u003cem>Dad Bod Rap Pod\u003c/em>. Soon after, Traxamillion recorded a diss track in his bedroom to another rapper in town, then showed up to school with hand-dubbed cassette tapes of the song, and handed all 20 or 30 of them out to fellow classmates.\u003c/p>\n\u003cp>“I know he is renowned as a producer, but his rap chops are fuckin’ incredible. He had the rhythm, and the cadence, and the voice,” says Carter. “You could hear the musicality in his raps.”\u003c/p>\n\u003cp>Before long, Traxamillion was producing and rapping alongside Carter and Jesse Jones in a group called Lackadaisical, heavily inspired by Oakland’s Souls of Mischief and fellow San Jose crew The Dereliks. One of the few hip-hop groups in San Jose at the time, Lackadaisical played pep rallies, art galleries and downtown clubs, and recorded an EP that Traxamillion co-produced.\u003c/p>\n\u003cp>“We were super young, didn’t have any production equipment, and he was making pause-loop tapes that we would rap to,” says Carter. “Even then, he had a vision. He wanted to go somewhere with the music—as we all did at that time, but you could tell, internally, he had it, and he wasn’t afraid to own it.” \u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/eumCos1fh5Y'\n title='//www.youtube.com/embed/eumCos1fh5Y'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>After Lackadaisical disbanded, Traxamillion set his sights beyond the underground scene. With an eye toward the millennial success of producers like The Neptunes, Traxamillion bought new equipment and evolved his production style, combining the high-energy Latin freestyle he’d heard growing up among San Jose’s immigrant communities with the futuristic knock of Timbaland.\u003c/p>\n\u003cp>“Back in the hyphy movement, one of the main conversations going on was, ‘We need to be able to compete on a national level.’ A lot of other regions had their producers, and we had ours, but there had been a lull in the Bay Area,” remembers fellow hip-hop producer Trackademicks, who came up with Traxamillion in the early 2000s. “It was time for new folks. … Traxamillion was kind of the big breakout for the hyphy movement.” \u003c/p>\n\u003ch2>A key architect of hyphy\u003c/h2>\n\u003cp>One night at a party in San Jose, Traxamillion watched people doing a new dance with a particular manic energy. “So I was tryin’ to figure out a beat that went with that while they was in the room dancin’,” \u003ca href=\"https://podcasts.apple.com/mu/podcast/episode-30-super-hyphy-with-guest-traxamillion/id1369624840?i=1000416187793\" rel=\"noopener noreferrer\" target=\"_blank\">Traxamillion told \u003cem>Dad Bod Rap Pod\u003c/em>\u003c/a> podcast in 2018.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>He knew the beat was special, so he waited outside the stage door after a Keak da Sneak show and passed him a CD. Keak nodded and continued to his van. A few months later, in 2005, Keak’s recording of “Super Hyphy” became Traxamillion’s first hit—and a tectonic shift for Bay Area hip-hop. The song not only coalesced new, frenetic musical ideas bubbling in the region, it coined an entire era.\u003c/p>\n\u003cp>“When I first met Keak, he told me, ‘Man, your beats and my voice—it’s a marriage,’” \u003ca href=\"https://48hills.org/2022/01/rip-bay-genius-producer-traxamillion-read-our-profile-from-2006/\" rel=\"noopener noreferrer\" target=\"_blank\">Traxamillion told \u003cem>San Francisco Bay Guardian\u003c/em>\u003c/a> in 2006. \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/w7zd6fVCORE'\n title='//www.youtube.com/embed/w7zd6fVCORE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“Super Hyphy” hit No. 40 on Billboard’s Rhythmic Top 40 chart, and took a local movement to the national stage. Propelled by Traxamillion’s production–along with that of Rick Rock, The Mekanix, Droop-E, Sean T and others–hyphy became the West Coast’s answer to Atlanta’s crunk sound that dominated the airwaves at the time. \u003c/p>\n\u003cp>The hyphy movement birthed huge songs—E-40’s “Tell Me When To Go,” Mac Dre’s “Feelin’ Myself,” Mistah F.A.B.’s “N.E.W. Oakland”—but “Super Hyphy” was, indisputably, its namesake anthem.\u003c/p>\n\u003cp>“The impact of that song—that song will never die,” says Keak Da Sneak, adding that he and Traxamillion continued to work together throughout the years and have unreleased music in the pipeline. \u003c/p>\n\u003cp>“We always had fun doing music,” he says. “We would get in there and it would turn into something, you know what I mean. A lot of people don’t just got that ability to always come up with something good. This is a chemistry.”\u003c/p>\n\u003cp>“Traxamillion the composer created sonic adventures that exemplified Bay Area culture,” Mistah F.A.B. says via text message. “I will forever be in debt for what he did, not only for me personally but his role in the elevation and recognition of my region. Stanley to Sultan, thank you for being a friend … way deeper than music.” \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/h4d7UwaNrIQ'\n title='//www.youtube.com/embed/h4d7UwaNrIQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>A lasting legacy\u003c/h2>\n\u003cp>Traxamillion’s mid-2000s reign continued with The Jacka’s “Glamorous Lifestyle,” and his 2006 album \u003cem>The Slapp Addict\u003c/em>—with vocals from Turf Talk, Zion I, Too $hort, Keak Da Sneak, Mistah F.A.B. and his own raps—is considered hyphy music canon. But his output never slowed. His 2016 album, \u003cem>The Tech Boom\u003c/em>, put the spotlight on his hometown, San Jose. \u003c/p>\n\u003cp>“He was a legend in San Jose,” says friend and former manager Kevin “K9” Pringle, adding that Traxamillion would also make sure people outside of the city knew where he was from. “During the hyphy days everyone assumed he was from Oakland, and he would always correct them. ‘No, I’m from San Jose.’”\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/bPbgNHDpgAY'\n title='//www.youtube.com/embed/bPbgNHDpgAY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Through that connection to Pringle, a bond that formed around 2002, Traxamillion met Kevin Allen, formerly known as Erk Tha Jerk. “I called him the Timbaland of the Bay,” says Allen, explaining that Traxamillion was someone who could add a certain sauce to any given project.\u003c/p>\n\u003cp>While recording his 2009 hit “Right Here,” Allen says Traxamillion engineered the session and contributed additional vocals. “We turned a joke into a song,” Allen reflects. “I came back the next day and he added so many layers and textures and harmonies to it, it was like OK—it’s a hit.”\u003c/p>\n\u003cp>Traxamillion was an organized and professional producer who worked on everything from R&B tracks to an album inspired by video game sounds, but nothing spoke more to his brand than the slaps he made during the hyphy movement.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“If you’re from the Bay, Trax probably did one of the biggest songs for your city,” says manager PK, noting how impressive that was for anyone—let alone someone from San Jose. Listing popular songs Traxamillion produced for The Jacka, Dem Hoodstarz and San Quinn, PK says, “There weren’t a lot of songs on the radio from the Bay before he started doing what he was doing. It was like, if you want to get on the radio, ‘I need to get with Trax, I need to make a slap.’”\u003c/p>\n\u003cp>Traxamillion’s last release was his 2021 album \u003cem>Sirens\u003c/em>, which featured over a dozen up-and-coming women rappers and singers. “He spoke about how women are kind of dominating rap music right now, really doing our thing,” says Qing Qi, one of the featured artists on the album. “He was like, ‘I need to get all the talented women from the Bay Area and put them together.’”\u003c/p>\n\u003cp>Qing Qi grew up listening to Traxamillion’s productions, and was nervous when she got to the studio. But she quickly found that he was a generous collaborator. “After I was done [recording], he was going crazy,” she says of their song together, “Big D.” “He was like, ‘Play it back, play it back! That’s a hit!’”\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/rsMhenbNtjE'\n title='//www.youtube.com/embed/rsMhenbNtjE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In a male-dominated rap scene, Qing Qi appreciated the way Traxamillion used his influence to break down gender barriers. It was an endeavor he wanted to continue. “It’s just so much more of a lane that he could have curated,” she says. \u003c/p>\n\u003cp>Traxamillion continued to branch out and work with national acts. In 2020 he produced City Girls’ “Broke N—-s” featuring Yo Gotti, and last year he was the maestro on E-40’s track “I Stand On That” featuring Joyner Lucas and T.I. PK says that Houston’s Paul Wall also has a forthcoming project entirely produced by Traxamillion and well-known Bay Area producer RobLo.\u003c/p>\n\u003cp>And though his profile continued to grow, over the years Traxamillion kept one foot rooted in his community, working as a mentor to younger artists and high school students. “People were drawn to him and loved his music,” says PK. “He was really a better person than a producer.”\u003c/p>\n\u003cp>With Traxamillion’s passing, the Bay Area mourns the loss of a great. But Traxamillion’s music and influence will endure well beyond this region for years to come. “The hyphy movement will never die if you dissect and listen to the beats,” says Too $hort. “And Trax was instrumental to that evolution. I don’t know who turned me on to Traxamillion, but once they did there was no turning back.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Cue “Changes.”\u003c/p>\n\u003cp>Warner Chappell Music has bought the publishing rights to David Bowie’s catalog of songs for what may be more than $250 million, according to some reports. The musician died almost exactly five years ago, on Jan. 10, 2016, after a diagnosis of liver cancer.\u003c/p>\n\u003cp>“This fantastic pact with the David Bowie estate opens up a universe of opportunities to take his extraordinary music into dynamic new places,” enthused WCM’s co-chair and COO, Carianne Marshall \u003ca href=\"https://www.wmg.com/news/warner-chappell-acquires-david-bowie-music-publishing-catalog-36046\" target=\"_blank\" rel=\"noopener noreferrer\">in a statement\u003c/a>. “This isn’t merely a catalog, but a living, breathing collection of timeless songs that are as powerful and resonant today as they were when they were first written.”\u003c/p>\n\u003cp>[aside postid='arts_13898899']The announcement follows a string of similar ones over the past two years; Bruce Springsteen, Paul Simon, Bob Dylan, Stevie Nicks and Neil Young are just some of the stars who have recently sold off substantial rights to their music.\u003c/p>\n\u003cp>(It should be noted: There are huge differences between royalties for songwriting and performance. Some of these deals are just for publishing, as with the Bowie deal; others also include the original recordings, known as masters.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Springsteen sold his entire back catalog—including songwriting and recordings—to Sony Music Group, according to a \u003ca href=\"https://www.sonymusic.com/sonymusic/smg-announces-acquisition-of-bruce-springsteens-music/\" target=\"_blank\" rel=\"noopener noreferrer\">Dec. 16 announcement\u003c/a>. Industry reports placed the purchase at north of $500 million.\u003c/p>\n\u003cp>Even before the official announcement of the purchase in May, Sony Music Group’s chairman, Rob Stringer, told investors he’s spent about $1.5 billion just on music acquisitions since the beginning of the year.\u003c/p>\n\u003cp>“Including rights to some of the most iconic artists of all time, such as Paul Simon,” he gloated.\u003c/p>\n\u003cfigure id=\"attachment_13907684\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13907684\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/01/gettyimages-1352185071_slide-d75ec374d0205a842bd02f672bca8400d540b918-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/gettyimages-1352185071_slide-d75ec374d0205a842bd02f672bca8400d540b918-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/gettyimages-1352185071_slide-d75ec374d0205a842bd02f672bca8400d540b918-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/gettyimages-1352185071_slide-d75ec374d0205a842bd02f672bca8400d540b918-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/gettyimages-1352185071_slide-d75ec374d0205a842bd02f672bca8400d540b918-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/gettyimages-1352185071_slide-d75ec374d0205a842bd02f672bca8400d540b918-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/gettyimages-1352185071_slide-d75ec374d0205a842bd02f672bca8400d540b918-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/gettyimages-1352185071_slide-d75ec374d0205a842bd02f672bca8400d540b918-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bruce Springsteen onstage in New York, November 2021. \u003ccite>(Jamie McCarthy/Getty Images for SUFH)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://people.miami.edu/profile/selton@miami.edu\" target=\"_blank\" rel=\"noopener noreferrer\">Serona Elton\u003c/a> used to work with the major labels. Now she’s a professor and associate dean at the \u003ca href=\"https://www.frost.miami.edu/\" target=\"_blank\" rel=\"noopener noreferrer\">University of Miami Frost School of Music\u003c/a>. She compares being a celebrity musician with a catalog of hits to owning property someplace like Austin, Texas. “It’s scorching hot,” she exclaims. “Hot, hot, hot!”\u003c/p>\n\u003cp>“All of a sudden the market is crazy and everyone’s paying ridiculous sums of money,” she says. “And people worry it’s a bubble. Maybe it’s the right time to sell.”\u003c/p>\n\u003cp>But we’re talking about huge musicians who are not exactly starving artists, and famously careful about creative control. Why sell off so much of their precious back catalogs?\u003c/p>\n\u003cp>“The pandemic is part of it,” explains \u003ca href=\"http://www.tatianacirisano.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Tatiana Cirisano\u003c/a>, a music analyst at \u003ca href=\"https://www.midiaresearch.com/\" target=\"_blank\" rel=\"noopener noreferrer\">MIDiA Research\u003c/a>. “Touring has been stalled for some time. It could be stalled again. ”\u003c/p>\n\u003cp>[aside postid='arts_12168401']Even Springsteen took a hit when it came to revenues from live performances and touring last year. And, Cirisano points out, these musicians’ accountants know very well that capital gains taxes may change unfavorably for people holding such assets. Moreover—to be blunt—many of these musicians are senior citizens. They’re planning their estates.\u003c/p>\n\u003cp>When \u003ca href=\"https://www.universalmusic.com/universal-music-publishing-group-acquires-bob-dylans-entire-catalog-of-songs/\" target=\"_blank\" rel=\"noopener noreferrer\">Bob Dylan sold his entire songwriting catalog\u003c/a> to Universal Music Publishing Group last year, it included music he’d written more than 50 years ago. So he’s taking a lump sum now, rather than counting on royalties from whenever “Mr. Tambourine Man” goes viral on whatever platform might be most popular in a few decades. Even younger artists like Shakira and Calvin Harris recently sold parts of their back catalogs because corporations are paying so much for them.\u003c/p>\n\u003cp>Rob Stringer of Sony Music Group told investors this spring not to worry about the price of these acquisitions. Stocks go up and down, but lucrative music rights feel safer, he noted, due to Spotify, Apple and other streaming and subscription services.\u003c/p>\n\u003cp>“The number of users of paid music streaming services went up by almost 100 million in 2020 to 443 million globally, ” he explained. “Many research analysts are projecting this figure to well exceed one billion by 2030. In the music publishing market, streaming is driving similar sustained growth. The publishing industry achieved its seventh straight year of consecutive expansion, rising 5.2 percent in 2020,” he continued.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Synergy is also the name of the game here; when Sony buys up Springsteen’s music, they can use it more easily in movies and TV made by Sony studios. Other artists on Sony labels can sample or cover his songs, and whenever a Bruce Springsteen biopic comes out, you can bet a Sony movie studio will make it.\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=David+Bowie+joins+constellation+of+stars+selling+off+back+catalogs+for+galactic+sums&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Cue “Changes.”