EMPIRE Brought the Music Industry Back to San Francisco
Safia Mafia's Wise R&B Is Perfect for Your Self-Love Playlist
SF-Based Hip-Hop Distributor Empire Inks Deal with Universal Music
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"content": "\u003cp>Country star Shaboozey is scheduled to play a massive all-ages show at San Francisco’s Civic Center on Saturday, Sept. 13, and it’s \u003ca href=\"https://www.empire15.com/\">free to attend with RSVP\u003c/a>.\u003c/p>\n\u003cp>The performance is part of \u003ca href=\"https://www.empire15.com/\">EMPIRE 15\u003c/a>, a 15th anniversary concert for the San Francisco record label \u003ca href=\"https://www.kqed.org/arts/13870578/empire-brought-the-music-industry-back-to-san-francisco\">EMPIRE\u003c/a>, which began as a humble hip-hop distribution service in 2010 and has since grown into the largest privately held label in the United States. Over the past decade and a half, EMPIRE has helped break major acts like Migos, XXXtentacion and Shaboozey, whose inescapable 2024 hit “A Bar Song (Tipsy)” tied with Lil Nas X’s “Old Town Road” as the longest-running No.1 hit of all time with 19 weeks atop the Billboard Hot 100. [aside postid='arts_13870578']\u003c/p>\n\u003cp>Joining Shaboozey on stage at EMPIRE 15 will be Fireboy DML, a Nigerian singer-songwriter who recorded his 2021 Ed Sheeran-featuring hit “Peru” \u003ca href=\"https://www.kqed.org/arts/13920633/finding-musical-gems-in-the-bay-areas-african-club-scene\">at EMPIRE’s San Francisco studio\u003c/a>, expanding the label’s influence in the West African music scene. Red Leather, a country artist from Nevada, is also on the lineup, with more acts to be announced.\u003c/p>\n\u003cfigure id=\"attachment_13933120\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933120\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Poolside-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.-004.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Poolside-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.-004.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Poolside-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.-004-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Poolside-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.-004-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Poolside-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.-004-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Poolside-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.-004-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Poolside-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.-004-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Poolside performs at Outside Lands on Sunday, Aug. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>EMPIRE 15 is sponsored by the San Francisco Recreation and Parks Department and Mayor Daniel Lurie’s office, along with Outside Lands concert producer Another Planet Entertainment and others. Before Shaboozey takes over the Civic Center, disco-pop band Poolside will also play \u003ca href=\"https://laylo.com/poolside/DaytimeDiscoSF\">a free show\u003c/a> supported by the same organizers on Sunday, Sept. 7 at Union Square in San Francisco.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Joining Shaboozey on stage at EMPIRE 15 will be Fireboy DML, a Nigerian singer-songwriter who recorded his 2021 Ed Sheeran-featuring hit “Peru” \u003ca href=\"https://www.kqed.org/arts/13920633/finding-musical-gems-in-the-bay-areas-african-club-scene\">at EMPIRE’s San Francisco studio\u003c/a>, expanding the label’s influence in the West African music scene. Red Leather, a country artist from Nevada, is also on the lineup, with more acts to be announced.\u003c/p>\n\u003cfigure id=\"attachment_13933120\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933120\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Poolside-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.-004.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Poolside-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.-004.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Poolside-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.-004-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Poolside-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.-004-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Poolside-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.-004-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Poolside-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.-004-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Poolside-performs-at-Outside-Lands-on-Sunday-Aug.-13-2023.-004-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Poolside performs at Outside Lands on Sunday, Aug. 13, 2023. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>EMPIRE 15 is sponsored by the San Francisco Recreation and Parks Department and Mayor Daniel Lurie’s office, along with Outside Lands concert producer Another Planet Entertainment and others. Before Shaboozey takes over the Civic Center, disco-pop band Poolside will also play \u003ca href=\"https://laylo.com/poolside/DaytimeDiscoSF\">a free show\u003c/a> supported by the same organizers on Sunday, Sept. 7 at Union Square in San Francisco.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "EMPIRE Brought the Music Industry Back to San Francisco",
