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"content": "\u003cp>In the weeks before his untimely passing in 2015, the Jacka was in a fluid, focused creative mode that his longtime collaborator RobLo can only describe as “God flow.”\u003c/p>\n\u003cp>“Whatever Jack went through that day prior to his session with me, he lived that life and put it in his lyrics that day,” says the producer. “As fast as I came up with the music on the spot, he wanted to deliver the lyrics. We called that real-time writing. … I wanted him to express his feelings on the mic without having to use a pen.” [aside postid='arts_13874104']\u003c/p>\n\u003cp>Just days before the Jacka’s life was taken in an East Oakland shooting on Feb. 2 of that year, he, RobLo and another of the Jacka’s longtime collaborators, Husalah, had made a music video in Oakland for a new track called “Sink Deep Into It” with Houston rap legend Paul Wall. Over celestial synths that shine like sunbeams through the bass-heavy beat, the Jacka raps about his life’s suffocating pressures in half-whispered bars. The track is emblematic of the pensive style that made him one of the Bay Area’s most beloved lyricists.\u003c/p>\n\u003cp>The Jacka is most closely associated with Bay Area mobb music, a street rap movement that percolated in the late ’80s and early ’90s as gangster rap took off in Los Angeles. In the late ’90s, the Jacka was a young artist picking up the mantle, and he joined the group Mob Figaz under the mentorship of Sacramento’s C-Bo, a pioneering gangster rapper who had collaborated with Tupac on the album \u003cem> All Eyez on Me\u003c/em>.\u003c/p>\n\u003cp>In the West Coast street rap scene, the Jacka stood out. He didn’t have a flamboyant persona like the Bay Area’s elder statesmen, E-40 and Too $hort; nor was his flow aggressive or gravelly like peers Keak Da Sneak and J. Stalin. Instead, with a melancholic timbre and lush, heartrending instrumentals, his music made space for sadness amid realist dispatches from the East Bay’s criminal underworld. With his lyrics, he embraced life’s gray areas, and gave voice to the moral quandaries in which he found himself while trying to follow a spiritual path and also do what it took to survive.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://youtu.be/43i2pc9pJa8\u003c/p>\n\u003ch2>An Unreleased ‘Full Body of Work’\u003c/h2>\n\u003cp>“He wanted touch people [who were] like him,” says the Jacka’s longtime manager, PK. PK became part of the rapper’s inner circle when the two met as teenagers. The Jacka used to cut PK’s hair, and they maintained a close relationship until the Jacka’s last days.\u003c/p>\n\u003cp>“Those are people who are in the struggle,” PK continues. “Those are people who are lost. Those are people who don’t know who they are, where they come from, don’t have money, haven’t figured it out, are in jail, are in the streets, are in a life of crime, don’t know their mother, don’t know their father, weren’t raised in a proper home. … All that. He had a lot of experiences of those things.”\u003c/p>\n\u003cp>Since the Jacka’s death, PK has spent the past five years collecting unreleased tracks he recorded at studios in Oakland, Richmond, Seattle and Miami. He’s spent countless hours listening to the music, hammering out details with the Jacka’s numerous collaborators and making executive decisions based on the many days he spent by the Jacka’s side as an executive producer and A&R consultant. The culmination is a long-awaited forthcoming album called \u003cem>Murder Weapon\u003c/em>.\u003c/p>\n\u003cp>“It’s as close to what I could present to the world as something he would’ve done,” says PK, adding that he helped the Jacka choose beats and features for career-defining albums like 2005’s \u003cem>The Jack Artist\u003c/em> and 2009’s \u003cem>Tear Gas\u003c/em>. “I had to add some features, or some of the beats were a little messed up and they had to be finished or polished up. … This was a full body of work from him that’s like, this is how he would’ve wanted it to be.”\u003c/p>\n\u003cp>\u003cem>Murder Weapon \u003c/em>includes features from rap heavyweights like Freddie Gibbs, Paul Wall and Currensy, along with the Jacka’s longtime East Bay collaborators Husalah, Fed-X, Rydah J. Klyde, Dubb 20 and Street Knowledge, among others. Infused with the Jacka’s Muslim spiritual beliefs and political consciousness, at times the album feels eerily prophetic: on one track, he muses, “I won’t be here forever, better cherish me.”\u003c/p>\n\u003cp>The songs on \u003cem>Murder Weapon\u003c/em> shed light on the Jacka’s mental state in the years before his death, when he became increasingly interested in esoteric knowledge that sometimes bordered on conspiratorial thinking. He’d spend hours each day on YouTube, PK recalls, watching documentaries about aliens and ancient civilizations.\u003c/p>\n\u003cp>“He’s in a room, he has a bunch of people over, he’s on YouTube, he’s playing stuff, everyone’s entertained by it,” PK says, describing a typical scene. “But what’s going on in his head is he’s downloading and learning and downloading and learning, practicing. … It’s content for raps and for life.”\u003c/p>\n\u003cfigure id=\"attachment_13874186\" class=\"wp-caption aligncenter\" style=\"max-width: 747px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13874186\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/the-jacka-roblo2.jpg\" alt=\"The Jacka with producer RobLo circa 2010.\" width=\"747\" height=\"687\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/the-jacka-roblo2.jpg 747w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/the-jacka-roblo2-160x147.jpg 160w\" sizes=\"(max-width: 747px) 100vw, 747px\">\u003cfigcaption class=\"wp-caption-text\">The Jacka with producer RobLo, circa 2010. \u003ccite>(Courtesy of RobLo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Forging a Brotherhood\u003c/h2>\n\u003cp>The Jacka was known as a street rapper first and foremost, yet his voraciousness for new information guided his creative process in expansive directions. One of his last albums, 2014’s \u003ca href=\"https://soundcloud.com/project-groundation/sets/the-jacka-what-happened-to-the-world-street-album-mixed-by-dj-child\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>What Happened to the World\u003c/em>\u003c/a>, features soundbites from news clips about Occupy Oakland and the police killing of Oscar Grant.\u003c/p>\n\u003cp>“A lot of the later music is jewels, and that’s why people loved Jack,” says Husalah. “It was knowledge, it was wisdom and understanding. It was every different type of upliftment for the people, because once you’re a street person you can’t abandon that. … In Islam it’s called giving \u003cem>Dawah\u003c/em>, or teaching.”