\u003c/p>\n\u003cp>Warner Chappell Music has bought the publishing rights to David Bowie’s catalog of songs for what may be more than $250 million, according to some reports. The musician died almost exactly five years ago, on Jan. 10, 2016, after a diagnosis of liver cancer.\u003c/p>\n\u003cp>“This fantastic pact with the David Bowie estate opens up a universe of opportunities to take his extraordinary music into dynamic new places,” enthused WCM’s co-chair and COO, Carianne Marshall \u003ca href=\"https://www.wmg.com/news/warner-chappell-acquires-david-bowie-music-publishing-catalog-36046\" target=\"_blank\" rel=\"noopener noreferrer\">in a statement\u003c/a>. “This isn’t merely a catalog, but a living, breathing collection of timeless songs that are as powerful and resonant today as they were when they were first written.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The announcement follows a string of similar ones over the past two years; Bruce Springsteen, Paul Simon, Bob Dylan, Stevie Nicks and Neil Young are just some of the stars who have recently sold off substantial rights to their music.\u003c/p>\n\u003cp>(It should be noted: There are huge differences between royalties for songwriting and performance. Some of these deals are just for publishing, as with the Bowie deal; others also include the original recordings, known as masters.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Springsteen sold his entire back catalog—including songwriting and recordings—to Sony Music Group, according to a \u003ca href=\"https://www.sonymusic.com/sonymusic/smg-announces-acquisition-of-bruce-springsteens-music/\" target=\"_blank\" rel=\"noopener noreferrer\">Dec. 16 announcement\u003c/a>. Industry reports placed the purchase at north of $500 million.\u003c/p>\n\u003cp>Even before the official announcement of the purchase in May, Sony Music Group’s chairman, Rob Stringer, told investors he’s spent about $1.5 billion just on music acquisitions since the beginning of the year.\u003c/p>\n\u003cp>“Including rights to some of the most iconic artists of all time, such as Paul Simon,” he gloated.\u003c/p>\n\u003cfigure id=\"attachment_13907684\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13907684\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/01/gettyimages-1352185071_slide-d75ec374d0205a842bd02f672bca8400d540b918-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/gettyimages-1352185071_slide-d75ec374d0205a842bd02f672bca8400d540b918-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/gettyimages-1352185071_slide-d75ec374d0205a842bd02f672bca8400d540b918-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/gettyimages-1352185071_slide-d75ec374d0205a842bd02f672bca8400d540b918-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/gettyimages-1352185071_slide-d75ec374d0205a842bd02f672bca8400d540b918-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/gettyimages-1352185071_slide-d75ec374d0205a842bd02f672bca8400d540b918-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/gettyimages-1352185071_slide-d75ec374d0205a842bd02f672bca8400d540b918-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/gettyimages-1352185071_slide-d75ec374d0205a842bd02f672bca8400d540b918-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bruce Springsteen onstage in New York, November 2021. \u003ccite>(Jamie McCarthy/Getty Images for SUFH)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://people.miami.edu/profile/selton@miami.edu\" target=\"_blank\" rel=\"noopener noreferrer\">Serona Elton\u003c/a> used to work with the major labels. Now she’s a professor and associate dean at the \u003ca href=\"https://www.frost.miami.edu/\" target=\"_blank\" rel=\"noopener noreferrer\">University of Miami Frost School of Music\u003c/a>. She compares being a celebrity musician with a catalog of hits to owning property someplace like Austin, Texas. “It’s scorching hot,” she exclaims. “Hot, hot, hot!”\u003c/p>\n\u003cp>“All of a sudden the market is crazy and everyone’s paying ridiculous sums of money,” she says. “And people worry it’s a bubble. Maybe it’s the right time to sell.”\u003c/p>\n\u003cp>But we’re talking about huge musicians who are not exactly starving artists, and famously careful about creative control. Why sell off so much of their precious back catalogs?\u003c/p>\n\u003cp>“The pandemic is part of it,” explains \u003ca href=\"http://www.tatianacirisano.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Tatiana Cirisano\u003c/a>, a music analyst at \u003ca href=\"https://www.midiaresearch.com/\" target=\"_blank\" rel=\"noopener noreferrer\">MIDiA Research\u003c/a>. “Touring has been stalled for some time. It could be stalled again. ”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Even Springsteen took a hit when it came to revenues from live performances and touring last year. And, Cirisano points out, these musicians’ accountants know very well that capital gains taxes may change unfavorably for people holding such assets. Moreover—to be blunt—many of these musicians are senior citizens. They’re planning their estates.\u003c/p>\n\u003cp>When \u003ca href=\"https://www.universalmusic.com/universal-music-publishing-group-acquires-bob-dylans-entire-catalog-of-songs/\" target=\"_blank\" rel=\"noopener noreferrer\">Bob Dylan sold his entire songwriting catalog\u003c/a> to Universal Music Publishing Group last year, it included music he’d written more than 50 years ago. So he’s taking a lump sum now, rather than counting on royalties from whenever “Mr. Tambourine Man” goes viral on whatever platform might be most popular in a few decades. Even younger artists like Shakira and Calvin Harris recently sold parts of their back catalogs because corporations are paying so much for them.\u003c/p>\n\u003cp>Rob Stringer of Sony Music Group told investors this spring not to worry about the price of these acquisitions. Stocks go up and down, but lucrative music rights feel safer, he noted, due to Spotify, Apple and other streaming and subscription services.\u003c/p>\n\u003cp>“The number of users of paid music streaming services went up by almost 100 million in 2020 to 443 million globally, ” he explained. “Many research analysts are projecting this figure to well exceed one billion by 2030. In the music publishing market, streaming is driving similar sustained growth. The publishing industry achieved its seventh straight year of consecutive expansion, rising 5.2 percent in 2020,” he continued.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Synergy is also the name of the game here; when Sony buys up Springsteen’s music, they can use it more easily in movies and TV made by Sony studios. Other artists on Sony labels can sample or cover his songs, and whenever a Bruce Springsteen biopic comes out, you can bet a Sony movie studio will make it.\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=David+Bowie+joins+constellation+of+stars+selling+off+back+catalogs+for+galactic+sums&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Musician and producer \u003ca href=\"https://www.npr.org/artists/15167272/michael-nesmith\" target=\"_blank\" rel=\"noopener noreferrer\">Michael Nesmith\u003c/a> has died. He rose to fame initially as a member of \u003ca href=\"https://www.npr.org/artists/15398067/the-monkees\" target=\"_blank\" rel=\"noopener noreferrer\">The Monkees\u003c/a>, but went on to have a long and influential career in music, television and movie production. Nesmith died of heart failure on Friday at his home in Carmel Valley, Calif. He was 78.\u003c/p>\n\u003cp>“With Infinite Love we announce that Michael Nesmith has passed away this morning in his home, surrounded by family, peacefully and of natural causes,” his family writes in a statement posted on Nesmith’s \u003ca href=\"https://www.videoranch3d.com/\" target=\"_blank\" rel=\"noopener noreferrer\">website\u003c/a>. “We ask that you respect our privacy at this time and we thank you for the love and light that all of you have shown him and us.”\u003c/p>\n\u003cp>Along with his bandmate, Micky Dolenz, Nesmith recently completed a Monkees’ farewell tour. “I’m heartbroken,” Dolenz said, in a statement provided by a spokesperson. “I’ve lost a dear friend and partner. I’m so grateful that we could spend the last couple of months together doing what we loved best—singing, laughing, and doing shtick. I’ll miss it all so much. Especially the shtick.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=5xzUNldsmmM\u003c/p>\n\u003cp>Nesmith was born in Houston, Tex., in 1942. His parents divorced when he was only four, and his mother Bette supported the family with her wages as a secretary: a job that led her to \u003ca href=\"https://news.google.com/newspapers?id=wHshAAAAIBAJ&sjid=S4oFAAAAIBAJ&pg=4613,3284045&dq=bette+nesmith+graham&hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">invent the correction fluid Liquid Paper\u003c/a>, to deal with mistakes caused by early electric typewriters.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Nesmith started writing and performing music after a stint in the Air Force, recording under the name “Michael Blessing” and finding some success as a songwriter for acts such as \u003ca href=\"https://www.newyorker.com/culture/culture-desk/different-drum-the-power-of-linda-ronstadts-voice\" target=\"_blank\" rel=\"noopener noreferrer\">Linda Ronstadt\u003c/a> and the \u003ca href=\"https://www.rollingstone.com/music/news/the-monkees-our-life-in-15-songs-w435214/mary-mary-1967-w435250\" target=\"_blank\" rel=\"noopener noreferrer\">Paul Butterfield Blues Band\u003c/a> (who recorded “Mary, Mary” before the Monkees made it a hit). In late 1965, a friend from the Los Angeles music scene pointed him to a magazine ad seeking “four insane boys” to play in a Beatles-inspired band on a new TV show.\u003c/p>\n\u003cp>\u003cem>The Monkees\u003c/em> is mostly remembered today as a show about a band that didn’t play their own instruments—but it was genuinely ahead of its time, jam-packed with avant-garde film techniques (\u003cem>The Monkees\u003c/em> never met a fourth wall it wouldn’t break) and musical “romps” that are the direct ancestors of today’s music videos. \u003ca href=\"http://articles.latimes.com/1992-02-07/entertainment/ca-1573_1_music-video-clips\" target=\"_blank\" rel=\"noopener noreferrer\">Nesmith himself later helped develop the format\u003c/a> that eventually morphed into into MTV.\u003c/p>\n\u003cp>A talented singer and multi-instrumentalist, Nesmith was the only one of his bandmates who had prior recording experience. If you watched \u003cem>The Monkees\u003c/em>, you probably heard his songs—including “Mary, Mary,” “You Just May Be the One” and “What Am I Doing Hangin’ Round”—without even realizing they were his. Nesmith clashed repeatedly with music publisher Don Kirshner over creative control of the band, once even \u003ca href=\"http://www.latimes.com/local/obituaries/la-me-don-kirshner-20110119-story.html\" target=\"_blank\" rel=\"noopener noreferrer\">putting his fist through a wall\u003c/a>. He won; Kirshner was fired, and went on to work with another fictional band called The Archies (who, as cartoons, were considerably less likely to argue with him).\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=AMNize7s8nc\u003c/p>\n\u003cp>In 1969, as The Monkees phenomenon was fizzling out, Nesmith formed his own act, Mike Nesmith and the First National Band, which made three albums and had a \u003ca href=\"https://www.billboard.com/music/michael-nesmith-the-first-national-band\" target=\"_blank\" rel=\"noopener noreferrer\">modest chart hit\u003c/a> with “Joanne” in 1970. While Nesmith never matched his Monkees-era musical successes—and other musicians were reluctant to accept him because of his association with the Pre-Fab Four—his pedal-steel-soaked First National records are regarded today as pioneering cuts of country-rock.\u003c/p>\n\u003cp>As the ’70s went along, Nesmith turned more towards production, founding the Pacific Arts Corporation to manage his music and television projects, including, in 1979, a show called \u003cem>PopClips\u003c/em>, which combined music videos with commentary from a “veejay,” which later became one of the models for MTV.\u003c/p>\n\u003cp>A few years later, he won the first video of the year Grammy for \u003ca href=\"https://www.youtube.com/playlist?list=PLU_ycxo-Q7PspWqZCya2VD0mQbXMuO-sA\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Elephant Parts\u003c/em>\u003c/a>\u003cem>,\u003c/em> a TV special with a similar format: music videos, parody commercials and comedy sketches. (Fun fact: the beloved Canadian band The Tragically Hip took their name from one of the sketches in \u003cem>Elephant Parts\u003c/em>). Another notable Pacific Arts production was the cult hit \u003ca href=\"https://www.imdb.com/title/tt0087995/?ref_=fn_al_tt_1\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Repo Man\u003c/em>\u003c/a>, which starred Emilio Estevez as a young punk and Harry Dean Stanton as a repo man in pursuit of a 1964 Chevy Malibu with a possibly-alien secret in its trunk.\u003c/p>\n\u003cp>Pacific Arts became a pioneer in the field of home video, before a legal dispute with PBS forced Nesmith to shut it down in the early 1990s; there was a blizzard of suits and countersuits over the home video rights to properties like \u003cem>Masterpiece Theater\u003c/em> and Ken Burns’ \u003cem>The Civil War\u003c/em>, and a jury sided with Nesmith, awarding him more than $40 million in damages. “It’s like finding your grandmother stealing your stereo,” \u003ca href=\"http://news.bbc.co.uk/2/hi/entertainment/271357.stm\" target=\"_blank\" rel=\"noopener noreferrer\">he told the BBC at the time\u003c/a>. “You’re happy to get your stereo back, but it’s sad to find out your grandmother is a thief.”\u003c/p>\n\u003cp>Nesmith continued to record and perform—even, occasionally, showing up onstage with The Monkees, after a 20th-anniversary revival (itself sparked by a marathon run of the band’s show on MTV) catapulted them back into the public consciousness. Always the most reserved and hard-to-find of the four, he was dogged for years by rumors that he didn’t get along with his bandmates, or that he wanted to distance himself from the whole phenomenon.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But as the band approached its 40th anniversary, Nesmith began to open up. “The Monkees reside in my life like a little nugget, a gem I enjoy,” he told \u003cem>Uncut\u003c/em> magazine in 2016. “The struggles, the victories are long gone. What has continued has been the remnant light of it.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 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=Michael+Nesmith+%E2%80%94+considerably+more+than+a+Monkee+%E2%80%94+dies+at+78&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Musician and producer \u003ca href=\"https://www.npr.org/artists/15167272/michael-nesmith\" target=\"_blank\" rel=\"noopener noreferrer\">Michael Nesmith\u003c/a> has died. He rose to fame initially as a member of \u003ca href=\"https://www.npr.org/artists/15398067/the-monkees\" target=\"_blank\" rel=\"noopener noreferrer\">The Monkees\u003c/a>, but went on to have a long and influential career in music, television and movie production. Nesmith died of heart failure on Friday at his home in Carmel Valley, Calif. He was 78.\u003c/p>\n\u003cp>“With Infinite Love we announce that Michael Nesmith has passed away this morning in his home, surrounded by family, peacefully and of natural causes,” his family writes in a statement posted on Nesmith’s \u003ca href=\"https://www.videoranch3d.com/\" target=\"_blank\" rel=\"noopener noreferrer\">website\u003c/a>. “We ask that you respect our privacy at this time and we thank you for the love and light that all of you have shown him and us.”\u003c/p>\n\u003cp>Along with his bandmate, Micky Dolenz, Nesmith recently completed a Monkees’ farewell tour. “I’m heartbroken,” Dolenz said, in a statement provided by a spokesperson. “I’ve lost a dear friend and partner. I’m so grateful that we could spend the last couple of months together doing what we loved best—singing, laughing, and doing shtick. I’ll miss it all so much. Especially the shtick.”\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/5xzUNldsmmM'\n title='//www.youtube.com/embed/5xzUNldsmmM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Nesmith was born in Houston, Tex., in 1942. His parents divorced when he was only four, and his mother Bette supported the family with her wages as a secretary: a job that led her to \u003ca href=\"https://news.google.com/newspapers?id=wHshAAAAIBAJ&sjid=S4oFAAAAIBAJ&pg=4613,3284045&dq=bette+nesmith+graham&hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">invent the correction fluid Liquid Paper\u003c/a>, to deal with mistakes caused by early electric typewriters.