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"content": "\u003cp>\u003cspan style=\"font-weight: 400\">By the early 2010s, the Bay Area’s rap scene was coming down from the high of the hyphy movement, which had flourished in the decade prior. Although Warner Brothers had a hit with E-40’s \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">My Ghetto Report Card\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, and the Lil Jon-produced “Tell Me When To Go” peaked in the Top 40, the dread-shaking, pill-popping subgenre didn’t go mainstream as predicted.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The region had also lost some of its music industry clout from the ’80s and ’90s, when Bill Graham Presents was one of the country’s most powerful promoters; Lookout Records took pop punk from East Bay subculture to platinum-selling genre; and Jive and Virgin were signing local rappers like Too $hort, E-40, Luniz and Richie Rich. Not to mention, the entire industry was figuring out how to turn a profit in the streaming age: Spotify debuted in the United States in 2011, lowering overall payments to artists and devaluing recorded music as a whole.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In this shifting landscape, a San Francisco audio engineer named Ghazi Shami claimed his place in a new niche with a digital-first enterprise. When his label \u003ca href=\"https://www.empi.re/\" target=\"_blank\" rel=\"noopener noreferrer\">EMPIRE\u003c/a> debuted in 2010, its proprietary software for getting music onto platforms and keeping track of royalties became a huge draw for artists. Keeping its focus primarily to rap, EMPIRE helped local artists develop strategies for the digital age when selling CDs out of car trunks no longer sufficed. Over the last decade, it became a crucial link between the Bay Area’s talent and the tech companies driving change, including Apple in Cupertino and Pandora in Oakland. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">By 2011, EMPIRE’s influence spread along the West Coast, with the label distributing early projects by Kendrick Lamar and Schoolboy Q. By 2012, EMPIRE had over a dozen entries on the Billboard charts—including an EP by Snoop Dogg, and Trinidad James’ hit “All Gold Everything,” which was inescapable at clubs at the time. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13870597\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-13870597\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/GettyImages-491968329-800x533.jpg\" alt=\"Sage the Gemini performs onstage at Power 106 FM's Powerhouse at Honda Center on May 17, 2014 in Anaheim, California.\" width=\"800\" height=\"533\">\u003cfigcaption class=\"wp-caption-text\">Sage the Gemini performs onstage at Power 106 FM's Powerhouse at Honda Center on May 17, 2014 in Anaheim, California. \u003ccite>(Imeh Akpanudosen/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Yet even among this roster of rising mainstream artists and established hitmakers, EMPIRE never lost sight of the Bay Area’s rap scene. It released projects by Oakland street rap mainstays J Stalin and Philthy Rich, and helped Fairfield’s Sage the Gemini usher in a new wave of West Coast party music with his 2013 hit “Gas Pedal.” \u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“His whole life and career, Ghazi watched talented creatives come up in the Bay Area and have to move elsewhere to fulfill their career goals and aspirations,” says EMPIRE Vice President Nima Etminan. “When he has the chance to do something on his own, a big part of his M.O. is to do it here in San Francisco, to provide a home for people in his community, and to hire people from his community so that the next generation of G-Eazys and Kehlanis don’t feel the need to move away from home to have a career.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As rap began to eclipse rock as America’s most popular genre, EMPIRE’s early releases attested to Shami’s keen ear for new sounds. Migos’ 2013 “Versace,” for instance, popularized a new cadence from Atlanta, the triplet flow, which transformed the sound of rap this decade.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">EMPIRE’s flexible contracts were another key to its early success. Rather than locking promising artists into six-album deals as a major label would, EMPIRE put out one-off releases and moved nimbly, matching the pace of a genre informed by viral trends. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“If you aren’t able to get the music out to the masses, that music can stall or falter if you’re on a traditional release schedule,” says Gavin Rhodes, the co-founder of the music PR company Audible Treats, whose client Young Dolph rose from Memphis standout to mainstream star thanks to the label. “Ghazi and EMPIRE very much embraced the immediacy of the genre and of the artists.”