\u003c/p>\n\u003cp>Husalah met the Jacka when the two were young teens in Pittsburg, the Contra Costa County suburb 30 miles east of Oakland. Husalah grew up in Pittsburg’s El Pueblo projects. The Jacka, whose parents were only 14 years old when he was born in Arizona, spent his early years moving between Los Angeles, Stockton, Oakland and Richmond. By the end of his middle school years, his family settled down in Pittsburg, a town that to this day claims him as one of its biggest cultural icons.\u003c/p>\n\u003cp>The Jacka and Husalah clicked instantly over their shared love of sports and music, and their friendship always had an element of brotherly competition. They followed similar paths: both practiced Islam, and both got involved in illegal street activities from a young age. Starting in middle school, they began recording their first raps at RobLo’s house, where they had access to professional equipment because RobLo’s father worked in the music industry.\u003c/p>\n\u003cp>“We developed a friendship, a brotherhood,” Husalah says. “Through each stage of life, we found ourselves around each other.”\u003c/p>\n\u003cfigure id=\"attachment_13874185\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13874185\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/husalah-pk-street-knowledge-800x533.jpg\" alt=\"The Jacka's longtime collaborators Husalah (left) and Street Knowledge (center) with his manager, PK (right).\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/husalah-pk-street-knowledge-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/husalah-pk-street-knowledge-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/husalah-pk-street-knowledge-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/husalah-pk-street-knowledge-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/husalah-pk-street-knowledge-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/husalah-pk-street-knowledge.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) The Jacka’s longtime collaborators Husalah and Street Knowledge, and his manager, PK. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>An Expansive Creative Vision\u003c/h2>\n\u003cp>The Jacka and Husalah idolized C-Bo and Tupac, but their influences came from other unexpected places: they loved reggae and dancehall, and studied tapes by Sizzla and Yellowman. British trip-hop band Portishead was in heavy rotation, and, surprisingly, the Jacka was a big fan of pop-punk teen idol Avril Lavigne, Husalah remembers.\u003c/p>\n\u003cp>“We thought more on a broad perspective as far as creating and being dope,” Husalah says. “It led us to so many different genres of music and understanding how dope people were in different cultures.”\u003c/p>\n\u003cp>Along with Husalah and the Jacka, Mob Figaz also included FedX, Rydah J. Klyde and AP.9. After the release of \u003cem>C-Bo’s Mob Figaz\u003c/em> in 1999, the crew never officially split. But momentum slowed on their work as a unit because someone in the group would always be in some kind of legal trouble, Husalah recalls, including the Jacka, who spent time behind bars prior to the debut album’s release.\u003c/p>\n\u003cp>Meanwhile, C-Bo was arrested for parole violations \u003ca href=\"http://www.mtv.com/news/3531/rapper-c-bo-claims-first-amendment-victory/\" target=\"_blank\" rel=\"noopener noreferrer\">because of lyrics\u003c/a> from his 1998 album \u003cem>Til My Casket Drops\u003c/em>, prompting outcries from civil rights groups and free speech advocates. Following the 2 Live Crew’s \u003ca href=\"https://www.nytimes.com/1990/10/17/us/obscenity-or-art-trial-on-rap-lyrics-opens.html\" target=\"_blank\" rel=\"noopener noreferrer\">obscenity trial\u003c/a> and Newt Gingrich’s \u003ca href=\"https://www.spin.com/2013/08/the-worst-moments-of-the-90s-worst-band-names-worst-lyrics-worst-video/130809-worst-of-the-90s-c-delores/\" target=\"_blank\" rel=\"noopener noreferrer\">campaign\u003c/a> to pull advertising from hip-hop radio stations, the ordeal was just one of the many ways rap was politicized and censored in the ’90s.\u003c/p>\n\u003cp>As solo artists, the members of Mob Figaz remained close collaborators, and the Jacka and Husalah’s friendship endured when Husalah went to prison for drug trafficking between 2005 and 2009. “He took the music when I was in prison to a level I never realized,” Husalah says, recalling that he was released around the time that the Jacka’s biggest commercial hit, “Glamorous Lifestyle,” was in heavy rotation on the radio.\u003c/p>\n\u003cp>When Husalah came home, the Jacka brought him back into the fold. “We never really relied on music as our income, we didn’t do music for money,” he says. “But when I went to prison, he made it lucrative.”\u003c/p>\n\u003cp>https://youtu.be/bPbgNHDpgAY\u003c/p>\n\u003ch2>Passing Down the Wisdom\u003c/h2>\n\u003cp>The Jacka’s mainstream buzz quieted down in the years after \u003cem>Tear Gas\u003c/em>, but in the last years of his life, he continued to feed music to his loyal followings in the Bay Area and other regional markets with appreciations for underground rap. In addition to spending a lot of time recording in Seattle, he put out a joint album with Pennsylvania rapper Freeway, \u003cem>Highway Robbery\u003c/em>, and recorded \u003cem>Devilz Rejectz 3\u003c/em> with Akron, Ohio’s Ampichino. (\u003cem>Devilz Rejectz 3\u003c/em> came out posthumously, in 2018).\u003c/p>\n\u003cp>Known for his quiet, tough and generous personality, the Jacka spent his later years mentoring many aspiring rappers. Oakland artist Street Knowledge, who was just starting his music career in the late 2000s, remembers living at the Jacka’s house in Oakland with at least 10 other guys. The house was like a training ground to see who was serious enough to sign to the Jacka’s label, The Artist Records. “He was everybody’s mentor, not just me,” Street Knowledge says, adding that few rappers made the cut. “It’s just a matter of if you was gonna listen to him. He would tell you a bunch of shit you don’t wanna hear, but you need to.”\u003c/p>\n\u003cp>Yet there were times when the Jacka became frustrated with his career. In 2014, after the release of \u003cem>What Happened to the World\u003c/em>, \u003ca href=\"https://pitchfork.com/reviews/albums/20045-what-happened-to-the-world/\" target=\"_blank\" rel=\"noopener noreferrer\">Pitchfork\u003c/a> called the Jacka “one of the decade’s strongest writers—both within and outside of hip-hop.” But PK remembers him feeling like he hit a ceiling within the industry.\u003c/p>\n\u003cp>“He put out really good music and he gave his all. And when I say his all, I don’t just mean the energy with creating the records, but the sacrifices with his family, whether it was his kids, his mother, his sister, just not being around,” PK says. “Or himself—sacrificing himself and not doing certain things.”