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Nesmith started writing and performing music after a stint in the Air Force, recording under the name “Michael Blessing” and finding some success as a songwriter for acts such as \u003ca href=\"https://www.newyorker.com/culture/culture-desk/different-drum-the-power-of-linda-ronstadts-voice\" target=\"_blank\" rel=\"noopener noreferrer\">Linda Ronstadt\u003c/a> and the \u003ca href=\"https://www.rollingstone.com/music/news/the-monkees-our-life-in-15-songs-w435214/mary-mary-1967-w435250\" target=\"_blank\" rel=\"noopener noreferrer\">Paul Butterfield Blues Band\u003c/a> (who recorded “Mary, Mary” before the Monkees made it a hit). In late 1965, a friend from the Los Angeles music scene pointed him to a magazine ad seeking “four insane boys” to play in a Beatles-inspired band on a new TV show.\u003c/p>\n\u003cp>\u003cem>The Monkees\u003c/em> is mostly remembered today as a show about a band that didn’t play their own instruments—but it was genuinely ahead of its time, jam-packed with avant-garde film techniques (\u003cem>The Monkees\u003c/em> never met a fourth wall it wouldn’t break) and musical “romps” that are the direct ancestors of today’s music videos. \u003ca href=\"http://articles.latimes.com/1992-02-07/entertainment/ca-1573_1_music-video-clips\" target=\"_blank\" rel=\"noopener noreferrer\">Nesmith himself later helped develop the format\u003c/a> that eventually morphed into into MTV.\u003c/p>\n\u003cp>A talented singer and multi-instrumentalist, Nesmith was the only one of his bandmates who had prior recording experience. If you watched \u003cem>The Monkees\u003c/em>, you probably heard his songs—including “Mary, Mary,” “You Just May Be the One” and “What Am I Doing Hangin’ Round”—without even realizing they were his. Nesmith clashed repeatedly with music publisher Don Kirshner over creative control of the band, once even \u003ca href=\"http://www.latimes.com/local/obituaries/la-me-don-kirshner-20110119-story.html\" target=\"_blank\" rel=\"noopener noreferrer\">putting his fist through a wall\u003c/a>. He won; Kirshner was fired, and went on to work with another fictional band called The Archies (who, as cartoons, were considerably less likely to argue with him).\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/AMNize7s8nc'\n title='//www.youtube.com/embed/AMNize7s8nc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In 1969, as The Monkees phenomenon was fizzling out, Nesmith formed his own act, Mike Nesmith and the First National Band, which made three albums and had a \u003ca href=\"https://www.billboard.com/music/michael-nesmith-the-first-national-band\" target=\"_blank\" rel=\"noopener noreferrer\">modest chart hit\u003c/a> with “Joanne” in 1970. While Nesmith never matched his Monkees-era musical successes—and other musicians were reluctant to accept him because of his association with the Pre-Fab Four—his pedal-steel-soaked First National records are regarded today as pioneering cuts of country-rock.\u003c/p>\n\u003cp>As the ’70s went along, Nesmith turned more towards production, founding the Pacific Arts Corporation to manage his music and television projects, including, in 1979, a show called \u003cem>PopClips\u003c/em>, which combined music videos with commentary from a “veejay,” which later became one of the models for MTV.\u003c/p>\n\u003cp>A few years later, he won the first video of the year Grammy for \u003ca href=\"https://www.youtube.com/playlist?list=PLU_ycxo-Q7PspWqZCya2VD0mQbXMuO-sA\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Elephant Parts\u003c/em>\u003c/a>\u003cem>,\u003c/em> a TV special with a similar format: music videos, parody commercials and comedy sketches. (Fun fact: the beloved Canadian band The Tragically Hip took their name from one of the sketches in \u003cem>Elephant Parts\u003c/em>). Another notable Pacific Arts production was the cult hit \u003ca href=\"https://www.imdb.com/title/tt0087995/?ref_=fn_al_tt_1\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Repo Man\u003c/em>\u003c/a>, which starred Emilio Estevez as a young punk and Harry Dean Stanton as a repo man in pursuit of a 1964 Chevy Malibu with a possibly-alien secret in its trunk.\u003c/p>\n\u003cp>Pacific Arts became a pioneer in the field of home video, before a legal dispute with PBS forced Nesmith to shut it down in the early 1990s; there was a blizzard of suits and countersuits over the home video rights to properties like \u003cem>Masterpiece Theater\u003c/em> and Ken Burns’ \u003cem>The Civil War\u003c/em>, and a jury sided with Nesmith, awarding him more than $40 million in damages. “It’s like finding your grandmother stealing your stereo,” \u003ca href=\"http://news.bbc.co.uk/2/hi/entertainment/271357.stm\" target=\"_blank\" rel=\"noopener noreferrer\">he told the BBC at the time\u003c/a>. “You’re happy to get your stereo back, but it’s sad to find out your grandmother is a thief.”\u003c/p>\n\u003cp>Nesmith continued to record and perform—even, occasionally, showing up onstage with The Monkees, after a 20th-anniversary revival (itself sparked by a marathon run of the band’s show on MTV) catapulted them back into the public consciousness. Always the most reserved and hard-to-find of the four, he was dogged for years by rumors that he didn’t get along with his bandmates, or that he wanted to distance himself from the whole phenomenon.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But as the band approached its 40th anniversary, Nesmith began to open up. “The Monkees reside in my life like a little nugget, a gem I enjoy,” he told \u003cem>Uncut\u003c/em> magazine in 2016. “The struggles, the victories are long gone. What has continued has been the remnant light of it.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 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=Michael+Nesmith+%E2%80%94+considerably+more+than+a+Monkee+%E2%80%94+dies+at+78&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Bill Bowker, Sculptor of the Sonoma County Sound, Signs Off",
"headTitle": "Bill Bowker, Sculptor of the Sonoma County Sound, Signs Off | KQED",
"content": "\u003cp>The studio phone doesn’t ring much anymore at The Krush. Here in the radio station’s small room, Bill Bowker tells me, it’s a quiet, solitary job, especially since texting took over calling as the preferred form of communication, and even more so since the pandemic. \u003c/p>\n\u003cp>But on Nov. 10, the studio phone lines suddenly lit up. Bowker, who has been a constant presence on the radio in Sonoma County since 1979, announced on the air that he was retiring from KRSH-FM and leaving the full-time airwaves after a 52-year-career. The calls came in for the rest of his afternoon shift. They continued for days afterward. Weeks afterward. They’re still coming in.\u003c/p>\n\u003cp>“So yeah, people tell me I’m gonna miss doing it,” Bill says to me on a recent visit to KRSH’s studio, with shelves of CDs behind him and a collection of signed photos on the wall nearby. “And I still feel conflicted about it. But it’s just time.”\u003c/p>\n\u003cfigure id=\"attachment_13907002\" class=\"wp-caption aligncenter\" style=\"max-width: 795px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/Bowker.Pinetop.jpg\" alt=\"Bowker and Pinetop, wearing a purple suit, share an embrace.\" width=\"795\" height=\"544\" class=\"size-full wp-image-13907002\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Bowker.Pinetop.jpg 795w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Bowker.Pinetop-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Bowker.Pinetop-768x526.jpg 768w\" sizes=\"(max-width: 795px) 100vw, 795px\">\u003cfigcaption class=\"wp-caption-text\">Bill Bowker and Pinetop Perkins at the Sonoma County Blues Festival, an annual fair tradition for 30 years. \u003ccite>(Courtesy Bill Bowker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When Bowker \u003ca href=\"https://www.krsh.com/event/bill-bowkers-last-broadcast/\" rel=\"noopener noreferrer\" target=\"_blank\">signs off for the last time on Dec. 15\u003c/a>, his 78th birthday, he’ll do so as the current longest-running full-time radio DJ in the county. During his remarkable 42-year run here, which started after a decade spent in Los Angeles, he’s not only become one of the most recognizable voices in Sonoma County—he’s also been the godfather and number-one champion of what one could justifiably call the Sonoma County sound.\u003c/p>\n\u003cp>Roots music, Americana, folk, blues, country rock: it practically floats in the air of Sonoma County, from winery events on the hill to street-level block parties. Touring singer-songwriters and blues musicians regularly bypass San Francisco and come straight to Santa Rosa, Sebastopol or Petaluma. And it’s been Bowker who’s interviewed them, and played, promoted, discussed, and given airtime to their music for over four decades. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Now, in the KRSH studio, as he back-announces a block of songs from Townes Van Zandt, Fred Eaglesmith and Emmylou Harris, telling an anecdote or offering some analysis about each artist, it strikes me that Sonoma County radio without Bill Bowker is going to be very strange. Here he is in a tiny room on the outskirts of town, doing his job alone, for thousands and yet nobody at the same time. His world might not change much. But ours will. \u003c/p>\n\u003cfigure id=\"attachment_13907003\" class=\"wp-caption aligncenter\" style=\"max-width: 1467px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/Bowker.KBBY_.1972.CRED_.RonWest.jpg\" alt=\"A young Bill Bowker sits in a radio booth, cigarette in hand.\" width=\"1467\" height=\"1171\" class=\"size-full wp-image-13907003\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Bowker.KBBY_.1972.CRED_.RonWest.jpg 1467w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Bowker.KBBY_.1972.CRED_.RonWest-800x639.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Bowker.KBBY_.1972.CRED_.RonWest-1020x814.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Bowker.KBBY_.1972.CRED_.RonWest-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Bowker.KBBY_.1972.CRED_.RonWest-768x613.jpg 768w\" sizes=\"(max-width: 1467px) 100vw, 1467px\">\u003cfigcaption class=\"wp-caption-text\">In his early days in Ventura, Bill Bowker regularly finished his 6pm-midnight shift at KUDU, then went next door to begin another shift at KBBY, playing freeform radio in the middle of the night. \u003ccite>(Ron West/Courtesy Bill Bowker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘That’s What Music Should Do’\u003c/h2>\n\u003cp>As a teenager in late-1950s New Jersey, Bowker tuned into a local station late one night, and heard a song that would change his life: “Evil,” by Howlin’ Wolf.\u003c/p>\n\u003cp>“It scared me,” Bowker says. “And I thought to myself, ‘That’s what music should do.’”\u003c/p>\n\u003cp>A love affair with the blues was born. Well before the British Invasion reintroduced America to its overlooked Black blues musicians, Bowker absorbed as much of their music he could find on the radio and in record stores, recognizing its dignity and importance and committing himself to promoting it. “I hear music that I like,” Bowker says, “and I immediately go, ‘If I could in any way help them, I would.”\u003c/p>\n\u003cp>He took a chance and wrote to one of his favorite radio personalities, Al “Jazzbo” Collins, and asked for advice on getting into radio. Collins wrote back, and said to start by getting his broadcasting license.\u003c/p>\n\u003cp>So, after being drafted and stationed in Germany in the mid-’60s, Bowker enrolled at an L.A. broadcasting school on the G.I. Bill. On Aug. 15, 1969, the same day that Woodstock kicked off in upstate New York and cemented a countercultural revolution, Bowker clocked in for his first-ever radio shift at KUDU, a country station in Ventura, playing old Bob Wills and Patsy Cline songs from 6pm to midnight.\u003c/p>\n\u003cfigure id=\"attachment_13907006\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/Bowker.Lavonna.jpg\" alt=\"A man and a woman embrace in a photo in a wooden frame next to a boombox.\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13907006\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Bowker.Lavonna.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Bowker.Lavonna-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Bowker.Lavonna-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Bowker.Lavonna-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Bowker.Lavonna-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Bowker.Lavonna-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A framed photo of Bill and Lavonna Bowker sits in Bill’s office at KRSH-FM. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After he took a second shift starting at midnight playing freeform radio (under the handle “Bill Phoxx”) for KBBY, the station next door, he met a young traffic announcer named Lavonna. She kept setting him up on dates with her friends. He had other plans.\u003c/p>\n\u003cp>“At one point he told me I was gonna marry him someday,” Lavonna tells me, “and I thought he was out of his mind.” The two eventually got married at the Santa Barbara Courthouse; they celebrate their 50th anniversary next June.\u003c/p>\n\u003cp>But the radio business is rocky. Bowker himself bounced around from station to station, and despite the Hollywood thrill of running into Frank Zappa or Farrah Fawcett around workplaces like KWST in Los Angeles, the young couple wanted to settle down somewhere. Raising their young daughter, and craving an escape from L.A.’s smog, they got a call about an opportunity in Santa Rosa: a small station run out of a shack on Farmers Lane called KVRE.\u003c/p>\n\u003cfigure id=\"attachment_13906993\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/IMG_3590.jpg\" alt=\"A miniature billboard with Bill Bowker's image sits on a bookshelf.\" width=\"1920\" height=\"1265\" class=\"size-full wp-image-13906993\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_3590.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_3590-800x527.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_3590-1020x672.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_3590-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_3590-768x506.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_3590-1536x1012.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A ‘Bill’ board advertising Bowker’s afternoon show on KVRE-FM. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With its eclectic playlists and even more eclectic DJs like Scott Kinzey, Bob Sala, Daisy, Dick Thyne and Scott Murray, KVRE was “where the rules were meant to be broken,” Bowker says. It was a perfect fit for his “\u003ca href=\"https://www.krsh.com/show/blues-with-bill-bowker/\" rel=\"noopener noreferrer\" target=\"_blank\">Blues With Bowker\u003c/a>” program, which shared air time with the Grateful Dead, David Lindley, Los Lobos and whatever B-side oddities its DJs happened to be obsessed with on any given week. Like KFOG to longtime San Franciscans, or KPIG south of the Bay, the station still holds a special place in locals’ hearts. \u003c/p>\n\u003cp>“We were lucky. All the people at KVRE, we had a vision, and we did it for years together,” Bowker says. “That doesn’t happen too often.”\u003c/p>\n\u003cfigure id=\"attachment_13906996\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/IMG_3561.jpg\" alt=\"A photo of SMith and Bowker on the walls at the KRSH studios.\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13906996\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_3561.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_3561-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_3561-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_3561-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_3561-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_3561-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Doug Smith and Bill Bowker met in the late 1980s and promoted live music in Sonoma County for 14 years together. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A Constellation of Live Music\u003c/h2>\n\u003cp>Another thing that doesn’t happen too often is meeting a musical soulmate. Bowker found his in Doug Smith, a lover of live music who first came across Bowker at the cable-station-slash-nightclub Studio KAFE, one of Bowker’s short-lived gigs after KVRE was sold in 1988. Together, they started Smith & Bowker Productions, booking and promoting shows all over the county for the next 14 years.