\u003c/span>\u003c/p>\n\u003cp>Over the years, EMPIRE expanded from primarily a digital distributor to a full-service record label and publishing company, working with artists on merchandise, brand partnerships, radio placements and sync opportunities for commercials and television. “I think now distribution is an afterthought, technology takes care of distribution,” says Etminan. “The key for companies like ours is to add value to what the artist is doing.”\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">That can mean pairing an emerging talent with the right songwriters and producers; locking in collaborators for music videos; and making sure their songs and videos get the right placements and promotion on streaming platforms. “And down to sitting down and talking to artists about basic things like their vision, their goals, their motivations—what they want to get out of being an artist so we can figure out how to best position them,” Etminan continues. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13870600\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-13870600\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/Rexx-Life-Raj-1-800x450.jpg\" alt=\"EMPIRE artist Rexx Life Raj.\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/Rexx-Life-Raj-1-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/2/2019/12/Rexx-Life-Raj-1-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/2/2019/12/Rexx-Life-Raj-1-768x432.jpg 768w, https://ww2.kqed.org/app/uploads/sites/2/2019/12/Rexx-Life-Raj-1-1020x574.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/2/2019/12/Rexx-Life-Raj-1-1200x675.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/2/2019/12/Rexx-Life-Raj-1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">EMPIRE artist Rexx Life Raj. \u003ccite>(Nastia Voynovskaya/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">This individualized approach allowed EMPIRE to play a key role in the rise of Northern California artists like \u003ca href=\"https://www.kqed.org/arts/13869513/rexx-life-raj-father-figure-3-empire\" target=\"_blank\" rel=\"noopener noreferrer\">Rexx Life Raj\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13842545/mozzy-on-gangland-landlord-kendrick-and-how-a-persistent-grind-pays-off\" target=\"_blank\" rel=\"noopener noreferrer\">Mozzy\u003c/a>, and to rehabilitate some established stars’ careers. With EMPIRE’s help, Fat Joe and Remy Ma logged their biggest hit in over a decade with 2016’s Grammy-nominated “All the Way Up.” The label helped orchestrate a second act for Tyga; took a chance on unlikely (and highly controversial) Florida star XXXtentacion; and played a key role in the rise of top West Coast talent like Southern California’s Anderson .Paak and Vallejo’s SOB x RBE. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In the past two years, EMPIRE has only gotten bigger. In 2018, the company announced a \u003ca href=\"https://www.kqed.org/arts/13830592/sf-based-hip-hop-distributor-empire-inks-deal-with-universal-music\" target=\"_blank\" rel=\"noopener noreferrer\">distribution partnership\u003c/a> with Universal Music Group, and earlier this year, EMPIRE opened the doors to a new recording studio in San Francisco. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">EMPIRE’s expansions have coincided with other forms of growth in the local music industry. At the beginning of 2019, Bandcamp established a \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13848866/inside-bandcamp-oakland-online-music-retailers-new-venue-record-shop-and-office\">\u003cspan style=\"font-weight: 400\">downtown Oakland headquarters\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> and venue with an emphasis on local, independent artists. And San Francisco’s \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13816703/can-text-me-records-become-san-franciscos-new-hit-factory\">\u003cspan style=\"font-weight: 400\">Text Me Records\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> emerged from the city’s historic Different Fur Studios, which was famous for recording jazz greats like Herbie Hancock in the ’70s and has since transformed into an incubator for emerging Bay Area artists such as Tia Nomore and Drew Banga. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">EMPIRE’s team is now global, spanning New York, London, Atlanta, Amsterdam and Jakarta (following its success with rapper Rich Brian, EMPIRE has its sights set on Indonesia and the Philippines). Yet the label remains firmly rooted in Shami’s hometown, with its headquarters overlooking San Francisco’s financial district. And for Bay Area artists who wouldn’t otherwise have an in with the traditional record label system, their commitment to creating opportunity in the region has been a lifeline. \u003c/span>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Ghazi could easily go to L.A., and it could grow ten-times faster real quick,” says Rexx Life Raj. “But he’s so adamant about staying home and building something from home cause he loves the Bay so much.”