\u003c/p>\n\u003cfigure id=\"attachment_13854053\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13854053\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/04/13-800x771.png\" alt=\"The Jacka and Nipsey, both on stage in Heaven now\" width=\"800\" height=\"771\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/13-800x771.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/13-160x154.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/13-768x741.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/13-1020x984.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/13-32x32.png 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/13.png 1091w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Jacka and Nipsey Hussle perform at the New Parish in Oakland. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And then there were the Jacka’s struggles with addiction. He had kicked a heroin habit he acquired as a teenager, but towards the end of his life, he became a regular user of lean, or the opioid codeine. “I know those things had a pretty serious grip on him,” PK says, adding that the Jacka didn’t open up to him about it much. “He had a very strong personality. He wasn’t the one to really ask for a lot of help.”\u003c/p>\n\u003cp>Still, despite his personal battles, the Jacka remained an inspiration and a mentor to many. RobLo thinks of him as a spiritual leader. “He got me and my friends, I mean all 20 of us, to go hop in the van and go to the mosque,” he recalls. “A friend that gets you closer to God is a friend worth having.”\u003c/p>\n\u003cp>To this day, the Jacka’s murder remains unsolved. But through the artists he inspired and the music that he made, his presence continues to be deeply felt in the Bay Area and beyond.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“We’re keeping it lit for him,” Husalah says, “living in his example.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the weeks before his untimely passing in 2015, the Jacka was in a fluid, focused creative mode that his longtime collaborator RobLo can only describe as “God flow.”\u003c/p>\n\u003cp>“Whatever Jack went through that day prior to his session with me, he lived that life and put it in his lyrics that day,” says the producer. “As fast as I came up with the music on the spot, he wanted to deliver the lyrics. We called that real-time writing. … I wanted him to express his feelings on the mic without having to use a pen.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Just days before the Jacka’s life was taken in an East Oakland shooting on Feb. 2 of that year, he, RobLo and another of the Jacka’s longtime collaborators, Husalah, had made a music video in Oakland for a new track called “Sink Deep Into It” with Houston rap legend Paul Wall. Over celestial synths that shine like sunbeams through the bass-heavy beat, the Jacka raps about his life’s suffocating pressures in half-whispered bars. The track is emblematic of the pensive style that made him one of the Bay Area’s most beloved lyricists.\u003c/p>\n\u003cp>The Jacka is most closely associated with Bay Area mobb music, a street rap movement that percolated in the late ’80s and early ’90s as gangster rap took off in Los Angeles. In the late ’90s, the Jacka was a young artist picking up the mantle, and he joined the group Mob Figaz under the mentorship of Sacramento’s C-Bo, a pioneering gangster rapper who had collaborated with Tupac on the album \u003cem> All Eyez on Me\u003c/em>.\u003c/p>\n\u003cp>In the West Coast street rap scene, the Jacka stood out. He didn’t have a flamboyant persona like the Bay Area’s elder statesmen, E-40 and Too $hort; nor was his flow aggressive or gravelly like peers Keak Da Sneak and J. Stalin. Instead, with a melancholic timbre and lush, heartrending instrumentals, his music made space for sadness amid realist dispatches from the East Bay’s criminal underworld. With his lyrics, he embraced life’s gray areas, and gave voice to the moral quandaries in which he found himself while trying to follow a spiritual path and also do what it took to survive.\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/43i2pc9pJa8'\n title='//www.youtube.com/embed/43i2pc9pJa8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>An Unreleased ‘Full Body of Work’\u003c/h2>\n\u003cp>“He wanted touch people [who were] like him,” says the Jacka’s longtime manager, PK. PK became part of the rapper’s inner circle when the two met as teenagers. The Jacka used to cut PK’s hair, and they maintained a close relationship until the Jacka’s last days.\u003c/p>\n\u003cp>“Those are people who are in the struggle,” PK continues. “Those are people who are lost. Those are people who don’t know who they are, where they come from, don’t have money, haven’t figured it out, are in jail, are in the streets, are in a life of crime, don’t know their mother, don’t know their father, weren’t raised in a proper home. … All that. He had a lot of experiences of those things.”\u003c/p>\n\u003cp>Since the Jacka’s death, PK has spent the past five years collecting unreleased tracks he recorded at studios in Oakland, Richmond, Seattle and Miami. He’s spent countless hours listening to the music, hammering out details with the Jacka’s numerous collaborators and making executive decisions based on the many days he spent by the Jacka’s side as an executive producer and A&R consultant. The culmination is a long-awaited forthcoming album called \u003cem>Murder Weapon\u003c/em>.\u003c/p>\n\u003cp>“It’s as close to what I could present to the world as something he would’ve done,” says PK, adding that he helped the Jacka choose beats and features for career-defining albums like 2005’s \u003cem>The Jack Artist\u003c/em> and 2009’s \u003cem>Tear Gas\u003c/em>. “I had to add some features, or some of the beats were a little messed up and they had to be finished or polished up. … This was a full body of work from him that’s like, this is how he would’ve wanted it to be.”\u003c/p>\n\u003cp>\u003cem>Murder Weapon \u003c/em>includes features from rap heavyweights like Freddie Gibbs, Paul Wall and Currensy, along with the Jacka’s longtime East Bay collaborators Husalah, Fed-X, Rydah J. Klyde, Dubb 20 and Street Knowledge, among others. Infused with the Jacka’s Muslim spiritual beliefs and political consciousness, at times the album feels eerily prophetic: on one track, he muses, “I won’t be here forever, better cherish me.”\u003c/p>\n\u003cp>The songs on \u003cem>Murder Weapon\u003c/em> shed light on the Jacka’s mental state in the years before his death, when he became increasingly interested in esoteric knowledge that sometimes bordered on conspiratorial thinking. He’d spend hours each day on YouTube, PK recalls, watching documentaries about aliens and ancient civilizations.