\u003c/p>\n\u003cp>For a representative sampling of their reach, look no further than the trail left by Blasters guitarist and solo songwriter Dave Alvin (who says of Bowker that “the good people of Sonoma County couldn’t have asked for a better, more passionate or hipper guide through the worlds of blues and roots music”). With Smith & Bowker’s promotion, Alvin’s played at the El Rancho Tropicana hotel, the Cotati Cabaret, the Studio KAFE, Cafe This, the Powerhouse, the Inn of the Beginning, and—the only one still open—the Mystic Theatre.\u003c/p>\n\u003cp>Smith also assisted Bowker with the Sonoma County Blues Festival, which for 30 years at the Sonoma County Fair boasted headliners like Junior Kimbrough, R.L. Burnside, Pinetop Perkins, Joe Louis Walker, W.C. Clark and Shuggie Otis. Not to mention Bowker’s annual “Evolution of the Blues” concerts at Santa Rosa Junior College, the “Full Moon Blues” series at Mark West Vineyards in Forestville, and the “Almost Blues Cruise” aboard a large paddleboat, the Petaluma Queen. \u003c/p>\n\u003cp>Tragically, Smith died in a motorcycle crash in 2005. A photo of the two still hangs in the KRSH studio. “Doug was a wonderful human being,” Bowker says. “I haven’t talked about him in a while, hold on,” excusing himself, his voice choking up.\u003c/p>\n\u003cp>“He really cared about music,” Bowker adds. “We didn’t have the same taste, but we complemented each other well. And we became \u003cem>really\u003c/em> close friends.” \u003c/p>\n\u003cp>At these shows, Bowker often took the stage to introduce the acts, and honored his original teenage impulse to help those who made the music he loved. Lynn Newton, who worked the Sonoma County Blues Festival as well as later Bowker productions like Earlefest, is one who’s had a front-row seat to Bowker’s first-class treatment of musicians, both big and small.\u003c/p>\n\u003cp>“He’s such a champion of musicians who are starting out. It’s really something to watch—he fosters people so beautifully,” Newton says. “He makes people feel like, ‘Wow, I can really do this!’ It’s uncanny, his ability to do that.”\u003c/p>\n\u003cfigure id=\"attachment_13906994\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/IMG_3579.jpg\" alt=\"A file cabinet covered in stickers from musicians and radio stations.\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13906994\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_3579.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_3579-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_3579-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_3579-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_3579-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_3579-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The file cabinet in Bill Bowker’s office at KRSH-FM. A listener campaign to restore KVRE to the air resulted in a bumper-sticker blitz—as well as the short-lived station KRVE. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Everyone Can Relate to Him’\u003c/h2>\n\u003cp>After KVRE, Bowker hopped around—a short-lived AM resurrection of KVRE called KRVE, the work at Studio KAFE—until KRSH came calling in 1994. Several KVRE alumni joined him, and his casual but informed personality has been a staple at the station ever since. \u003c/p>\n\u003cp>As Doug Jayne, a DJ on KRCB in Rohnert Park, says, “The thing about Bill is, everybody loves him, and it’s not like he’s Mr. Slick, he’s just your average dude. He encouraged me, and told me, ‘You don’t have to go to radio broadcasting school and learn to talk like a professional announcer to be on the radio.’ He’s an everyman. Everyone can relate to him.”\u003c/p>\n\u003cp>Jayne opened the area’s longest-running record store, the Last Record Store, in 1983, after stumbling across KVRE’s broad, sophisticated programming. “I can honestly say that hearing Bill on KVRE in the early 1980s helped me decide to open a record store in Santa Rosa,” he says.\u003c/p>\n\u003cfigure id=\"attachment_13907000\" class=\"wp-caption aligncenter\" style=\"max-width: 1071px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/Bowker.Shaver.LaurieJoSchaeffer.jpg\" alt=\"Two men stand with arms around each other's shoulders.\" width=\"1071\" height=\"780\" class=\"size-full wp-image-13907000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Bowker.Shaver.LaurieJoSchaeffer.jpg 1071w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Bowker.Shaver.LaurieJoSchaeffer-800x583.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Bowker.Shaver.LaurieJoSchaeffer-1020x743.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Bowker.Shaver.LaurieJoSchaeffer-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Bowker.Shaver.LaurieJoSchaeffer-768x559.jpg 768w\" sizes=\"(max-width: 1071px) 100vw, 1071px\">\u003cfigcaption class=\"wp-caption-text\">Bill Bowker cracks a smile with with country icon Billy Joe Shaver. \u003ccite>(Courtesy Bill Bowker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Another longtime DJ on the local radio waves is Steve Jaxon, who started as a part-timer under Bowker at KVRE in 1982. “Bill’s a wonderful guy who has worked so hard over the years, perfecting not only his work, but so much that he’s given to the area on the radio,” Jaxon says. “He’s one of my favorite people on the planet.”\u003c/p>\n\u003cp>Andre DeChannes, program director at KRSH, often assisted Bowker with the station’s long-running backyard concerts—free outdoor shows in the grassy area behind the old-time railroad train cars where the station makes its headquarters. DeChannes says that in an industry that’s often competitive, Bowker gave him nothing but support after they met. \u003c/p>\n\u003cp>“We became fast friends, and he’s been my mentor all this time, and there was never this ‘You’re after my job’ kind of feeling that a lot of people in radio can have,” DeChannes says.\u003c/p>\n\u003cp>DeChannes has continued the KRSH tradition of allowing Bowker complete control over what he plays on his show. It’s also his job now to rehire for Bill’s position at The Krush, and he admits it will be hard.\u003c/p>\n\u003cp>“He’s just a great guy,” DeChannes says, “and I don’t know how we’re gonna fill his shoes.”\u003c/p>\n\u003cfigure id=\"attachment_13906995\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/IMG_3557.jpg\" alt=\"Wearinga brown shirt, Bill Bowker sits at a microphone with shelves of CDs and equipment in the background.\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13906995\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_3557.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_3557-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_3557-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_3557-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_3557-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_3557-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Bill Bowker broadcasts from the KRSH studios, Nov. 22, 2021. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Honesty and Perseverance\u003c/h2>\n\u003cp>In a corner of the Bowker home is Bill’s den, decorated with gold record awards from Howlin’ Wolf and B.B King, handwritten lyrics by Lucinda Williams, and dozens of photos of him with folk and blues luminaries, including close friends Charlie Musselwhite and Doyle Bramhall II. \u003c/p>\n\u003cp>It’s a testament to a career that might not be fully over just yet. \u003c/p>\n\u003cp>“It’s not like I’m going to leave music,” Bowker tells me, reclining in a chair at his house. He’s talking with local booking dynamo Shelia Groves, his co-conspirator on Earlefest, about promoting more live shows. And he’ll continue his streaming radio show on \u003ca href=\"https://www.xrds.fm/\" rel=\"noopener noreferrer\" target=\"_blank\">XRDS\u003c/a>, an internet radio station in Clarksdale, Mississippi, the site of Robert Johnson’s famous “crossroads” and the home of the delta blues. His friend Musselwhite recently moved to Clarksdale, and he has numerous connections to the city. “But family’s here,” he says, brushing aside suggestions that he would ever leave Sonoma County. \u003c/p>\n\u003cfigure id=\"attachment_13906997\" class=\"wp-caption aligncenter\" style=\"max-width: 1065px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/Bowker.Charlie.HomesickJames.jpg\" alt=\"A man in a suit and fedora shakes hands with Musselwhite, in shades and slicked-back hair.\" width=\"1065\" height=\"758\" class=\"size-full wp-image-13906997\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Bowker.Charlie.HomesickJames.jpg 1065w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Bowker.Charlie.HomesickJames-800x569.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Bowker.Charlie.HomesickJames-1020x726.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Bowker.Charlie.HomesickJames-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Bowker.Charlie.HomesickJames-768x547.jpg 768w\" sizes=\"(max-width: 1065px) 100vw, 1065px\">\u003cfigcaption class=\"wp-caption-text\">Homesick James, Bill Bowker and close friend Charlie Musselwhite share a moment in this undated photo. \u003ccite>(Courtesy Bill Bowker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Since his announcement, Bowker’s been more reflective on his drive-time radio show. He’ll reminisce about old friends like Kate Wolf, the late, esteemed folksinger who also had a show on KVRE, or Audrey Auld, whose music is still a staple on his show six years after her death from cancer. He’s allowed himself “heartbreak sets”—blocks of slow, sad songs, which his program directors have always discouraged playing. \u003c/p>\n\u003cp>“But why not? Maybe it’s just that kind of day, and you need it,” Bowker says, before giving a mini-mission statement about his five decades in music.\u003c/p>\n\u003cp>“I like great songwriters. I like that \u003cem>honesty\u003c/em>. And that’s what the blues is. It’s just honest music. When music is made expressly for the idea of hit radio, or to sell something, it doesn’t intrigue me. And I still feel that way, after all these years.”\u003c/p>\n\u003cp>It’s for that reason that Bowker’s dedication, passion and perseverance have affected so many. And while the comments online keep piling up, the tributes in local media pour in and the phone at the KRSH studio keeps ringing, Bowker feels grateful for it all.\u003c/p>\n\u003cp>“I’m amazed, the amount of people whose lives I’ve touched,” he says. “It does my heart good.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Bill Bowker broadcasts his final show on KRSH on Wednesday, Dec. 15, at Hopmonk Tavern in Sebastopol. The party runs 4-7pm, and is free and open to the public. \u003ca href=\"https://www.krsh.com/event/bill-bowkers-last-broadcast/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The studio phone doesn’t ring much anymore at The Krush. Here in the radio station’s small room, Bill Bowker tells me, it’s a quiet, solitary job, especially since texting took over calling as the preferred form of communication, and even more so since the pandemic. \u003c/p>\n\u003cp>But on Nov. 10, the studio phone lines suddenly lit up. Bowker, who has been a constant presence on the radio in Sonoma County since 1979, announced on the air that he was retiring from KRSH-FM and leaving the full-time airwaves after a 52-year-career. The calls came in for the rest of his afternoon shift. They continued for days afterward. Weeks afterward. They’re still coming in.\u003c/p>\n\u003cp>“So yeah, people tell me I’m gonna miss doing it,” Bill says to me on a recent visit to KRSH’s studio, with shelves of CDs behind him and a collection of signed photos on the wall nearby. “And I still feel conflicted about it. But it’s just time.”\u003c/p>\n\u003cfigure id=\"attachment_13907002\" class=\"wp-caption aligncenter\" style=\"max-width: 795px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/Bowker.Pinetop.jpg\" alt=\"Bowker and Pinetop, wearing a purple suit, share an embrace.\" width=\"795\" height=\"544\" class=\"size-full wp-image-13907002\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Bowker.Pinetop.jpg 795w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Bowker.Pinetop-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Bowker.Pinetop-768x526.jpg 768w\" sizes=\"(max-width: 795px) 100vw, 795px\">\u003cfigcaption class=\"wp-caption-text\">Bill Bowker and Pinetop Perkins at the Sonoma County Blues Festival, an annual fair tradition for 30 years. \u003ccite>(Courtesy Bill Bowker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When Bowker \u003ca href=\"https://www.krsh.com/event/bill-bowkers-last-broadcast/\" rel=\"noopener noreferrer\" target=\"_blank\">signs off for the last time on Dec. 15\u003c/a>, his 78th birthday, he’ll do so as the current longest-running full-time radio DJ in the county. During his remarkable 42-year run here, which started after a decade spent in Los Angeles, he’s not only become one of the most recognizable voices in Sonoma County—he’s also been the godfather and number-one champion of what one could justifiably call the Sonoma County sound.\u003c/p>\n\u003cp>Roots music, Americana, folk, blues, country rock: it practically floats in the air of Sonoma County, from winery events on the hill to street-level block parties. Touring singer-songwriters and blues musicians regularly bypass San Francisco and come straight to Santa Rosa, Sebastopol or Petaluma. And it’s been Bowker who’s interviewed them, and played, promoted, discussed, and given airtime to their music for over four decades. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Now, in the KRSH studio, as he back-announces a block of songs from Townes Van Zandt, Fred Eaglesmith and Emmylou Harris, telling an anecdote or offering some analysis about each artist, it strikes me that Sonoma County radio without Bill Bowker is going to be very strange. Here he is in a tiny room on the outskirts of town, doing his job alone, for thousands and yet nobody at the same time. His world might not change much. But ours will. \u003c/p>\n\u003cfigure id=\"attachment_13907003\" class=\"wp-caption aligncenter\" style=\"max-width: 1467px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/Bowker.KBBY_.1972.CRED_.RonWest.jpg\" alt=\"A young Bill Bowker sits in a radio booth, cigarette in hand.\" width=\"1467\" height=\"1171\" class=\"size-full wp-image-13907003\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Bowker.KBBY_.1972.CRED_.RonWest.jpg 1467w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Bowker.KBBY_.1972.CRED_.RonWest-800x639.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Bowker.KBBY_.1972.CRED_.RonWest-1020x814.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Bowker.KBBY_.1972.CRED_.RonWest-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Bowker.KBBY_.1972.CRED_.RonWest-768x613.jpg 768w\" sizes=\"(max-width: 1467px) 100vw, 1467px\">\u003cfigcaption class=\"wp-caption-text\">In his early days in Ventura, Bill Bowker regularly finished his 6pm-midnight shift at KUDU, then went next door to begin another shift at KBBY, playing freeform radio in the middle of the night. \u003ccite>(Ron West/Courtesy Bill Bowker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘That’s What Music Should Do’\u003c/h2>\n\u003cp>As a teenager in late-1950s New Jersey, Bowker tuned into a local station late one night, and heard a song that would change his life: “Evil,” by Howlin’ Wolf.\u003c/p>\n\u003cp>“It scared me,” Bowker says. “And I thought to myself, ‘That’s what music should do.’”\u003c/p>\n\u003cp>A love affair with the blues was born. Well before the British Invasion reintroduced America to its overlooked Black blues musicians, Bowker absorbed as much of their music he could find on the radio and in record stores, recognizing its dignity and importance and committing himself to promoting it. “I hear music that I like,” Bowker says, “and I immediately go, ‘If I could in any way help them, I would.”\u003c/p>\n\u003cp>He took a chance and wrote to one of his favorite radio personalities, Al “Jazzbo” Collins, and asked for advice on getting into radio. Collins wrote back, and said to start by getting his broadcasting license.\u003c/p>\n\u003cp>So, after being drafted and stationed in Germany in the mid-’60s, Bowker enrolled at an L.A. broadcasting school on the G.I. Bill. On Aug. 15, 1969, the same day that Woodstock kicked off in upstate New York and cemented a countercultural revolution, Bowker clocked in for his first-ever radio shift at KUDU, a country station in Ventura, playing old Bob Wills and Patsy Cline songs from 6pm to midnight.\u003c/p>\n\u003cfigure id=\"attachment_13907006\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/Bowker.Lavonna.jpg\" alt=\"A man and a woman embrace in a photo in a wooden frame next to a boombox.