\u003c/span>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">By the early 2010s, the Bay Area’s rap scene was coming down from the high of the hyphy movement, which had flourished in the decade prior. Although Warner Brothers had a hit with E-40’s \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">My Ghetto Report Card\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, and the Lil Jon-produced “Tell Me When To Go” peaked in the Top 40, the dread-shaking, pill-popping subgenre didn’t go mainstream as predicted.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The region had also lost some of its music industry clout from the ’80s and ’90s, when Bill Graham Presents was one of the country’s most powerful promoters; Lookout Records took pop punk from East Bay subculture to platinum-selling genre; and Jive and Virgin were signing local rappers like Too $hort, E-40, Luniz and Richie Rich. Not to mention, the entire industry was figuring out how to turn a profit in the streaming age: Spotify debuted in the United States in 2011, lowering overall payments to artists and devaluing recorded music as a whole.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In this shifting landscape, a San Francisco audio engineer named Ghazi Shami claimed his place in a new niche with a digital-first enterprise. When his label \u003ca href=\"https://www.empi.re/\" target=\"_blank\" rel=\"noopener noreferrer\">EMPIRE\u003c/a> debuted in 2010, its proprietary software for getting music onto platforms and keeping track of royalties became a huge draw for artists. Keeping its focus primarily to rap, EMPIRE helped local artists develop strategies for the digital age when selling CDs out of car trunks no longer sufficed. Over the last decade, it became a crucial link between the Bay Area’s talent and the tech companies driving change, including Apple in Cupertino and Pandora in Oakland. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">By 2011, EMPIRE’s influence spread along the West Coast, with the label distributing early projects by Kendrick Lamar and Schoolboy Q. By 2012, EMPIRE had over a dozen entries on the Billboard charts—including an EP by Snoop Dogg, and Trinidad James’ hit “All Gold Everything,” which was inescapable at clubs at the time. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13870597\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-13870597\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/GettyImages-491968329-800x533.jpg\" alt=\"Sage the Gemini performs onstage at Power 106 FM's Powerhouse at Honda Center on May 17, 2014 in Anaheim, California.\" width=\"800\" height=\"533\">\u003cfigcaption class=\"wp-caption-text\">Sage the Gemini performs onstage at Power 106 FM's Powerhouse at Honda Center on May 17, 2014 in Anaheim, California. \u003ccite>(Imeh Akpanudosen/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Yet even among this roster of rising mainstream artists and established hitmakers, EMPIRE never lost sight of the Bay Area’s rap scene. It released projects by Oakland street rap mainstays J Stalin and Philthy Rich, and helped Fairfield’s Sage the Gemini usher in a new wave of West Coast party music with his 2013 hit “Gas Pedal.” \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“His whole life and career, Ghazi watched talented creatives come up in the Bay Area and have to move elsewhere to fulfill their career goals and aspirations,” says EMPIRE Vice President Nima Etminan. “When he has the chance to do something on his own, a big part of his M.O. is to do it here in San Francisco, to provide a home for people in his community, and to hire people from his community so that the next generation of G-Eazys and Kehlanis don’t feel the need to move away from home to have a career.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As rap began to eclipse rock as America’s most popular genre, EMPIRE’s early releases attested to Shami’s keen ear for new sounds. Migos’ 2013 “Versace,” for instance, popularized a new cadence from Atlanta, the triplet flow, which transformed the sound of rap this decade.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">EMPIRE’s flexible contracts were another key to its early success. Rather than locking promising artists into six-album deals as a major label would, EMPIRE put out one-off releases and moved nimbly, matching the pace of a genre informed by viral trends. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“If you aren’t able to get the music out to the masses, that music can stall or falter if you’re on a traditional release schedule,” says Gavin Rhodes, the co-founder of the music PR company Audible Treats, whose client Young Dolph rose from Memphis standout to mainstream star thanks to the label. “Ghazi and EMPIRE very much embraced the immediacy of the genre and of the artists.”\u003c/span>\u003c/p>\n\u003cp>Over the years, EMPIRE expanded from primarily a digital distributor to a full-service record label and publishing company, working with artists on merchandise, brand partnerships, radio placements and sync opportunities for commercials and television. “I think now distribution is an afterthought, technology takes care of distribution,” says Etminan. “The key for companies like ours is to add value to what the artist is doing.”