\u003c/p>\n\u003cp>“He’s in a room, he has a bunch of people over, he’s on YouTube, he’s playing stuff, everyone’s entertained by it,” PK says, describing a typical scene. “But what’s going on in his head is he’s downloading and learning and downloading and learning, practicing. … It’s content for raps and for life.”\u003c/p>\n\u003cfigure id=\"attachment_13874186\" class=\"wp-caption aligncenter\" style=\"max-width: 747px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13874186\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/the-jacka-roblo2.jpg\" alt=\"The Jacka with producer RobLo circa 2010.\" width=\"747\" height=\"687\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/the-jacka-roblo2.jpg 747w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/the-jacka-roblo2-160x147.jpg 160w\" sizes=\"(max-width: 747px) 100vw, 747px\">\u003cfigcaption class=\"wp-caption-text\">The Jacka with producer RobLo, circa 2010. \u003ccite>(Courtesy of RobLo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Forging a Brotherhood\u003c/h2>\n\u003cp>The Jacka was known as a street rapper first and foremost, yet his voraciousness for new information guided his creative process in expansive directions. One of his last albums, 2014’s \u003ca href=\"https://soundcloud.com/project-groundation/sets/the-jacka-what-happened-to-the-world-street-album-mixed-by-dj-child\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>What Happened to the World\u003c/em>\u003c/a>, features soundbites from news clips about Occupy Oakland and the police killing of Oscar Grant.\u003c/p>\n\u003cp>“A lot of the later music is jewels, and that’s why people loved Jack,” says Husalah. “It was knowledge, it was wisdom and understanding. It was every different type of upliftment for the people, because once you’re a street person you can’t abandon that. … In Islam it’s called giving \u003cem>Dawah\u003c/em>, or teaching.”\u003c/p>\n\u003cp>Husalah met the Jacka when the two were young teens in Pittsburg, the Contra Costa County suburb 30 miles east of Oakland. Husalah grew up in Pittsburg’s El Pueblo projects. The Jacka, whose parents were only 14 years old when he was born in Arizona, spent his early years moving between Los Angeles, Stockton, Oakland and Richmond. By the end of his middle school years, his family settled down in Pittsburg, a town that to this day claims him as one of its biggest cultural icons.\u003c/p>\n\u003cp>The Jacka and Husalah clicked instantly over their shared love of sports and music, and their friendship always had an element of brotherly competition. They followed similar paths: both practiced Islam, and both got involved in illegal street activities from a young age. Starting in middle school, they began recording their first raps at RobLo’s house, where they had access to professional equipment because RobLo’s father worked in the music industry.\u003c/p>\n\u003cp>“We developed a friendship, a brotherhood,” Husalah says. “Through each stage of life, we found ourselves around each other.”\u003c/p>\n\u003cfigure id=\"attachment_13874185\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13874185\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/husalah-pk-street-knowledge-800x533.jpg\" alt=\"The Jacka's longtime collaborators Husalah (left) and Street Knowledge (center) with his manager, PK (right).\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/husalah-pk-street-knowledge-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/husalah-pk-street-knowledge-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/husalah-pk-street-knowledge-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/husalah-pk-street-knowledge-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/husalah-pk-street-knowledge-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/husalah-pk-street-knowledge.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) The Jacka’s longtime collaborators Husalah and Street Knowledge, and his manager, PK. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>An Expansive Creative Vision\u003c/h2>\n\u003cp>The Jacka and Husalah idolized C-Bo and Tupac, but their influences came from other unexpected places: they loved reggae and dancehall, and studied tapes by Sizzla and Yellowman. British trip-hop band Portishead was in heavy rotation, and, surprisingly, the Jacka was a big fan of pop-punk teen idol Avril Lavigne, Husalah remembers.\u003c/p>\n\u003cp>“We thought more on a broad perspective as far as creating and being dope,” Husalah says. “It led us to so many different genres of music and understanding how dope people were in different cultures.”\u003c/p>\n\u003cp>Along with Husalah and the Jacka, Mob Figaz also included FedX, Rydah J. Klyde and AP.9. After the release of \u003cem>C-Bo’s Mob Figaz\u003c/em> in 1999, the crew never officially split. But momentum slowed on their work as a unit because someone in the group would always be in some kind of legal trouble, Husalah recalls, including the Jacka, who spent time behind bars prior to the debut album’s release.\u003c/p>\n\u003cp>Meanwhile, C-Bo was arrested for parole violations \u003ca href=\"http://www.mtv.com/news/3531/rapper-c-bo-claims-first-amendment-victory/\" target=\"_blank\" rel=\"noopener noreferrer\">because of lyrics\u003c/a> from his 1998 album \u003cem>Til My Casket Drops\u003c/em>, prompting outcries from civil rights groups and free speech advocates. Following the 2 Live Crew’s \u003ca href=\"https://www.nytimes.com/1990/10/17/us/obscenity-or-art-trial-on-rap-lyrics-opens.html\" target=\"_blank\" rel=\"noopener noreferrer\">obscenity trial\u003c/a> and Newt Gingrich’s \u003ca href=\"https://www.spin.com/2013/08/the-worst-moments-of-the-90s-worst-band-names-worst-lyrics-worst-video/130809-worst-of-the-90s-c-delores/\" target=\"_blank\" rel=\"noopener noreferrer\">campaign\u003c/a> to pull advertising from hip-hop radio stations, the ordeal was just one of the many ways rap was politicized and censored in the ’90s.\u003c/p>\n\u003cp>As solo artists, the members of Mob Figaz remained close collaborators, and the Jacka and Husalah’s friendship endured when Husalah went to prison for drug trafficking between 2005 and 2009. “He took the music when I was in prison to a level I never realized,” Husalah says, recalling that he was released around the time that the Jacka’s biggest commercial hit, “Glamorous Lifestyle,” was in heavy rotation on the radio.\u003c/p>\n\u003cp>When Husalah came home, the Jacka brought him back into the fold. “We never really relied on music as our income, we didn’t do music for money,” he says. “But when I went to prison, he made it lucrative.”