\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13907006\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Bowker.Lavonna.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Bowker.Lavonna-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Bowker.Lavonna-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Bowker.Lavonna-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Bowker.Lavonna-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Bowker.Lavonna-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A framed photo of Bill and Lavonna Bowker sits in Bill’s office at KRSH-FM. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After he took a second shift starting at midnight playing freeform radio (under the handle “Bill Phoxx”) for KBBY, the station next door, he met a young traffic announcer named Lavonna. She kept setting him up on dates with her friends. He had other plans.\u003c/p>\n\u003cp>“At one point he told me I was gonna marry him someday,” Lavonna tells me, “and I thought he was out of his mind.” The two eventually got married at the Santa Barbara Courthouse; they celebrate their 50th anniversary next June.\u003c/p>\n\u003cp>But the radio business is rocky. Bowker himself bounced around from station to station, and despite the Hollywood thrill of running into Frank Zappa or Farrah Fawcett around workplaces like KWST in Los Angeles, the young couple wanted to settle down somewhere. Raising their young daughter, and craving an escape from L.A.’s smog, they got a call about an opportunity in Santa Rosa: a small station run out of a shack on Farmers Lane called KVRE.\u003c/p>\n\u003cfigure id=\"attachment_13906993\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/IMG_3590.jpg\" alt=\"A miniature billboard with Bill Bowker's image sits on a bookshelf.\" width=\"1920\" height=\"1265\" class=\"size-full wp-image-13906993\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_3590.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_3590-800x527.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_3590-1020x672.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_3590-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_3590-768x506.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_3590-1536x1012.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A ‘Bill’ board advertising Bowker’s afternoon show on KVRE-FM. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With its eclectic playlists and even more eclectic DJs like Scott Kinzey, Bob Sala, Daisy, Dick Thyne and Scott Murray, KVRE was “where the rules were meant to be broken,” Bowker says. It was a perfect fit for his “\u003ca href=\"https://www.krsh.com/show/blues-with-bill-bowker/\" rel=\"noopener noreferrer\" target=\"_blank\">Blues With Bowker\u003c/a>” program, which shared air time with the Grateful Dead, David Lindley, Los Lobos and whatever B-side oddities its DJs happened to be obsessed with on any given week. Like KFOG to longtime San Franciscans, or KPIG south of the Bay, the station still holds a special place in locals’ hearts. \u003c/p>\n\u003cp>“We were lucky. All the people at KVRE, we had a vision, and we did it for years together,” Bowker says. “That doesn’t happen too often.”\u003c/p>\n\u003cfigure id=\"attachment_13906996\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/IMG_3561.jpg\" alt=\"A photo of SMith and Bowker on the walls at the KRSH studios.\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13906996\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_3561.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_3561-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_3561-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_3561-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_3561-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_3561-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Doug Smith and Bill Bowker met in the late 1980s and promoted live music in Sonoma County for 14 years together. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A Constellation of Live Music\u003c/h2>\n\u003cp>Another thing that doesn’t happen too often is meeting a musical soulmate. Bowker found his in Doug Smith, a lover of live music who first came across Bowker at the cable-station-slash-nightclub Studio KAFE, one of Bowker’s short-lived gigs after KVRE was sold in 1988. Together, they started Smith & Bowker Productions, booking and promoting shows all over the county for the next 14 years.\u003c/p>\n\u003cp>For a representative sampling of their reach, look no further than the trail left by Blasters guitarist and solo songwriter Dave Alvin (who says of Bowker that “the good people of Sonoma County couldn’t have asked for a better, more passionate or hipper guide through the worlds of blues and roots music”). With Smith & Bowker’s promotion, Alvin’s played at the El Rancho Tropicana hotel, the Cotati Cabaret, the Studio KAFE, Cafe This, the Powerhouse, the Inn of the Beginning, and—the only one still open—the Mystic Theatre.\u003c/p>\n\u003cp>Smith also assisted Bowker with the Sonoma County Blues Festival, which for 30 years at the Sonoma County Fair boasted headliners like Junior Kimbrough, R.L. Burnside, Pinetop Perkins, Joe Louis Walker, W.C. Clark and Shuggie Otis. Not to mention Bowker’s annual “Evolution of the Blues” concerts at Santa Rosa Junior College, the “Full Moon Blues” series at Mark West Vineyards in Forestville, and the “Almost Blues Cruise” aboard a large paddleboat, the Petaluma Queen. \u003c/p>\n\u003cp>Tragically, Smith died in a motorcycle crash in 2005. A photo of the two still hangs in the KRSH studio. “Doug was a wonderful human being,” Bowker says. “I haven’t talked about him in a while, hold on,” excusing himself, his voice choking up.\u003c/p>\n\u003cp>“He really cared about music,” Bowker adds. “We didn’t have the same taste, but we complemented each other well. And we became \u003cem>really\u003c/em> close friends.” \u003c/p>\n\u003cp>At these shows, Bowker often took the stage to introduce the acts, and honored his original teenage impulse to help those who made the music he loved. Lynn Newton, who worked the Sonoma County Blues Festival as well as later Bowker productions like Earlefest, is one who’s had a front-row seat to Bowker’s first-class treatment of musicians, both big and small.\u003c/p>\n\u003cp>“He’s such a champion of musicians who are starting out. It’s really something to watch—he fosters people so beautifully,” Newton says. “He makes people feel like, ‘Wow, I can really do this!’ It’s uncanny, his ability to do that.”\u003c/p>\n\u003cfigure id=\"attachment_13906994\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/IMG_3579.jpg\" alt=\"A file cabinet covered in stickers from musicians and radio stations.\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13906994\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_3579.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_3579-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_3579-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_3579-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_3579-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_3579-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The file cabinet in Bill Bowker’s office at KRSH-FM. A listener campaign to restore KVRE to the air resulted in a bumper-sticker blitz—as well as the short-lived station KRVE. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Everyone Can Relate to Him’\u003c/h2>\n\u003cp>After KVRE, Bowker hopped around—a short-lived AM resurrection of KVRE called KRVE, the work at Studio KAFE—until KRSH came calling in 1994. Several KVRE alumni joined him, and his casual but informed personality has been a staple at the station ever since. \u003c/p>\n\u003cp>As Doug Jayne, a DJ on KRCB in Rohnert Park, says, “The thing about Bill is, everybody loves him, and it’s not like he’s Mr. Slick, he’s just your average dude. He encouraged me, and told me, ‘You don’t have to go to radio broadcasting school and learn to talk like a professional announcer to be on the radio.’ He’s an everyman. Everyone can relate to him.”\u003c/p>\n\u003cp>Jayne opened the area’s longest-running record store, the Last Record Store, in 1983, after stumbling across KVRE’s broad, sophisticated programming. “I can honestly say that hearing Bill on KVRE in the early 1980s helped me decide to open a record store in Santa Rosa,” he says.\u003c/p>\n\u003cfigure id=\"attachment_13907000\" class=\"wp-caption aligncenter\" style=\"max-width: 1071px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/Bowker.Shaver.LaurieJoSchaeffer.jpg\" alt=\"Two men stand with arms around each other's shoulders.\" width=\"1071\" height=\"780\" class=\"size-full wp-image-13907000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Bowker.Shaver.LaurieJoSchaeffer.jpg 1071w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Bowker.Shaver.LaurieJoSchaeffer-800x583.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Bowker.Shaver.LaurieJoSchaeffer-1020x743.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Bowker.Shaver.LaurieJoSchaeffer-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Bowker.Shaver.LaurieJoSchaeffer-768x559.jpg 768w\" sizes=\"(max-width: 1071px) 100vw, 1071px\">\u003cfigcaption class=\"wp-caption-text\">Bill Bowker cracks a smile with with country icon Billy Joe Shaver. \u003ccite>(Courtesy Bill Bowker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Another longtime DJ on the local radio waves is Steve Jaxon, who started as a part-timer under Bowker at KVRE in 1982. “Bill’s a wonderful guy who has worked so hard over the years, perfecting not only his work, but so much that he’s given to the area on the radio,” Jaxon says. “He’s one of my favorite people on the planet.”\u003c/p>\n\u003cp>Andre DeChannes, program director at KRSH, often assisted Bowker with the station’s long-running backyard concerts—free outdoor shows in the grassy area behind the old-time railroad train cars where the station makes its headquarters. DeChannes says that in an industry that’s often competitive, Bowker gave him nothing but support after they met. \u003c/p>\n\u003cp>“We became fast friends, and he’s been my mentor all this time, and there was never this ‘You’re after my job’ kind of feeling that a lot of people in radio can have,” DeChannes says.\u003c/p>\n\u003cp>DeChannes has continued the KRSH tradition of allowing Bowker complete control over what he plays on his show. It’s also his job now to rehire for Bill’s position at The Krush, and he admits it will be hard.\u003c/p>\n\u003cp>“He’s just a great guy,” DeChannes says, “and I don’t know how we’re gonna fill his shoes.”\u003c/p>\n\u003cfigure id=\"attachment_13906995\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/IMG_3557.jpg\" alt=\"Wearinga brown shirt, Bill Bowker sits at a microphone with shelves of CDs and equipment in the background.\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13906995\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_3557.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_3557-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_3557-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_3557-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_3557-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/IMG_3557-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Bill Bowker broadcasts from the KRSH studios, Nov. 22, 2021. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Honesty and Perseverance\u003c/h2>\n\u003cp>In a corner of the Bowker home is Bill’s den, decorated with gold record awards from Howlin’ Wolf and B.B King, handwritten lyrics by Lucinda Williams, and dozens of photos of him with folk and blues luminaries, including close friends Charlie Musselwhite and Doyle Bramhall II. \u003c/p>\n\u003cp>It’s a testament to a career that might not be fully over just yet. \u003c/p>\n\u003cp>“It’s not like I’m going to leave music,” Bowker tells me, reclining in a chair at his house. He’s talking with local booking dynamo Shelia Groves, his co-conspirator on Earlefest, about promoting more live shows. And he’ll continue his streaming radio show on \u003ca href=\"https://www.xrds.fm/\" rel=\"noopener noreferrer\" target=\"_blank\">XRDS\u003c/a>, an internet radio station in Clarksdale, Mississippi, the site of Robert Johnson’s famous “crossroads” and the home of the delta blues. His friend Musselwhite recently moved to Clarksdale, and he has numerous connections to the city. “But family’s here,” he says, brushing aside suggestions that he would ever leave Sonoma County. \u003c/p>\n\u003cfigure id=\"attachment_13906997\" class=\"wp-caption aligncenter\" style=\"max-width: 1065px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/Bowker.Charlie.HomesickJames.jpg\" alt=\"A man in a suit and fedora shakes hands with Musselwhite, in shades and slicked-back hair.\" width=\"1065\" height=\"758\" class=\"size-full wp-image-13906997\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Bowker.Charlie.HomesickJames.jpg 1065w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Bowker.Charlie.HomesickJames-800x569.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Bowker.Charlie.HomesickJames-1020x726.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Bowker.Charlie.HomesickJames-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Bowker.Charlie.HomesickJames-768x547.jpg 768w\" sizes=\"(max-width: 1065px) 100vw, 1065px\">\u003cfigcaption class=\"wp-caption-text\">Homesick James, Bill Bowker and close friend Charlie Musselwhite share a moment in this undated photo. \u003ccite>(Courtesy Bill Bowker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Since his announcement, Bowker’s been more reflective on his drive-time radio show. He’ll reminisce about old friends like Kate Wolf, the late, esteemed folksinger who also had a show on KVRE, or Audrey Auld, whose music is still a staple on his show six years after her death from cancer. He’s allowed himself “heartbreak sets”—blocks of slow, sad songs, which his program directors have always discouraged playing. \u003c/p>\n\u003cp>“But why not? Maybe it’s just that kind of day, and you need it,” Bowker says, before giving a mini-mission statement about his five decades in music.\u003c/p>\n\u003cp>“I like great songwriters. I like that \u003cem>honesty\u003c/em>. And that’s what the blues is. It’s just honest music. When music is made expressly for the idea of hit radio, or to sell something, it doesn’t intrigue me. And I still feel that way, after all these years.”\u003c/p>\n\u003cp>It’s for that reason that Bowker’s dedication, passion and perseverance have affected so many. And while the comments online keep piling up, the tributes in local media pour in and the phone at the KRSH studio keeps ringing, Bowker feels grateful for it all.\u003c/p>\n\u003cp>“I’m amazed, the amount of people whose lives I’ve touched,” he says. “It does my heart good.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Bill Bowker broadcasts his final show on KRSH on Wednesday, Dec. 15, at Hopmonk Tavern in Sebastopol. The party runs 4-7pm, and is free and open to the public. \u003ca href=\"https://www.krsh.com/event/bill-bowkers-last-broadcast/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The Year LaRussell Called His Shot",
"headTitle": "The Year LaRussell Called His Shot | KQED",