\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">That can mean pairing an emerging talent with the right songwriters and producers; locking in collaborators for music videos; and making sure their songs and videos get the right placements and promotion on streaming platforms. “And down to sitting down and talking to artists about basic things like their vision, their goals, their motivations—what they want to get out of being an artist so we can figure out how to best position them,” Etminan continues. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13870600\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-13870600\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/Rexx-Life-Raj-1-800x450.jpg\" alt=\"EMPIRE artist Rexx Life Raj.\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/Rexx-Life-Raj-1-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/2/2019/12/Rexx-Life-Raj-1-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/2/2019/12/Rexx-Life-Raj-1-768x432.jpg 768w, https://ww2.kqed.org/app/uploads/sites/2/2019/12/Rexx-Life-Raj-1-1020x574.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/2/2019/12/Rexx-Life-Raj-1-1200x675.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/2/2019/12/Rexx-Life-Raj-1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">EMPIRE artist Rexx Life Raj. \u003ccite>(Nastia Voynovskaya/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">This individualized approach allowed EMPIRE to play a key role in the rise of Northern California artists like \u003ca href=\"https://www.kqed.org/arts/13869513/rexx-life-raj-father-figure-3-empire\" target=\"_blank\" rel=\"noopener noreferrer\">Rexx Life Raj\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13842545/mozzy-on-gangland-landlord-kendrick-and-how-a-persistent-grind-pays-off\" target=\"_blank\" rel=\"noopener noreferrer\">Mozzy\u003c/a>, and to rehabilitate some established stars’ careers. With EMPIRE’s help, Fat Joe and Remy Ma logged their biggest hit in over a decade with 2016’s Grammy-nominated “All the Way Up.” The label helped orchestrate a second act for Tyga; took a chance on unlikely (and highly controversial) Florida star XXXtentacion; and played a key role in the rise of top West Coast talent like Southern California’s Anderson .Paak and Vallejo’s SOB x RBE. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In the past two years, EMPIRE has only gotten bigger. In 2018, the company announced a \u003ca href=\"https://www.kqed.org/arts/13830592/sf-based-hip-hop-distributor-empire-inks-deal-with-universal-music\" target=\"_blank\" rel=\"noopener noreferrer\">distribution partnership\u003c/a> with Universal Music Group, and earlier this year, EMPIRE opened the doors to a new recording studio in San Francisco. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">EMPIRE’s expansions have coincided with other forms of growth in the local music industry. At the beginning of 2019, Bandcamp established a \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13848866/inside-bandcamp-oakland-online-music-retailers-new-venue-record-shop-and-office\">\u003cspan style=\"font-weight: 400\">downtown Oakland headquarters\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> and venue with an emphasis on local, independent artists. And San Francisco’s \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13816703/can-text-me-records-become-san-franciscos-new-hit-factory\">\u003cspan style=\"font-weight: 400\">Text Me Records\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> emerged from the city’s historic Different Fur Studios, which was famous for recording jazz greats like Herbie Hancock in the ’70s and has since transformed into an incubator for emerging Bay Area artists such as Tia Nomore and Drew Banga. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">EMPIRE’s team is now global, spanning New York, London, Atlanta, Amsterdam and Jakarta (following its success with rapper Rich Brian, EMPIRE has its sights set on Indonesia and the Philippines). Yet the label remains firmly rooted in Shami’s hometown, with its headquarters overlooking San Francisco’s financial district. And for Bay Area artists who wouldn’t otherwise have an in with the traditional record label system, their commitment to creating opportunity in the region has been a lifeline. \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Safia Mafia's Wise R&B Is Perfect for Your Self-Love Playlist",
"headTitle": "Safia Mafia’s Wise R&B Is Perfect for Your Self-Love Playlist | KQED",