\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>\u003ch2>Passing Down the Wisdom\u003c/h2>\n\u003cp>The Jacka’s mainstream buzz quieted down in the years after \u003cem>Tear Gas\u003c/em>, but in the last years of his life, he continued to feed music to his loyal followings in the Bay Area and other regional markets with appreciations for underground rap. In addition to spending a lot of time recording in Seattle, he put out a joint album with Pennsylvania rapper Freeway, \u003cem>Highway Robbery\u003c/em>, and recorded \u003cem>Devilz Rejectz 3\u003c/em> with Akron, Ohio’s Ampichino. (\u003cem>Devilz Rejectz 3\u003c/em> came out posthumously, in 2018).\u003c/p>\n\u003cp>Known for his quiet, tough and generous personality, the Jacka spent his later years mentoring many aspiring rappers. Oakland artist Street Knowledge, who was just starting his music career in the late 2000s, remembers living at the Jacka’s house in Oakland with at least 10 other guys. The house was like a training ground to see who was serious enough to sign to the Jacka’s label, The Artist Records. “He was everybody’s mentor, not just me,” Street Knowledge says, adding that few rappers made the cut. “It’s just a matter of if you was gonna listen to him. He would tell you a bunch of shit you don’t wanna hear, but you need to.”\u003c/p>\n\u003cp>Yet there were times when the Jacka became frustrated with his career. In 2014, after the release of \u003cem>What Happened to the World\u003c/em>, \u003ca href=\"https://pitchfork.com/reviews/albums/20045-what-happened-to-the-world/\" target=\"_blank\" rel=\"noopener noreferrer\">Pitchfork\u003c/a> called the Jacka “one of the decade’s strongest writers—both within and outside of hip-hop.” But PK remembers him feeling like he hit a ceiling within the industry.\u003c/p>\n\u003cp>“He put out really good music and he gave his all. And when I say his all, I don’t just mean the energy with creating the records, but the sacrifices with his family, whether it was his kids, his mother, his sister, just not being around,” PK says. “Or himself—sacrificing himself and not doing certain things.”\u003c/p>\n\u003cfigure id=\"attachment_13854053\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13854053\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/04/13-800x771.png\" alt=\"The Jacka and Nipsey, both on stage in Heaven now\" width=\"800\" height=\"771\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/13-800x771.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/13-160x154.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/13-768x741.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/13-1020x984.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/13-32x32.png 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/13.png 1091w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Jacka and Nipsey Hussle perform at the New Parish in Oakland. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And then there were the Jacka’s struggles with addiction. He had kicked a heroin habit he acquired as a teenager, but towards the end of his life, he became a regular user of lean, or the opioid codeine. “I know those things had a pretty serious grip on him,” PK says, adding that the Jacka didn’t open up to him about it much. “He had a very strong personality. He wasn’t the one to really ask for a lot of help.”\u003c/p>\n\u003cp>Still, despite his personal battles, the Jacka remained an inspiration and a mentor to many. RobLo thinks of him as a spiritual leader. “He got me and my friends, I mean all 20 of us, to go hop in the van and go to the mosque,” he recalls. “A friend that gets you closer to God is a friend worth having.”\u003c/p>\n\u003cp>To this day, the Jacka’s murder remains unsolved. But through the artists he inspired and the music that he made, his presence continues to be deeply felt in the Bay Area and beyond.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We’re keeping it lit for him,” Husalah says, “living in his example.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cspan style=\"font-weight: 400\">Beloved Bay Area rapper The Jacka was shot and killed exactly five years ago this Sunday. Carrying on his legacy are his family, friends, fans and former manager, PK, who is working diligently to release a new album of work from the late artist. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">On top of that, PK is continuing to work with a number of other Bay Area based musicians, like Prezi from San Francisco, Philthy Rich from Oakland and producer Traxamillion from San Jose. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As was the case with The Jacka, PK works to connect these orators of Bay Area culture with crowds from all around the world who appreciate their artwork. The question is: what is it about Bay Area culture that allows it to flourish in other places?\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">From doing shows in places like Akron, Ohio to performing in the East African country of Djibouti, I talk to PK about what it means to take Bay Area culture around the world now, and what it was like to do so with The Jacka.\u003c/span>\u003c/p>\n\u003cp>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">Beloved Bay Area rapper The Jacka was shot and killed exactly five years ago this Sunday. Carrying on his legacy are his family, friends, fans and former manager, PK, who is working diligently to release a new album of work from the late artist. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">On top of that, PK is continuing to work with a number of other Bay Area based musicians, like Prezi from San Francisco, Philthy Rich from Oakland and producer Traxamillion from San Jose. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As was the case with The Jacka, PK works to connect these orators of Bay Area culture with crowds from all around the world who appreciate their artwork. The question is: what is it about Bay Area culture that allows it to flourish in other places?\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">From doing shows in places like Akron, Ohio to performing in the East African country of Djibouti, I talk to PK about what it means to take Bay Area culture around the world now, and what it was like to do so with The Jacka.\u003c/span>\u003c/p>\n\u003cp>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Amid \u003ca href=\"http://blackalicious.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Blackalicious\u003c/a>‘ busy recording and tour schedule, the duo’s MC, Gift of Gab, has been dealing with some serious health issues. After managing his diabetes for years, he was diagnosed with kidney failure in 2012, and made Blackalicious’ last album, \u003cem>Imani Vol. 1\u003c/em>, and his 2018 solo project \u003cem>Rejoice! Rappers Are Rapping Again!\u003c/em> while on dialysis.