"content": "\u003cfigure id=\"attachment_13906893\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13906893\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/LaRussell.MAIN_-800x1200.jpg\" alt=\"LaRussell poses looking off camera in a stoic expression, the photo is black and white.\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/LaRussell.MAIN_-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/LaRussell.MAIN_-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/LaRussell.MAIN_-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/LaRussell.MAIN_-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/LaRussell.MAIN_-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/LaRussell.MAIN_-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/LaRussell.MAIN_-scaled.jpg 1707w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">LaRussell. \u003ccite>(Joshua Lee Kennedy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">“V\u003c/span>ALLEJO! Stand the fuck up!,” read the first sentence of a Jan. 27 \u003ca href=\"https://twitter.com/larussellgc/status/1354585740760338439?s=21\" target=\"_blank\" rel=\"noopener noreferrer\">tweet\u003c/a> from Vallejo rapper LaRussell. “We bringing trophies home this year! I don’t always win but I always take the risk, they never cheer for you until it go over the fence,” he concluded, referencing his own lyrics.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>Attached was a video of LaRussell behind a microphone, gassing an instrumental, one of many videos he’s posted this year.\u003c/p>\n\u003cp>But this video was different. This was his Babe Ruth moment.\u003c/p>\n\u003cp>LaRussell metaphorically stood at home plate, calling his shot as he pointed toward the center-field fence. And then he proceeded to knock the cover off the ball. Again and again, all throughout 2021.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>LaRussell went on to drop three albums this year, and built a heck of a fanbase along the way. In January, he had about 4,000 followers on Instagram. He’s sitting at nearly 75,000 as of this article. One of his most noted songs, “\u003ca href=\"https://www.youtube.com/watch?v=zk8L-CoNk2k\" target=\"_blank\" rel=\"noopener noreferrer\">Do That Lil Dance You Be Doing\u003c/a>,” has accumulated nearly 30,000 views since it dropped last December. He and the \u003ca href=\"https://www.youtube.com/c/GoodCompenny\" target=\"_blank\" rel=\"noopener noreferrer\">Good Compenny\u003c/a> team have posted over 200 videos of LaRussell and other Northern California artists performing in their studio over the past year, and they’ve been widely shared; one video \u003ca href=\"https://www.youtube.com/watch?v=umsClQ6jeAU\" target=\"_blank\" rel=\"noopener noreferrer\">featuring Shanté singing Etta James’ “I’d Rather Go Blind”\u003c/a> was reposted by Snoop Dogg back in March.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=umsClQ6jeAU\u003c/p>\n\u003cp>Something major has happened just about every month of 2021 for LaRussell and Co.\u003c/p>\n\u003cp>In July, LaRussell had a meeting and took photos with music mogul \u003ca href=\"https://twitter.com/LaRussellGC/status/1420181940393504771?s=20\">L.A. Reid\u003c/a>. In August, \u003ca href=\"https://twitter.com/LaRussellGC/status/1429139523695349761?s=20\">KMEL\u003c/a>, the cornerstone hip-hop station in Northern California, played LaRussell’s tracks “\u003ca href=\"https://www.youtube.com/watch?v=2VIsKi7AcBM\" target=\"_blank\" rel=\"noopener noreferrer\">Who’s Counting\u003c/a>,” and later followed up with “\u003ca href=\"https://www.youtube.com/watch?v=RQebKQ2LHJ4\" target=\"_blank\" rel=\"noopener noreferrer\">Talk Bout It\u003c/a>.” The next month, LaRussell was in New York, \u003ca href=\"https://www.youtube.com/watch?v=ohbFe8JsAh0\">spittin’ bars on one of the top hip-hop shows in the world, The Breakfast Club\u003c/a>. In October, he appeared alongside P-Lo and E-40, representing three generations of Bay Area hip-hop, on the song “\u003ca href=\"https://www.youtube.com/watch?v=KTjZ2FRWLdY\">Again\u003c/a>.”\u003c/p>\n\u003cp>In November, \u003ca href=\"https://twitter.com/LaRussellGC/status/1457065271798157324?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">Too $hort\u003c/a> pulled up to LaRussell’s crib and took photos with his family. Shortly after, LaRussell rocked the stage at a show with the godfather of independent rap music.\u003c/p>\n\u003cp>And in late November, LaRussell announced that \u003ca href=\"https://twitter.com/LaRussellGC/status/1463579177609691138?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">he’s selling shares of his catalog\u003c/a> to fans who want to build wealth as he ascends in notoriety. Meaning that people can buy an opportunity to receive royalties from his songs, earning passive income as his music is streamed.\u003c/p>\n\u003cp>It’s an unheard of move for a budding artist. But as he often says, \u003ci>it’s different\u003c/i>.\u003c/p>\n\u003cfigure id=\"attachment_13906728\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13906728\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/FDnb7SpXEAUGDTB-800x800.jpg\" alt=\"LaRussell (far right) stands with his family and Too $hort as they pose for a photo in front of the Good Compenny logo. \" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/FDnb7SpXEAUGDTB-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/FDnb7SpXEAUGDTB-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/FDnb7SpXEAUGDTB-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/FDnb7SpXEAUGDTB-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/FDnb7SpXEAUGDTB.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">LaRussell (far right) stands with his family and Too $hort as they pose for a photo in front of the Good Compenny logo. \u003ccite>(LaRussell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">W\u003c/span>hile all this momentum was still building, \u003ca href=\"https://www.kqed.org/arts/13891732/from-vallejo-an-intimate-video-series-putting-on-for-the-bay\" target=\"_blank\" rel=\"noopener noreferrer\">I wrote a column\u003c/a> about LaRussell and the Good Compenny team, highlighting his talent and the team’s unique approach to putting on others while growing themselves.\u003c/p>\n\u003cp>The article was published a day before he hit send on that tweet. Little did I know I was capturing the North Vallejo Bambino predicting the home run—or rather, the run from home he’d have this year.\u003c/p>\n\u003cp>But despite what seems like a meteoric rise, earlier this year LaRussell posted\u003ca href=\"https://www.youtube.com/watch?v=Pd75Gmo_4PM\" target=\"_blank\" rel=\"noopener noreferrer\"> a video\u003c/a> of him rapping from 10 years ago, back when he was known as Tota Shakur—evidence that his success didn’t come overnight.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Pd75Gmo_4PM\u003c/p>\n\u003cp>Listen to the lyrics in his most recent music, and you’ll catch on to some of his common sayings, like “the flow is water” and “hopped in my bag,” along with one of the more notable laughs this side of Jadakiss.\u003c/p>\n\u003cp>But it’s the lines where he talks about his career being organic, getting it out the mud, building it from the ground up and clearly stating that his mom, dad and other family members and friends have supported his climb—that’s what stands out to me.\u003c/p>\n\u003cp>Seeing this support system in person was one of the highlights of watching LaRussell’s ascension this year.\u003c/p>\n\u003cp>In October, he hosted an event with a sliding-scale ticket price at Izzy’s Event Center on Georgia Street in Vallejo. I stood stage left watching LaRussell rap his ass off with one mic and some instrumentals, not rapping over his own vocals like so many rappers do. At one point I checked my watch and confirmed that he had been spitting for over an hour straight. Plus he was cracking jokes, dancing, doing call-and-response, and taking requests from people in the crowd who know his catalog by song name and project title.\u003c/p>\n\u003cfigure id=\"attachment_13906730\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13906730\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/LaRussell-800x429.jpg\" alt=\"LaRussell performing in Vallejo, in front of a crowd of people who are holding their phones with the lights on, creating a cool illusions in the smokey room. \" width=\"800\" height=\"429\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/LaRussell-800x429.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/LaRussell-1020x547.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/LaRussell-160x86.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/LaRussell-768x412.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/LaRussell.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">LaRussell performing at Izzy’s Event Center in Vallejo. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The ceiling was low and it was hot as a firefighter’s armpits in that joint, but he was rocking. Body odor and the scent of the smoke machine were overpowered by the smell of the platter of food on the table behind me. (The catering had come compliments of his dad, standing not too far from the food.)\u003c/p>\n\u003cp>On the other side of the stage, a couple of women bounced to the music with LaRussell’s mom. One in particular gigged a lil harder when LaRussell rapped, “go auntie, go auntie, go.” She got on stage, and sure enough, it was his actual auntie. [aside postID='arts_13920004']\u003c/p>\n\u003cp>But it wasn’t just family in the building feeling themselves like yee—there were fans, longtime friends and more. \u003ca href=\"https://twitter.com/itsTOPE\" target=\"_blank\" rel=\"noopener noreferrer\">Tope\u003c/a>, the producer behind one of LaRussell’s 2021 albums, \u003cem>Cook Together, Eat Together\u003c/em>, came from Oregon for the show.\u003c/p>\n\u003cp>Two other artists who had big years were there, too. East Oakland’s \u003ca href=\"https://www.instagram.com/firstnameian/\" target=\"_blank\" rel=\"noopener noreferrer\">Ian Kelly\u003c/a>, who dropped \u003ci>K.E.L.L.S. Is Dead\u003c/i> in January, was in the back. Not too far from him stood \u003ca href=\"https://www.instagram.com/stunnaman02/\" target=\"_blank\" rel=\"noopener noreferrer\">Stunnaman02\u003c/a>, who dropped the album \u003ci>I Gotta Feel It\u003c/i> a few days into 2021. That project features the smash hit “Big Steppin’,” a song that’s \u003ca href=\"https://www.kqed.org/arts/13900085/stunnaman02-and-the-big-steppin-energy-in-the-room\" target=\"_blank\" rel=\"noopener noreferrer\">taken over the Bay Area this year\u003c/a>.\u003c/p>\n\u003cp>Between numerous guest appearances on other projects and dropping multiple videos, Ian Kelly found time to \u003ca href=\"https://www.youtube.com/watch?v=Ew72hosrGcc\" target=\"_blank\" rel=\"noopener noreferrer\">record a cold set of bars\u003c/a> with the Good Compenny crew earlier this year.\u003c/p>\n\u003cp>And with over 170 consecutive days of the #BigSteppinChallenge, filmed with folks from here to Hawaii, Stunnaman02 and LaRussell found time to take a bike ride and record \u003ca href=\"https://twitter.com/LaRussellGC/status/1428161363138863114?s=20\">some music\u003c/a> as well.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=6-27_FP-pLU\u003c/p>\n\u003cp>From the food LaRussell’s pop cooked to the way artists and community were cooking together, I saw what was going on. There’s a culture of mutual support naturally brewing here.\u003c/p>\n\u003cp>“You can’t tell who I don’t know at my shows,” LaRussell tells me during a phone call earlier this month. “I’m hugging everybody and chopping it up with everybody, you feel me?” He says even folks who are new to the fold get a taste of that love. “I feel like a lot of my fans ain’t fans,” LaRussell tells me. “It’s very internal, especially how I navigate and run my career. I’m so accessible.”\u003c/p>\n\u003cp>But the success is putting him and his family in circles that most people never access. He tells me about his mom meeting Too $hort and his pops meeting L.A. Reid, as well as taking the crew and family along with him on his trip to New York for the Breakfast Club appearance. “It’s becoming our new norm,” he says. “The norm that you never expected to happen.”\u003c/p>\n\u003cp>The key to not getting overwhelmed by this success, he says, is “fucking with the energy and moving accordingly.” LaRussell says that when things first started taking off, he was overwhelmed, jumping at everything. Now he’s taking time and running his own plays. And his latest play is a rare one.\u003c/p>\n\u003cfigure id=\"attachment_13906733\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13906733\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/DSC01906-800x535.jpg\" alt=\"LaRussell performing at The New Parish in Oakland. \" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/DSC01906-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/DSC01906-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/DSC01906-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/DSC01906-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/DSC01906-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/DSC01906.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">LaRussell performing at The New Parish in Oakland. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He’s selling shares of his catalog to people to help them build wealth as he grows as an artist. “When I make a song, there’s a 100% revenue being made,” says LaRussell, an independent artist. “I’m like fuck it, I don’t even need to make \u003ci>this\u003c/i>\u003cem> much\u003c/em>. So, let me give some to the (people) who support my music and stream it.”\u003c/p>\n\u003cp>He breaks it down like this: Imagine if you would’ve invested in Jay-Z’s music in the ’90s, and now he’s Shawn Carter. Boom, you win at life.\u003c/p>\n\u003cp>And then LaRussell introduces me to the idea of “one billion stream songs,” tracks of his like “Do That Lil Dance You Be Doing’,” that could very likely one day see a million, or even a billion streams. “Just 1% of that song can change your life,” says LaRussell.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=zk8L-CoNk2k\u003c/p>\n\u003cp>He’s selling shares for $250-$1,000. He’s adamant about it being for fans, saying that he’s been contacted by investment firms and he’s given then a firm “no.”\u003c/p>\n\u003cp>He’s had to deal with some naysayers, but that comes with being innovative. And the system isn’t new. He says he’s been dividing dividends with his own team and they’ve had no issues. “It’s only an issue when (potential investors) come in with malicious intent,” says LaRussell, noting that he personally sources the offers.\u003c/p>\n\u003cp>“I talk to these people. I’m telling them what this is. This isn’t a get-rich-quick investment. Don’t give me no money if you don’t love my music and want to support me,” LaRussell tells me. “This is about building community wealth. In the span of my career, I’m probably going to change the lives of thousands of people, you know?”\u003c/p>\n\u003cp>There he is, standing at home plate, pointing even further into the distance and calling his shot once again.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ohbFe8JsAh0\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">L\u003c/span>aRussell tells me that the highlight of his 2021 campaign was easily the Breakfast Club appearance. It’s not just that he got to speak his piece on a major platform, but the fact that when he picked up his daughter from school a short while later, one of the kids recognized him from that appearance.\u003c/p>\n\u003cp>“You’re not really in the game until you do certain things,” LaRussell tells me, gearing up for another sports metaphor. “You’re not great in the league until you win a ring or get MVP. And Breakfast Club, for a nigga like me, from Vallejo, that was like my ring.”\u003c/p>\n\u003cp>Knowing that in a few weeks, the calendar will flip and it’ll be a new season, I ask the Croc-sporting lyricist: what’s next?\u003c/p>\n\u003cp>He answers with a question.\u003c/p>\n\u003cp>“What are all the things people accomplish in a year? How about a career? How many albums? Award shows? Platforms?” he asks, semi-rhetorically. His initial goal was to do all that within the next year. He thought about it, and now wants to do it in three months.\u003c/p>\n\u003cp>“I know, it’s one of those things that’s not really obtainable,” LaRussell says in a rare grounded tone. “But it’s like, when you shoot for that type of goal, you can only end up better.”\u003c/p>\n\u003cp>In other words: the 2022 season starts soon.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\n",