"content": "\u003cp>With her honeyed voice and sporty-chic style, \u003ca href=\"https://soundcloud.com/safiamafiamusic\" target=\"_blank\" rel=\"noopener\">Safia Mafia\u003c/a> isn’t the first person you’d peg as a Metallica fan.\u003c/p>\n\u003cp>But over scrambled eggs at an old-school breakfast spot near Oakland’s Lake Merritt, she geeks out over the fact that she recorded her new album, \u003cem>Love Kills\u003c/em>, at 17 Hertz, the studio where the Bay Area rock stars laid down “Enter Sandman” and other famous tracks.\u003c/p>\n\u003cp>Scooping a forkful of avocado, she chatters excitedly about recording in the 17 Hertz’s prestigious Studio A room. “You can feel the energy like, f-ck, Metallica was here, in the same space, making the \u003cem>Black Album\u003c/em> in this very room,” she says, beaming.\u003c/p>\n\u003cp>If Safia Mafia isn’t on your radar yet, it’s likely she will be soon. The Oakland-raised R&B singer and Berkeley High graduate has put a long, steady grind into her music career over for over 10 years, and it’s starting to finally pay off. Her live show debuted this summer at the \u003ca href=\"https://www.bet.com/bet-experience/2018.html\" target=\"_blank\" rel=\"noopener\">BET Experience\u003c/a> music festival, where chart-toppers like SZA, Ella Mai and Teyana Taylor also performed—not bad for her first time singing in front of an audience.\u003c/p>\n\u003cp>Now working with manager Francois Wiley, who helped take the East Bay’s \u003ca href=\"https://www.kqed.org/arts/13825052/kamaiyah-surprises-hayward-high-school-with-black-panther-tickets\" target=\"_blank\" rel=\"noopener\">Kamaiyah\u003c/a> from local mixtape star to Interscope signee, Safia hopes her music will take her even further. \u003ca href=\"https://itunes.apple.com/us/album/love-kills/1450659445\" target=\"_blank\" rel=\"noopener\">\u003cem>Love Kills\u003c/em>\u003c/a> is out today via Rockit Music. The album’s lead single, “Weed & Wine,” features Guapdad 4000, the \u003ca href=\"https://www.kqed.org/arts/13819858/pro-tip-keep-your-credit-cards-away-from-guapdad-4000\" target=\"_blank\" rel=\"noopener\">scamtastic\u003c/a> Oakland rapper who’s having a big year himself, including a collaboration with J. Cole at his \u003ca href=\"http://www.xxlmag.com/news/2019/01/artists-invited-record-dreamville-revenge-dreamers-iii-album/\" target=\"_blank\" rel=\"noopener\">Dreamville\u003c/a> recording sessions in Atlanta.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://youtu.be/gW6T1qcbUkQ\u003c/p>\n\u003cp>Safia’s love for Metallica is only one dimension of the eclectic tastes that inform her work (other favorite artists include Nirvana, Amy Winehouse and John Coltrane). Those open-minded sensibilities make for a deliciously varied palette on \u003cem>Love Kills\u003c/em>, which moves from sexy Trap&B to vocal-driven art pop to a throwback sound steeped in ’80s Oakland R&B acts, like Tony! Toni! Toné! and Sheila E. (Tony! Toni! Toné!’s Raphael Saadiq is a major influence; Safia recorded her first EP, \u003cem>Pure\u003c/em>, at his studio, Blakeslee.)\u003c/p>\n\u003cp>It took Safia a while to hone in on her bright, airy vocal style. When she moved to Los Angeles to pursue her music dreams 10 years ago, she spent years locking herself in a makeshift recording booth in her closet, experimenting with vocal techniques without the input of engineers or producers. In many ways, her zigzagging path to her music career—which included many unglamorous day jobs and dropping out of a music journalism program in college—put her in the position to write the wise, thoughtful lyrics that give \u003cem>Love Kills \u003c/em>its strength.\u003c/p>\n\u003cp>https://youtu.be/PICIkvgrXS0\u003c/p>\n\u003cp>While the sunny, playful “Weed & Wine” is about the kind of sexual partner we’ve all told ourselves is a bad idea but hooked up with anyway, other tracks on \u003cem>Love Kills\u003c/em> deal with the most trusty BS-repellent one can arm oneself with in life: self-love. On “Little Darling,” she gently coaxes herself to stay motivated: “You still have some fight in you left / And your light shines brighter than them all,” she sings as tenacious horns and sweeping strings buoy her soft coos.\u003c/p>\n\u003cp>Safia says she owes a big part of her inner confidence to her regular therapy sessions. She’s not afraid to talk about them openly, either—it’s about time mental health stopped being a taboo subject, she says.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Newsflash, we all have issues, so what about it? I’m just doing something about mine,” she says with half-joking annoyance. “Therapy has really helped me musically because I can now talk about other things, I can express myself in a broader way.”\u003c/span>\u003c/p>\n\u003cp>That’s why on \u003cem>Love Kills\u003c/em>, she says, she doesn’t restrict the definition of love to the romantic variety, using the concept more broadly to sing about love of self, love of one’s hometown and love of the black community.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“The unhealthy side is love can kill you self-esteem; love can kill your spirit; love can kill your self-worth,” she says. “But on the positive side, love can kill hate; love can kill self-doubt; love can kill the naysayers.”\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>With her honeyed voice and sporty-chic style, \u003ca href=\"https://soundcloud.com/safiamafiamusic\" target=\"_blank\" rel=\"noopener\">Safia Mafia\u003c/a> isn’t the first person you’d peg as a Metallica fan.