\u003c/p>\n\u003cp>“This whole thing man, life is all about turning negatives into positives,” Gift of Gab \u003ca href=\"https://www.kqed.org/news/10719848/blackalicious-hip-hop-duo-turns-obstacles-into-musical-gold\" target=\"_blank\" rel=\"noopener noreferrer\">told KQED in 2015\u003c/a>. “We’re all gonna be handed obstacles. It’s just what you do with them.”\u003c/p>\n\u003cp>Yesterday, Gift of Gab announced that he’ll undergo a kidney transplant in March at Arizona’s Mayo Clinic, and asked fans to donate to his \u003ca href=\"https://www.gofundme.com/f/gift-of-gab-kidney-transplant-recover-fund?utm_source=customer&utm_medium=copy_link&utm_campaign=p_cf+share-flow-1\" target=\"_blank\" rel=\"noopener noreferrer\">GoFundMe\u003c/a>. The fundraiser exceeded its $8,000 goal in less than 24 hours, with 285 donors. In an \u003ca href=\"https://hiphopdx.com/news/id.54295/title.blackalicious-mc-gift-of-gab-launches-gofundme-ahead-of-kidney-transplant\" target=\"_blank\" rel=\"noopener noreferrer\">interview with HipHopDX\u003c/a>, he opened up about the costs associated with the surgery: he’ll have to pay out of pocket for a hotel and caregiver, in addition to being out of work for six weeks.\u003c/p>\n\u003cp>“l’ll get the call any day to get a kidney and I am overwhelmingly grateful for all of the support thus far,” he told HipHopDX.\u003c/p>\n\u003cp>Gift of Gab and producer Chief Xcel founded Blackalicious in the early ’90s after meeting in high school in Sacramento. During Chief Xcel’s college years at UC Davis, the duo was part of a dynamic scene that included fellow Northern California hip-hop icons DJ Shadow and Lyrics Born. In 2000, Blackalicious made waves with their debut album \u003cem>Nia\u003c/em>, which showcased Gift of Gab’s singular gift for tongue-twisting, multi-syllabic rhymes. The duo celebrated the album’s 20th anniversary last September with a show at Slim’s in San Francisco.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Gift of Gab promised his GoFundMe donors access to an exclusive solo EP, \u003cem>Offering\u003c/em>, and hinted at a new Blackalicious album on the way.\u003c/p>\n\u003cp>“THANK YOU SO MUCH FOR THE OUTPOURING OF LOVE!” he wrote once the fundraiser reached its goal. “We did it! Even though we hit our goal, any overage will go to extra expenses including transportation, medication costs, housing costs, caregiver costs, food, and a thousand other things. Every dollar makes it a little bit easier for me on the road back to recovery and health.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://twitter.com/blackalicious_/status/1222229153929236480?s=20\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Amid \u003ca href=\"http://blackalicious.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Blackalicious\u003c/a>‘ busy recording and tour schedule, the duo’s MC, Gift of Gab, has been dealing with some serious health issues. After managing his diabetes for years, he was diagnosed with kidney failure in 2012, and made Blackalicious’ last album, \u003cem>Imani Vol. 1\u003c/em>, and his 2018 solo project \u003cem>Rejoice! Rappers Are Rapping Again!\u003c/em> while on dialysis.\u003c/p>\n\u003cp>“This whole thing man, life is all about turning negatives into positives,” Gift of Gab \u003ca href=\"https://www.kqed.org/news/10719848/blackalicious-hip-hop-duo-turns-obstacles-into-musical-gold\" target=\"_blank\" rel=\"noopener noreferrer\">told KQED in 2015\u003c/a>. “We’re all gonna be handed obstacles. It’s just what you do with them.”\u003c/p>\n\u003cp>Yesterday, Gift of Gab announced that he’ll undergo a kidney transplant in March at Arizona’s Mayo Clinic, and asked fans to donate to his \u003ca href=\"https://www.gofundme.com/f/gift-of-gab-kidney-transplant-recover-fund?utm_source=customer&utm_medium=copy_link&utm_campaign=p_cf+share-flow-1\" target=\"_blank\" rel=\"noopener noreferrer\">GoFundMe\u003c/a>. The fundraiser exceeded its $8,000 goal in less than 24 hours, with 285 donors. In an \u003ca href=\"https://hiphopdx.com/news/id.54295/title.blackalicious-mc-gift-of-gab-launches-gofundme-ahead-of-kidney-transplant\" target=\"_blank\" rel=\"noopener noreferrer\">interview with HipHopDX\u003c/a>, he opened up about the costs associated with the surgery: he’ll have to pay out of pocket for a hotel and caregiver, in addition to being out of work for six weeks.\u003c/p>\n\u003cp>“l’ll get the call any day to get a kidney and I am overwhelmingly grateful for all of the support thus far,” he told HipHopDX.\u003c/p>\n\u003cp>Gift of Gab and producer Chief Xcel founded Blackalicious in the early ’90s after meeting in high school in Sacramento. During Chief Xcel’s college years at UC Davis, the duo was part of a dynamic scene that included fellow Northern California hip-hop icons DJ Shadow and Lyrics Born. In 2000, Blackalicious made waves with their debut album \u003cem>Nia\u003c/em>, which showcased Gift of Gab’s singular gift for tongue-twisting, multi-syllabic rhymes. The duo celebrated the album’s 20th anniversary last September with a show at Slim’s in San Francisco.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>“Tonight is for Kobe,” said Lizzo as she took the stage at Los Angeles’ Staples Center on Sunday night—the first words spoken at the 62nd Grammy Awards.\u003c/p>\n\u003cp>The death of Kobe Bryant and eight others (including his 13-year-old daughter, Gianna) in a horrific helicopter crash that morning rocked the nation, including the music industry, and was ever-present at Sunday’s ceremony. And an outpouring on social media from stars across all genres spoke to the impact the basketball legend had on culture, far beyond sports.\u003c/p>\n\u003cp>https://twitter.com/taylorswift13/status/1221545674988310533\u003c/p>\n\u003cp>https://twitter.com/MariahCarey/status/1221537029114253313\u003c/p>\n\u003cp>https://www.instagram.com/p/B7y8sChHPNT\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://twitter.com/MeekMill/status/1221519262784733184\u003c/p>\n\u003cp>https://twitter.com/kanyewest/status/1221558611320528896\u003c/p>\n\u003cp>https://twitter.com/flea333/status/1221520186353696768\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>Bryant’s untimely death the morning of “music’s biggest night” left an indelible mark on the ceremony. And the timing was exacerbated by the venue: the Staples Center, where Bryant spent his entire 20-year career playing for the Lakers. It was of little surprise to anyone when Lizzo dedicated the night to him before it even began. [aside postid='arts_13873909']\u003c/p>\n\u003cp>It was, however, up to Grammys host Alicia Keys to fully acknowledge—and attempt to disperse—the dark cloud hanging over the Staples Center.\u003c/p>\n\u003cp>“To be honest with you,” Keys said after Lizzo’s show-opening performance (of “Cuz I Love You” and “Truth Hurts”), “we’re all feeling crazy sadness right now. Because earlier today, Los Angeles, America and the whole wide world lost a hero. And we’re literally standing here heartbroken in the house that Kobe Bryant built.”