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"excerpt": "The Vallejo rapper's Babe Ruth moment came in January—and it's been home run after home run ever since.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13906893\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13906893\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/LaRussell.MAIN_-800x1200.jpg\" alt=\"LaRussell poses looking off camera in a stoic expression, the photo is black and white.\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/LaRussell.MAIN_-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/LaRussell.MAIN_-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/LaRussell.MAIN_-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/LaRussell.MAIN_-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/LaRussell.MAIN_-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/LaRussell.MAIN_-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/LaRussell.MAIN_-scaled.jpg 1707w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">LaRussell. \u003ccite>(Joshua Lee Kennedy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">“V\u003c/span>ALLEJO! Stand the fuck up!,” read the first sentence of a Jan. 27 \u003ca href=\"https://twitter.com/larussellgc/status/1354585740760338439?s=21\" target=\"_blank\" rel=\"noopener noreferrer\">tweet\u003c/a> from Vallejo rapper LaRussell. “We bringing trophies home this year! I don’t always win but I always take the risk, they never cheer for you until it go over the fence,” he concluded, referencing his own lyrics.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>Attached was a video of LaRussell behind a microphone, gassing an instrumental, one of many videos he’s posted this year.\u003c/p>\n\u003cp>But this video was different. This was his Babe Ruth moment.\u003c/p>\n\u003cp>LaRussell metaphorically stood at home plate, calling his shot as he pointed toward the center-field fence. And then he proceeded to knock the cover off the ball. Again and again, all throughout 2021.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>LaRussell went on to drop three albums this year, and built a heck of a fanbase along the way. In January, he had about 4,000 followers on Instagram. He’s sitting at nearly 75,000 as of this article. One of his most noted songs, “\u003ca href=\"https://www.youtube.com/watch?v=zk8L-CoNk2k\" target=\"_blank\" rel=\"noopener noreferrer\">Do That Lil Dance You Be Doing\u003c/a>,” has accumulated nearly 30,000 views since it dropped last December. He and the \u003ca href=\"https://www.youtube.com/c/GoodCompenny\" target=\"_blank\" rel=\"noopener noreferrer\">Good Compenny\u003c/a> team have posted over 200 videos of LaRussell and other Northern California artists performing in their studio over the past year, and they’ve been widely shared; one video \u003ca href=\"https://www.youtube.com/watch?v=umsClQ6jeAU\" target=\"_blank\" rel=\"noopener noreferrer\">featuring Shanté singing Etta James’ “I’d Rather Go Blind”\u003c/a> was reposted by Snoop Dogg back in March.\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/umsClQ6jeAU'\n title='//www.youtube.com/embed/umsClQ6jeAU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Something major has happened just about every month of 2021 for LaRussell and Co.\u003c/p>\n\u003cp>In July, LaRussell had a meeting and took photos with music mogul \u003ca href=\"https://twitter.com/LaRussellGC/status/1420181940393504771?s=20\">L.A. Reid\u003c/a>. In August, \u003ca href=\"https://twitter.com/LaRussellGC/status/1429139523695349761?s=20\">KMEL\u003c/a>, the cornerstone hip-hop station in Northern California, played LaRussell’s tracks “\u003ca href=\"https://www.youtube.com/watch?v=2VIsKi7AcBM\" target=\"_blank\" rel=\"noopener noreferrer\">Who’s Counting\u003c/a>,” and later followed up with “\u003ca href=\"https://www.youtube.com/watch?v=RQebKQ2LHJ4\" target=\"_blank\" rel=\"noopener noreferrer\">Talk Bout It\u003c/a>.” The next month, LaRussell was in New York, \u003ca href=\"https://www.youtube.com/watch?v=ohbFe8JsAh0\">spittin’ bars on one of the top hip-hop shows in the world, The Breakfast Club\u003c/a>. In October, he appeared alongside P-Lo and E-40, representing three generations of Bay Area hip-hop, on the song “\u003ca href=\"https://www.youtube.com/watch?v=KTjZ2FRWLdY\">Again\u003c/a>.”\u003c/p>\n\u003cp>In November, \u003ca href=\"https://twitter.com/LaRussellGC/status/1457065271798157324?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">Too $hort\u003c/a> pulled up to LaRussell’s crib and took photos with his family. Shortly after, LaRussell rocked the stage at a show with the godfather of independent rap music.\u003c/p>\n\u003cp>And in late November, LaRussell announced that \u003ca href=\"https://twitter.com/LaRussellGC/status/1463579177609691138?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">he’s selling shares of his catalog\u003c/a> to fans who want to build wealth as he ascends in notoriety. Meaning that people can buy an opportunity to receive royalties from his songs, earning passive income as his music is streamed.\u003c/p>\n\u003cp>It’s an unheard of move for a budding artist. But as he often says, \u003ci>it’s different\u003c/i>.\u003c/p>\n\u003cfigure id=\"attachment_13906728\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13906728\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/FDnb7SpXEAUGDTB-800x800.jpg\" alt=\"LaRussell (far right) stands with his family and Too $hort as they pose for a photo in front of the Good Compenny logo. \" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/FDnb7SpXEAUGDTB-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/FDnb7SpXEAUGDTB-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/FDnb7SpXEAUGDTB-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/FDnb7SpXEAUGDTB-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/FDnb7SpXEAUGDTB.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">LaRussell (far right) stands with his family and Too $hort as they pose for a photo in front of the Good Compenny logo. \u003ccite>(LaRussell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">W\u003c/span>hile all this momentum was still building, \u003ca href=\"https://www.kqed.org/arts/13891732/from-vallejo-an-intimate-video-series-putting-on-for-the-bay\" target=\"_blank\" rel=\"noopener noreferrer\">I wrote a column\u003c/a> about LaRussell and the Good Compenny team, highlighting his talent and the team’s unique approach to putting on others while growing themselves.\u003c/p>\n\u003cp>The article was published a day before he hit send on that tweet. Little did I know I was capturing the North Vallejo Bambino predicting the home run—or rather, the run from home he’d have this year.\u003c/p>\n\u003cp>But despite what seems like a meteoric rise, earlier this year LaRussell posted\u003ca href=\"https://www.youtube.com/watch?v=Pd75Gmo_4PM\" target=\"_blank\" rel=\"noopener noreferrer\"> a video\u003c/a> of him rapping from 10 years ago, back when he was known as Tota Shakur—evidence that his success didn’t come overnight.\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/Pd75Gmo_4PM'\n title='//www.youtube.com/embed/Pd75Gmo_4PM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Listen to the lyrics in his most recent music, and you’ll catch on to some of his common sayings, like “the flow is water” and “hopped in my bag,” along with one of the more notable laughs this side of Jadakiss.\u003c/p>\n\u003cp>But it’s the lines where he talks about his career being organic, getting it out the mud, building it from the ground up and clearly stating that his mom, dad and other family members and friends have supported his climb—that’s what stands out to me.\u003c/p>\n\u003cp>Seeing this support system in person was one of the highlights of watching LaRussell’s ascension this year.\u003c/p>\n\u003cp>In October, he hosted an event with a sliding-scale ticket price at Izzy’s Event Center on Georgia Street in Vallejo. I stood stage left watching LaRussell rap his ass off with one mic and some instrumentals, not rapping over his own vocals like so many rappers do. At one point I checked my watch and confirmed that he had been spitting for over an hour straight. Plus he was cracking jokes, dancing, doing call-and-response, and taking requests from people in the crowd who know his catalog by song name and project title.\u003c/p>\n\u003cfigure id=\"attachment_13906730\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13906730\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/LaRussell-800x429.jpg\" alt=\"LaRussell performing in Vallejo, in front of a crowd of people who are holding their phones with the lights on, creating a cool illusions in the smokey room. \" width=\"800\" height=\"429\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/LaRussell-800x429.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/LaRussell-1020x547.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/LaRussell-160x86.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/LaRussell-768x412.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/LaRussell.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">LaRussell performing at Izzy’s Event Center in Vallejo. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The ceiling was low and it was hot as a firefighter’s armpits in that joint, but he was rocking. Body odor and the scent of the smoke machine were overpowered by the smell of the platter of food on the table behind me. (The catering had come compliments of his dad, standing not too far from the food.)\u003c/p>\n\u003cp>On the other side of the stage, a couple of women bounced to the music with LaRussell’s mom. One in particular gigged a lil harder when LaRussell rapped, “go auntie, go auntie, go.” She got on stage, and sure enough, it was his actual auntie. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But it wasn’t just family in the building feeling themselves like yee—there were fans, longtime friends and more. \u003ca href=\"https://twitter.com/itsTOPE\" target=\"_blank\" rel=\"noopener noreferrer\">Tope\u003c/a>, the producer behind one of LaRussell’s 2021 albums, \u003cem>Cook Together, Eat Together\u003c/em>, came from Oregon for the show.\u003c/p>\n\u003cp>Two other artists who had big years were there, too. East Oakland’s \u003ca href=\"https://www.instagram.com/firstnameian/\" target=\"_blank\" rel=\"noopener noreferrer\">Ian Kelly\u003c/a>, who dropped \u003ci>K.E.L.L.S. Is Dead\u003c/i> in January, was in the back. Not too far from him stood \u003ca href=\"https://www.instagram.com/stunnaman02/\" target=\"_blank\" rel=\"noopener noreferrer\">Stunnaman02\u003c/a>, who dropped the album \u003ci>I Gotta Feel It\u003c/i> a few days into 2021. That project features the smash hit “Big Steppin’,” a song that’s \u003ca href=\"https://www.kqed.org/arts/13900085/stunnaman02-and-the-big-steppin-energy-in-the-room\" target=\"_blank\" rel=\"noopener noreferrer\">taken over the Bay Area this year\u003c/a>.\u003c/p>\n\u003cp>Between numerous guest appearances on other projects and dropping multiple videos, Ian Kelly found time to \u003ca href=\"https://www.youtube.com/watch?v=Ew72hosrGcc\" target=\"_blank\" rel=\"noopener noreferrer\">record a cold set of bars\u003c/a> with the Good Compenny crew earlier this year.\u003c/p>\n\u003cp>And with over 170 consecutive days of the #BigSteppinChallenge, filmed with folks from here to Hawaii, Stunnaman02 and LaRussell found time to take a bike ride and record \u003ca href=\"https://twitter.com/LaRussellGC/status/1428161363138863114?s=20\">some music\u003c/a> as well.\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/6-27_FP-pLU'\n title='//www.youtube.com/embed/6-27_FP-pLU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>From the food LaRussell’s pop cooked to the way artists and community were cooking together, I saw what was going on. There’s a culture of mutual support naturally brewing here.\u003c/p>\n\u003cp>“You can’t tell who I don’t know at my shows,” LaRussell tells me during a phone call earlier this month. “I’m hugging everybody and chopping it up with everybody, you feel me?” He says even folks who are new to the fold get a taste of that love. “I feel like a lot of my fans ain’t fans,” LaRussell tells me. “It’s very internal, especially how I navigate and run my career. I’m so accessible.”\u003c/p>\n\u003cp>But the success is putting him and his family in circles that most people never access. He tells me about his mom meeting Too $hort and his pops meeting L.A. Reid, as well as taking the crew and family along with him on his trip to New York for the Breakfast Club appearance. “It’s becoming our new norm,” he says. “The norm that you never expected to happen.”\u003c/p>\n\u003cp>The key to not getting overwhelmed by this success, he says, is “fucking with the energy and moving accordingly.” LaRussell says that when things first started taking off, he was overwhelmed, jumping at everything. Now he’s taking time and running his own plays. And his latest play is a rare one.\u003c/p>\n\u003cfigure id=\"attachment_13906733\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13906733\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/DSC01906-800x535.jpg\" alt=\"LaRussell performing at The New Parish in Oakland. \" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/DSC01906-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/DSC01906-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/DSC01906-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/DSC01906-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/DSC01906-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/DSC01906.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">LaRussell performing at The New Parish in Oakland. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He’s selling shares of his catalog to people to help them build wealth as he grows as an artist. “When I make a song, there’s a 100% revenue being made,” says LaRussell, an independent artist. “I’m like fuck it, I don’t even need to make \u003ci>this\u003c/i>\u003cem> much\u003c/em>. So, let me give some to the (people) who support my music and stream it.”\u003c/p>\n\u003cp>He breaks it down like this: Imagine if you would’ve invested in Jay-Z’s music in the ’90s, and now he’s Shawn Carter. Boom, you win at life.\u003c/p>\n\u003cp>And then LaRussell introduces me to the idea of “one billion stream songs,” tracks of his like “Do That Lil Dance You Be Doing’,” that could very likely one day see a million, or even a billion streams. “Just 1% of that song can change your life,” says LaRussell.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/zk8L-CoNk2k'\n title='//www.youtube.com/embed/zk8L-CoNk2k'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>He’s selling shares for $250-$1,000. He’s adamant about it being for fans, saying that he’s been contacted by investment firms and he’s given then a firm “no.”\u003c/p>\n\u003cp>He’s had to deal with some naysayers, but that comes with being innovative. And the system isn’t new. He says he’s been dividing dividends with his own team and they’ve had no issues. “It’s only an issue when (potential investors) come in with malicious intent,” says LaRussell, noting that he personally sources the offers.\u003c/p>\n\u003cp>“I talk to these people. I’m telling them what this is. This isn’t a get-rich-quick investment. Don’t give me no money if you don’t love my music and want to support me,” LaRussell tells me. “This is about building community wealth. In the span of my career, I’m probably going to change the lives of thousands of people, you know?”\u003c/p>\n\u003cp>There he is, standing at home plate, pointing even further into the distance and calling his shot once again.\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/ohbFe8JsAh0'\n title='//www.youtube.com/embed/ohbFe8JsAh0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">L\u003c/span>aRussell tells me that the highlight of his 2021 campaign was easily the Breakfast Club appearance. It’s not just that he got to speak his piece on a major platform, but the fact that when he picked up his daughter from school a short while later, one of the kids recognized him from that appearance.\u003c/p>\n\u003cp>“You’re not really in the game until you do certain things,” LaRussell tells me, gearing up for another sports metaphor. “You’re not great in the league until you win a ring or get MVP. And Breakfast Club, for a nigga like me, from Vallejo, that was like my ring.”\u003c/p>\n\u003cp>Knowing that in a few weeks, the calendar will flip and it’ll be a new season, I ask the Croc-sporting lyricist: what’s next?\u003c/p>\n\u003cp>He answers with a question.\u003c/p>\n\u003cp>“What are all the things people accomplish in a year? How about a career? How many albums? Award shows? Platforms?” he asks, semi-rhetorically. His initial goal was to do all that within the next year. He thought about it, and now wants to do it in three months.\u003c/p>\n\u003cp>“I know, it’s one of those things that’s not really obtainable,” LaRussell says in a rare grounded tone. “But it’s like, when you shoot for that type of goal, you can only end up better.”\u003c/p>\n\u003cp>In other words: the 2022 season starts soon.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>For decades, it was almost impossible to hear a piece of music written by \u003ca href=\"https://www.wisemusicclassical.com/composer/4938/Florence-Price/\" target=\"_blank\" rel=\"noopener noreferrer\">Florence Price\u003c/a>. Price was a Black, female composer who died in 1953. But a group of New York City middle school students had the opportunity to quite literally write Florence Price’s history. Their book, titled \u003ca href=\"https://www.kaufmanmusiccenter.org/mch/event/florence-price-book-launch-concert/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Who Is Florence Price?\u003c/em>\u003c/a>, is now out and available in stores.\u003c/p>\n\u003cfigure id=\"attachment_13906807\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13906807\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/Screen-Shot-2021-12-03-at-12.04.27-PM-800x1084.png\" alt=\"Book cover featuring an illustration of a Black woman wearing a green dress playing the piano.