\u003c/p>\n\u003cp>But over scrambled eggs at an old-school breakfast spot near Oakland’s Lake Merritt, she geeks out over the fact that she recorded her new album, \u003cem>Love Kills\u003c/em>, at 17 Hertz, the studio where the Bay Area rock stars laid down “Enter Sandman” and other famous tracks.\u003c/p>\n\u003cp>Scooping a forkful of avocado, she chatters excitedly about recording in the 17 Hertz’s prestigious Studio A room. “You can feel the energy like, f-ck, Metallica was here, in the same space, making the \u003cem>Black Album\u003c/em> in this very room,” she says, beaming.\u003c/p>\n\u003cp>If Safia Mafia isn’t on your radar yet, it’s likely she will be soon. The Oakland-raised R&B singer and Berkeley High graduate has put a long, steady grind into her music career over for over 10 years, and it’s starting to finally pay off. Her live show debuted this summer at the \u003ca href=\"https://www.bet.com/bet-experience/2018.html\" target=\"_blank\" rel=\"noopener\">BET Experience\u003c/a> music festival, where chart-toppers like SZA, Ella Mai and Teyana Taylor also performed—not bad for her first time singing in front of an audience.\u003c/p>\n\u003cp>Now working with manager Francois Wiley, who helped take the East Bay’s \u003ca href=\"https://www.kqed.org/arts/13825052/kamaiyah-surprises-hayward-high-school-with-black-panther-tickets\" target=\"_blank\" rel=\"noopener\">Kamaiyah\u003c/a> from local mixtape star to Interscope signee, Safia hopes her music will take her even further. \u003ca href=\"https://itunes.apple.com/us/album/love-kills/1450659445\" target=\"_blank\" rel=\"noopener\">\u003cem>Love Kills\u003c/em>\u003c/a> is out today via Rockit Music. The album’s lead single, “Weed & Wine,” features Guapdad 4000, the \u003ca href=\"https://www.kqed.org/arts/13819858/pro-tip-keep-your-credit-cards-away-from-guapdad-4000\" target=\"_blank\" rel=\"noopener\">scamtastic\u003c/a> Oakland rapper who’s having a big year himself, including a collaboration with J. Cole at his \u003ca href=\"http://www.xxlmag.com/news/2019/01/artists-invited-record-dreamville-revenge-dreamers-iii-album/\" target=\"_blank\" rel=\"noopener\">Dreamville\u003c/a> recording sessions in Atlanta.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003ca href=\"http://empi.re/\" rel=\"noopener\" target=\"_blank\">EMPIRE\u003c/a>, the San Francisco-based independent record distributor that’s worked with artists like Kendrick Lamar and Schoolboy Q, has signed a deal with major label Universal Music Group (UMG), according to an announcement made Wednesday.\u003c/p>\n\u003cp>The multi-year deal has EMPIRE providing “strategic distribution services to UMG’s labels and artists,” according to the \u003ca href=\"https://www.universalmusic.com/universal-music-group-empire-form-strategic-distribution-agreement/\" rel=\"noopener\" target=\"_blank\">UMG press release\u003c/a>. The two companies plan to work together provide select UMG artists with EMPIRE’s distinct brand of promotion and delivery.\u003c/p>\n\u003cp>“The unique blend of size and strength (Universal Music Group) combined with speed and ingenuity (EMPIRE) will be a force in the industry,” EMPIRE CEO Ghazi Shami told \u003ca href=\"https://hiphopdx.com/news/id.46618/title.universal-music-group-empire-enter-new-distribution-deal#\">HipHopDX\u003c/a>. \u003c/p>\n\u003cp>A San Francisco University graduate, Shami founded EMPIRE in 2010 after working at INgrooves Music Group for four years and learning the business side of the music industry. Within two years, EMPIRE released recordings from Lamar, Snoop Dogg and Trinidad James, all of which charted on the Billboard US 200.\u003c/p>\n\u003cp>Locally, EMPIRE has supported the careers of artists like Philthy Rich, Berner, Rayana Jay, ALLBLACK and Rexx Life Raj, and Bay Area labels like Text Me Records. Last year, the company \u003ca href=\"https://www.kqed.org/arts/13808533\" rel=\"noopener\" target=\"_blank\">came under fire\u003c/a> for working with XXXtentacion, a rapper charged with aggravated battery of a pregnant woman and domestic battery by strangulation, whose album \u003cem>17\u003c/em> nonetheless charted at No. 1.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In a 2016 profile \u003ca href=\"https://hiphopdx.com/editorials/id.3180/title.empire-the-music-industrys-quiet-giant\" rel=\"noopener\" target=\"_blank\">on HipHopDX\u003c/a>, Shami credits EMPIRE’s success to its digital distribution and royalty system, as well as their use of non-exclusive deals.\u003c/p>\n\u003cp>“Ghazi always said ‘If you take someone into your home and tie them to the couch and say you have to sit here, he’s gonna wanna get up. But if you welcome him and say have a seat, stay as long as you want and do right by him, chances are he’s not going to want to leave,'” Nima Etminan, EMPIRE’s vice president of operations, told HipHopDX.\u003c/p>\n\u003cp>Earlier this month, EMPIRE announced it had expanded its staff. Among the recent hires was EMPIRE’s new vice president of A&R, Tina Davis, who spent a decade Def Jam records and is Chris Brown’s former manager. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://variety.com/2018/biz/news/empire-strikes-global-distribution-services-deal-with-universal-music-group-1202786604/\" rel=\"noopener\" target=\"_blank\">Variety also reports\u003c/a> that EMPIRE signed a deal with Hitco Entertainment, the new record label founded by ex-Epic Records head L.A. Reid. The first release EMPIRE will help Hitco distribute is the new album from Big Boi of Outkast. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://empi.re/\" rel=\"noopener\" target=\"_blank\">EMPIRE\u003c/a>, the San Francisco-based independent record distributor that’s worked with artists like Kendrick Lamar and Schoolboy Q, has signed a deal with major label Universal Music Group (UMG), according to an announcement made Wednesday.\u003c/p>\n\u003cp>The multi-year deal has EMPIRE providing “strategic distribution services to UMG’s labels and artists,” according to the \u003ca href=\"https://www.universalmusic.com/universal-music-group-empire-form-strategic-distribution-agreement/\" rel=\"noopener\" target=\"_blank\">UMG press release\u003c/a>. The two companies plan to work together provide select UMG artists with EMPIRE’s distinct brand of promotion and delivery.\u003c/p>\n\u003cp>“The unique blend of size and strength (Universal Music Group) combined with speed and ingenuity (EMPIRE) will be a force in the industry,” EMPIRE CEO Ghazi Shami told \u003ca href=\"https://hiphopdx.com/news/id.46618/title.universal-music-group-empire-enter-new-distribution-deal#\">HipHopDX\u003c/a>. \u003c/p>\n\u003cp>A San Francisco University graduate, Shami founded EMPIRE in 2010 after working at INgrooves Music Group for four years and learning the business side of the music industry. Within two years, EMPIRE released recordings from Lamar, Snoop Dogg and Trinidad James, all of which charted on the Billboard US 200.\u003c/p>\n\u003cp>Locally, EMPIRE has supported the careers of artists like Philthy Rich, Berner, Rayana Jay, ALLBLACK and Rexx Life Raj, and Bay Area labels like Text Me Records. Last year, the company \u003ca href=\"https://www.kqed.org/arts/13808533\" rel=\"noopener\" target=\"_blank\">came under fire\u003c/a> for working with XXXtentacion, a rapper charged with aggravated battery of a pregnant woman and domestic battery by strangulation, whose album \u003cem>17\u003c/em> nonetheless charted at No. 1.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In a 2016 profile \u003ca href=\"https://hiphopdx.com/editorials/id.3180/title.empire-the-music-industrys-quiet-giant\" rel=\"noopener\" target=\"_blank\">on HipHopDX\u003c/a>, Shami credits EMPIRE’s success to its digital distribution and royalty system, as well as their use of non-exclusive deals.\u003c/p>\n\u003cp>“Ghazi always said ‘If you take someone into your home and tie them to the couch and say you have to sit here, he’s gonna wanna get up. But if you welcome him and say have a seat, stay as long as you want and do right by him, chances are he’s not going to want to leave,'” Nima Etminan, EMPIRE’s vice president of operations, told HipHopDX.\u003c/p>\n\u003cp>Earlier this month, EMPIRE announced it had expanded its staff. Among the recent hires was EMPIRE’s new vice president of A&R, Tina Davis, who spent a decade Def Jam records and is Chris Brown’s former manager. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://variety.com/2018/biz/news/empire-strikes-global-distribution-services-deal-with-universal-music-group-1202786604/\" rel=\"noopener\" target=\"_blank\">Variety also reports\u003c/a> that EMPIRE signed a deal with Hitco Entertainment, the new record label founded by ex-Epic Records head L.A. Reid. The first release EMPIRE will help Hitco distribute is the new album from Big Boi of Outkast. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"order": 1
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"code-switch-life-kit": {
"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"commonwealth-club": {
"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"source": "Commonwealth Club of California"
},
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"order": 9
},
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"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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},
"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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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": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
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"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
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"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
"site": "news",
"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"officialWebsiteLink": "/perspectives/",
"meta": {
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
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"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
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},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
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