\u003c/p>\n\u003cp>She continued, “Right now, all of those that have been tragically lost today are in our spirit, our prayers, and in this building… Take a moment and just hold them inside of you and share our strength and our support with their families. We never imagined in a million years that we’d have to start the show like this.”\u003c/p>\n\u003cp>To provide some catharsis, Boyz II Men (who were already scheduled to perform “Earfquake” with Tyler, the Creator) joined Keys on stage for a special performance of “It’s So Hard to Say Goodbye to Yesterday.”\u003c/p>\n\u003cp>Bryant’s spirit was ever-present throughout the evening. Lil Nas X added a Bryant 24 jersey to his living room set during “Old Town Road”; Run DMC held one aloft throughout their performance of “Walk This Way” with Aerosmith. And DJ Khaled gave Bryant a shoutout at the end of his performance of “Higher” with John Legend, Meek Mill, Roddy Ricch, YG and Kirk Franklin. Originally intended as a tribute to Nipsey Hussle, Bryant’s image was projected next to the “\u003ca href=\"https://www.youtube.com/watch?v=pwBFOuCrdr4\" target=\"_blank\" rel=\"noopener noreferrer\">Double Up\u003c/a>” rapper’s at the end of the song.\u003c/p>\n\u003cp>Kirk Franklin, talking on the red carpet before the awards began, noted in regards to both Hussle and Bryant: “Life is more valuable than trophies. We take life sometimes in such a passive way… We should feel this tragedy.” Later, while accepting the award for best rap/sung performance, Legend noted: “We’ve seen so much tragedy today—and last year. Let’s love each other, love our families and hold each other tight.”\u003c/p>\n\u003cp>Lizzo alluded to Bryant once more as she accepted the award for best pop solo performance. “This whole week, I’ve been lost in my problems, stressed out,” she said. “And then, in an instant, all of that can go away and your priorities can really shift. And today, all of my little problems that I thought were big as the world, were gone.”\u003c/p>\n\u003cp>“It’s been a hell of a week,” Alicia Keys acknowledged early in the evening. “I know how much Kobe loved music, so we’ve gotta make this a celebration in his honor.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Mission accomplished.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp> \u003c/p>\n\u003cp>Bryant’s untimely death the morning of “music’s biggest night” left an indelible mark on the ceremony. And the timing was exacerbated by the venue: the Staples Center, where Bryant spent his entire 20-year career playing for the Lakers. It was of little surprise to anyone when Lizzo dedicated the night to him before it even began. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It was, however, up to Grammys host Alicia Keys to fully acknowledge—and attempt to disperse—the dark cloud hanging over the Staples Center.\u003c/p>\n\u003cp>“To be honest with you,” Keys said after Lizzo’s show-opening performance (of “Cuz I Love You” and “Truth Hurts”), “we’re all feeling crazy sadness right now. Because earlier today, Los Angeles, America and the whole wide world lost a hero. And we’re literally standing here heartbroken in the house that Kobe Bryant built.”\u003c/p>\n\u003cp>She continued, “Right now, all of those that have been tragically lost today are in our spirit, our prayers, and in this building… Take a moment and just hold them inside of you and share our strength and our support with their families. We never imagined in a million years that we’d have to start the show like this.”\u003c/p>\n\u003cp>To provide some catharsis, Boyz II Men (who were already scheduled to perform “Earfquake” with Tyler, the Creator) joined Keys on stage for a special performance of “It’s So Hard to Say Goodbye to Yesterday.”\u003c/p>\n\u003cp>Bryant’s spirit was ever-present throughout the evening. Lil Nas X added a Bryant 24 jersey to his living room set during “Old Town Road”; Run DMC held one aloft throughout their performance of “Walk This Way” with Aerosmith. And DJ Khaled gave Bryant a shoutout at the end of his performance of “Higher” with John Legend, Meek Mill, Roddy Ricch, YG and Kirk Franklin. Originally intended as a tribute to Nipsey Hussle, Bryant’s image was projected next to the “\u003ca href=\"https://www.youtube.com/watch?v=pwBFOuCrdr4\" target=\"_blank\" rel=\"noopener noreferrer\">Double Up\u003c/a>” rapper’s at the end of the song.\u003c/p>\n\u003cp>Kirk Franklin, talking on the red carpet before the awards began, noted in regards to both Hussle and Bryant: “Life is more valuable than trophies. We take life sometimes in such a passive way… We should feel this tragedy.” Later, while accepting the award for best rap/sung performance, Legend noted: “We’ve seen so much tragedy today—and last year. Let’s love each other, love our families and hold each other tight.”\u003c/p>\n\u003cp>Lizzo alluded to Bryant once more as she accepted the award for best pop solo performance. “This whole week, I’ve been lost in my problems, stressed out,” she said. “And then, in an instant, all of that can go away and your priorities can really shift. And today, all of my little problems that I thought were big as the world, were gone.”\u003c/p>\n\u003cp>“It’s been a hell of a week,” Alicia Keys acknowledged early in the evening. “I know how much Kobe loved music, so we’ve gotta make this a celebration in his honor.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Mission accomplished.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The Rock and Roll Hall of Fame has announced its 35th annual class of inductees, honoring six musical acts—Depeche Mode, The Doobie Brothers, Whitney Houston, Nine Inch Nails, The Notorious B.I.G. and T-Rex—as well as veteran rock journalist, producer and artist manager Jon Landau.\u003c/p>\n\u003cp>The inducted musicians were chosen from a ballot of 16 finalists, which means fans of Pat Benatar, Dave Matthews Band, Judas Priest, Kraftwerk, MC5, Motörhead, Rufus featuring Chaka Khan, Todd Rundgren, Soundgarden and Thin Lizzy will have to wait at least another year for Rock Hall validation.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13873259/women-make-up-less-than-8-of-rock-and-roll-hall-of-fame-inductees\" target=\"_blank\" rel=\"noopener noreferrer\">Speaking on \u003cem>Morning Edition\u003c/em> Monday\u003c/a>, music writer Evelyn McDonnell discussed a study she’d conducted, which revealed that only 69 of the Rock and Roll Hall of Fame’s 888 members—fewer than 8%—were women. With the latest announcement, the ratio grows slightly more lopsided, with only Houston joining the Hall’s ranks alongside B.I.G. and members of four all-male bands.