\" width=\"800\" height=\"1084\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Screen-Shot-2021-12-03-at-12.04.27-PM-800x1084.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Screen-Shot-2021-12-03-at-12.04.27-PM-160x217.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Screen-Shot-2021-12-03-at-12.04.27-PM-768x1041.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Screen-Shot-2021-12-03-at-12.04.27-PM.png 986w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Who Is Florence Price?,’ by students of the Special Music School at Kaufman Music Center, New York..\u003c/figcaption>\u003c/figure>\n\u003cp>The kids attend \u003ca href=\"https://www.kaufmanmusiccenter.org/sms/\" target=\"_blank\" rel=\"noopener noreferrer\">Special Music School\u003c/a>, a K-12 public school in Manhattan that teaches high-level music instruction alongside academics. Shannon Potts is an English teacher there.\u003c/p>\n\u003cp>“Our children are musicians, so whether or not we intentionally draw it together, they bring music into the classroom every day in the most delightful ways,” Potts says. “So if you’re talking about themes and poetry, immediately a child will qualify it with the way that a theme repeats in music.”\u003c/p>\n\u003cp>Potts assigned her sixth, seventh and eighth grade students to study Florence Price—a composer born in Little Rock, Arkansas in 1887. She was the first Black woman to have her music played by a major American orchestra: the Chicago Symphony Orchestra performed her Symphony No. 1 in 1933 and her Piano Concerto in One Movement the next year. In 1939, at her \u003ca href=\"https://www.npr.org/2019/08/30/748757267/lift-every-voice-marian-anderson-florence-b-price-and-the-sound-of-black-sisterh\" target=\"_blank\" rel=\"noopener noreferrer\">famed Lincoln Memorial concert\u003c/a>, the contralto Marian Anderson included Price’s arrangement of the spiritual “My Soul is Anchored in the Lord.”\u003c/p>\n\u003cp>Despite Price’s talent and drive, most classical music performers and gatekeepers put her aside, and her work failed to gain traction with the large, almost exclusively white institutions that could have catapulted her to mainstream renown. As she herself wrote in a letter to famed conductor Serge Koussevitzky, “I have two handicaps—those of sex and race.” She was not wrong.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=5t5nMxqxTO4\u003c/p>\n\u003cp>Recently, though, there’s been a blossoming of interest in Price’s work. A recording of her symphonies by the Philadelphia Orchestra was just \u003ca href=\"https://www.grammy.com/grammys/news/2022-grammys-complete-winners-nominees-nominations-list\" target=\"_blank\" rel=\"noopener noreferrer\">nominated\u003c/a> for a Grammy. In the months ahead, \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2021-22/MORGAN-CONDUCTS-PRICE-3\" target=\"_blank\" rel=\"noopener noreferrer\">her music will be performed by the San Francisco Symphony\u003c/a>, the Atlanta Symphony Orchestra and the Chicago Symphony Orchestra.\u003c/p>\n\u003cp>When the students began researching Price, however, they realized that although there were a \u003ca href=\"https://www.newyorker.com/magazine/2018/02/05/the-rediscovery-of-florence-price\" target=\"_blank\" rel=\"noopener noreferrer\">few materials\u003c/a> written about her life for grown-ups, there was nothing aimed at kids.\u003c/p>\n\u003cp>That gave Potts had an idea: She would have her students write and illustrate their own book about Florence Price, and about how her music was rediscovered. As the kids’ book begins:\u003c/p>\n\u003cblockquote>\u003cp>“In 2009, a couple bought an old house outside of Chicago. In the attic, they found boxes filled with yellowed sheets of music. Every piece was written by the same woman, Florence Price. ‘Who is Florence Price?’ they wondered…\u003c/p>\n\u003cp>Florence’s mind was filled with music, but she had a big question. She was a girl and her skin was a different color than so many of the composers she knew about. Could she grow up to be a famous composer, too? When Florence was only 11, her first piece was published. Was it possible that Florence’s music could change things?”\u003c/p>\u003c/blockquote>\n\u003cp>Special Music School is a partnership between the New York City Board of Education and a performing arts center called the \u003ca href=\"https://www.kaufmanmusiccenter.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Kaufman Music Center\u003c/a>, whose executive director is Kate Sheeran. Sheeran was extremely enthusiastic about the students’ work.\u003c/p>\n\u003cp>“This beautiful book emerged that they wrote together, 45 of them together,” Sheeran recalls. “I found out about it when they brought it down to my office, and I was just floored.”\u003c/p>\n\u003cp>Sheeran was so impressed that she ordered a small, self-published print run of their work. She sent it around to various people in the classical music community—including Robert Thompson, the president of \u003ca href=\"https://www.wisemusicclassical.com/composer/4938/Florence-Price/\" target=\"_blank\" rel=\"noopener noreferrer\">G. Schirmer, the company that publishes Florence Price’s music\u003c/a>.\u003c/p>\n\u003cp>[aside postID='arts_13881675,arts_13892514,arts_13874853']“I think it’s one of the few moments in my job where I had to cancel the next meeting and I was just kind of filled with tears,” Thompson recalls. “It was just an incredibly beautiful moment.” Thompson agreed to publish the book; all royalties will go to Kaufman Music Center, which is a non-profit organization.\u003c/p>\n\u003cp>\u003ca href=\"https://www.youtube.com/watch?v=2iYxGHhCuqg\" target=\"_blank\" rel=\"noopener noreferrer\">Rebecca Beato\u003c/a> is a 14-year-old violinist from Queens. She was also one of the lead illustrators of \u003cem>Who Is Florence Price?\u003c/em> and she says that Price has been a personal inspiration. “Her music has been out there, performed by major orchestras,” Beato says, “and she’s a woman of color, which even now—it’s like difficult to get your music shown to the world.”\u003c/p>\n\u003cp>Writing the book was a process of discovery, says \u003ca href=\"https://www.youtube.com/watch?v=dlUudUD2Vkk\" target=\"_blank\" rel=\"noopener noreferrer\">Cobie Buckmire\u003c/a>, a 13-year-old pianist from Brooklyn. “I didn’t even know who she was before I started this,” he notes. “All the other famous composers are white men like Mozart, Beethoven, Bach.”\u003c/p>\n\u003cp>Hazel Peebles, a 13-year-old violist from Harlem, says that you can hear Price’s personal history in her music. “It really is beautiful,” Peebles observes. “She worked in some of her history, some of her Black background into the music. I really just love that and appreciate that.”\u003c/p>\n\u003cp>What the students learned in creating this book goes far beyond music, Kate Sheeran says. “They’re also seeing that they can have a voice in shaping who writes history and who tells stories,” she says, “and that we don’t have to just accept the way music is presented to us or the way music history is presented to us—that they too can shape that. And that, to me, is the most exciting thing.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=pSmTa8hvd5U&t=1s\u003c/p>\n\u003cp>“We talk about representation in literature all the time,” Potts observes. “For kids to be able to become authors and activists in a way, to disrupt the story of the way that classical music is being told. They no longer, as a diverse population, become victims of a largely white society. They control the narrative. They can rewrite it. And this project, in the way it’s been received, really shows them that when they speak up, the world is ready to hear them.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Potts says that the very last lines of her students’ book have already come true, thanks to their hard work and creativity. “Today, Florence’s music can be heard all around the world just like she dreamed of when she was young,” Potts reads. “If someone asks, ‘Who is Florence Price?’, you can tell them.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 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=These+NYC+kids+have+written+the+history+of+an+overlooked+Black+female+composer&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For decades, it was almost impossible to hear a piece of music written by \u003ca href=\"https://www.wisemusicclassical.com/composer/4938/Florence-Price/\" target=\"_blank\" rel=\"noopener noreferrer\">Florence Price\u003c/a>. Price was a Black, female composer who died in 1953. But a group of New York City middle school students had the opportunity to quite literally write Florence Price’s history. Their book, titled \u003ca href=\"https://www.kaufmanmusiccenter.org/mch/event/florence-price-book-launch-concert/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Who Is Florence Price?\u003c/em>\u003c/a>, is now out and available in stores.\u003c/p>\n\u003cfigure id=\"attachment_13906807\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13906807\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/Screen-Shot-2021-12-03-at-12.04.27-PM-800x1084.png\" alt=\"Book cover featuring an illustration of a Black woman wearing a green dress playing the piano.\" width=\"800\" height=\"1084\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Screen-Shot-2021-12-03-at-12.04.27-PM-800x1084.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Screen-Shot-2021-12-03-at-12.04.27-PM-160x217.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Screen-Shot-2021-12-03-at-12.04.27-PM-768x1041.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Screen-Shot-2021-12-03-at-12.04.27-PM.png 986w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Who Is Florence Price?,’ by students of the Special Music School at Kaufman Music Center, New York..\u003c/figcaption>\u003c/figure>\n\u003cp>The kids attend \u003ca href=\"https://www.kaufmanmusiccenter.org/sms/\" target=\"_blank\" rel=\"noopener noreferrer\">Special Music School\u003c/a>, a K-12 public school in Manhattan that teaches high-level music instruction alongside academics. Shannon Potts is an English teacher there.\u003c/p>\n\u003cp>“Our children are musicians, so whether or not we intentionally draw it together, they bring music into the classroom every day in the most delightful ways,” Potts says. “So if you’re talking about themes and poetry, immediately a child will qualify it with the way that a theme repeats in music.”\u003c/p>\n\u003cp>Potts assigned her sixth, seventh and eighth grade students to study Florence Price—a composer born in Little Rock, Arkansas in 1887. She was the first Black woman to have her music played by a major American orchestra: the Chicago Symphony Orchestra performed her Symphony No. 1 in 1933 and her Piano Concerto in One Movement the next year. In 1939, at her \u003ca href=\"https://www.npr.org/2019/08/30/748757267/lift-every-voice-marian-anderson-florence-b-price-and-the-sound-of-black-sisterh\" target=\"_blank\" rel=\"noopener noreferrer\">famed Lincoln Memorial concert\u003c/a>, the contralto Marian Anderson included Price’s arrangement of the spiritual “My Soul is Anchored in the Lord.”\u003c/p>\n\u003cp>Despite Price’s talent and drive, most classical music performers and gatekeepers put her aside, and her work failed to gain traction with the large, almost exclusively white institutions that could have catapulted her to mainstream renown. As she herself wrote in a letter to famed conductor Serge Koussevitzky, “I have two handicaps—those of sex and race.” She was not wrong.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“I think it’s one of the few moments in my job where I had to cancel the next meeting and I was just kind of filled with tears,” Thompson recalls. “It was just an incredibly beautiful moment.” Thompson agreed to publish the book; all royalties will go to Kaufman Music Center, which is a non-profit organization.\u003c/p>\n\u003cp>\u003ca href=\"https://www.youtube.com/watch?v=2iYxGHhCuqg\" target=\"_blank\" rel=\"noopener noreferrer\">Rebecca Beato\u003c/a> is a 14-year-old violinist from Queens. She was also one of the lead illustrators of \u003cem>Who Is Florence Price?\u003c/em> and she says that Price has been a personal inspiration. “Her music has been out there, performed by major orchestras,” Beato says, “and she’s a woman of color, which even now—it’s like difficult to get your music shown to the world.”\u003c/p>\n\u003cp>Writing the book was a process of discovery, says \u003ca href=\"https://www.youtube.com/watch?v=dlUudUD2Vkk\" target=\"_blank\" rel=\"noopener noreferrer\">Cobie Buckmire\u003c/a>, a 13-year-old pianist from Brooklyn. “I didn’t even know who she was before I started this,” he notes. “All the other famous composers are white men like Mozart, Beethoven, Bach.”\u003c/p>\n\u003cp>Hazel Peebles, a 13-year-old violist from Harlem, says that you can hear Price’s personal history in her music. “It really is beautiful,” Peebles observes. “She worked in some of her history, some of her Black background into the music. I really just love that and appreciate that.”\u003c/p>\n\u003cp>What the students learned in creating this book goes far beyond music, Kate Sheeran says. “They’re also seeing that they can have a voice in shaping who writes history and who tells stories,” she says, “and that we don’t have to just accept the way music is presented to us or the way music history is presented to us—that they too can shape that. And that, to me, is the most exciting thing.”\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/pSmTa8hvd5U'\n title='//www.youtube.com/embed/pSmTa8hvd5U'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“We talk about representation in literature all the time,” Potts observes. “For kids to be able to become authors and activists in a way, to disrupt the story of the way that classical music is being told. They no longer, as a diverse population, become victims of a largely white society. They control the narrative. They can rewrite it. And this project, in the way it’s been received, really shows them that when they speak up, the world is ready to hear them.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Potts says that the very last lines of her students’ book have already come true, thanks to their hard work and creativity. “Today, Florence’s music can be heard all around the world just like she dreamed of when she was young,” Potts reads. “If someone asks, ‘Who is Florence Price?’, you can tell them.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 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=These+NYC+kids+have+written+the+history+of+an+overlooked+Black+female+composer&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
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},
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"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
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"order": 8
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},
"link": "https://www.cityarts.net",
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"order": 1
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
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"source": "Commonwealth Club of California"
},
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"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"order": 9
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
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"source": "NPR"
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"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"hyphenacion": {
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"jerrybrown": {
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"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
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},
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"id": "latino-usa",
"title": "Latino USA",
"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/",
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},
"link": "/radio/program/latino-usa",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
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},
"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": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
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"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",
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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",
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