\u003c/p>\n\u003cp>Here’s a quick rundown of the 2020 class:\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/artists/15401876/depeche-mode\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Depeche Mode\u003c/strong>\u003c/a> broke through in the 1980s with a string of classic albums that combine synth-pop with the energy of post-punk and rock. The band’s commercial peak arrived in the early ’90s—most notably with \u003cem>Violator\u003c/em> and its hits “Personal Jesus” and “Enjoy the Silence”—but Depeche Mode continues to release albums and tour stadiums.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/2011/07/01/137535719/the-doobie-brothers-on-world-cafe\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>The Doobie Brothers\u003c/strong>\u003c/a>‘ fluid blend of rootsy sounds—folk, rock, country and R&B—helped define the “yacht rock” side of commercially successful rock and roll in the 1970s. “Listen to the Music,” “Takin’ It to the Streets” and “What a Fool Believes” are among the group’s best-known songs, but they’re only three of many. With nearly 50 million records sold, The Doobie Brothers still endure (amid a long string of lineup changes) after almost half a century.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/artists/16295375/whitney-houston\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Whitney Houston\u003c/strong>\u003c/a> is one of the most commercially successful pop and R&B singers of all time, filling the ’80s and ’90s with chart-topping classics. Her cover of Dolly Parton’s “I Will Always Love You” was the “Old Town Road” of its day, topping the \u003cem>Billboard\u003c/em> Hot 100 for a then-record 14 weeks—and her legend has only grown since her death in 2012.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/artists/89493553/nine-inch-nails\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Nine Inch Nails\u003c/strong>\u003c/a> seemed an unlikely Rock and Roll Hall of Famer when Trent Reznor first started releasing abrasive industrial rock in the late 1980s. But the band became a standard-bearer on the strength of songs like “Closer” and “Hurt,” cohesive and intense albums like 1994’s \u003cem>The Downward Spiral \u003c/em>and a string of colossal stadium tours. Reznor continues to be a major musical presence—and an Oscar winner—via a string of powerful film scores, composed alongside collaborator Atticus Ross.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/artists/88479887/the-notorious-b-i-g\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>The Notorious B.I.G.\u003c/strong>\u003c/a>‘s career was short—the Brooklyn rapper made his debut in 1993 and was shot and killed in 1997 at age 24—but he remains an iconic presence more than 20 years after his death. \u003cem>Ready to Die\u003c/em> was an instant classic upon its release in 1994; it’s the work of a riveting storyteller who transcended genre and remained both a long-term commercial force and a towering influence on future generations.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/sections/allsongs/2010/09/27/130159944/you-ve-never-heard-electric-warrior\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>T. Rex\u003c/strong>\u003c/a>‘s influence greatly outstripped its commercial footprint: From 1970 until bandleader Marc Bolan’s death in 1977, the band was prolific and relentlessly inventive, mixing glammy rock and roll with experimental, exciting forays into folk-rock and psychedelia. “Bang a Gong (Get It On)” may be T. Rex’s best-known song, but the group’s catalog is stuffed with hard-hitting classics that have hardly aged.\u003c/p>\n\u003cp>The winner of the Rock Hall’s 2020 Ahmet Ertegun Award—a prize given to influential industry professionals like songwriters, journalists, producers and executives—is \u003cstrong>Jon Landau\u003c/strong>, who began in the late 1960s as a major rock journalist for publications such as \u003cem>Crawdaddy\u003c/em> and \u003cem>Rolling Stone\u003c/em>. In the ’70s, Landau became a record producer, working on albums by the likes of MC5 and Jackson Browne, and began a long-running professional relationship with Bruce Springsteen.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The 35th Annual Rock & Roll Hall of Fame Induction Ceremony takes place on May 2 at Public Auditorium in Cleveland, Ohio. The event will be broadcast live on HBO.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Whitney+Houston%2C+The+Notorious+B.I.G.+Among+2020%27s+Rock+%26+Roll+Hall+Of+Fame+Inductees&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/2011/07/01/137535719/the-doobie-brothers-on-world-cafe\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>The Doobie Brothers\u003c/strong>\u003c/a>‘ fluid blend of rootsy sounds—folk, rock, country and R&B—helped define the “yacht rock” side of commercially successful rock and roll in the 1970s. “Listen to the Music,” “Takin’ It to the Streets” and “What a Fool Believes” are among the group’s best-known songs, but they’re only three of many. With nearly 50 million records sold, The Doobie Brothers still endure (amid a long string of lineup changes) after almost half a century.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/artists/16295375/whitney-houston\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Whitney Houston\u003c/strong>\u003c/a> is one of the most commercially successful pop and R&B singers of all time, filling the ’80s and ’90s with chart-topping classics. Her cover of Dolly Parton’s “I Will Always Love You” was the “Old Town Road” of its day, topping the \u003cem>Billboard\u003c/em> Hot 100 for a then-record 14 weeks—and her legend has only grown since her death in 2012.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/artists/89493553/nine-inch-nails\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Nine Inch Nails\u003c/strong>\u003c/a> seemed an unlikely Rock and Roll Hall of Famer when Trent Reznor first started releasing abrasive industrial rock in the late 1980s. But the band became a standard-bearer on the strength of songs like “Closer” and “Hurt,” cohesive and intense albums like 1994’s \u003cem>The Downward Spiral \u003c/em>and a string of colossal stadium tours. Reznor continues to be a major musical presence—and an Oscar winner—via a string of powerful film scores, composed alongside collaborator Atticus Ross.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/artists/88479887/the-notorious-b-i-g\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>The Notorious B.I.G.\u003c/strong>\u003c/a>‘s career was short—the Brooklyn rapper made his debut in 1993 and was shot and killed in 1997 at age 24—but he remains an iconic presence more than 20 years after his death. \u003cem>Ready to Die\u003c/em> was an instant classic upon its release in 1994; it’s the work of a riveting storyteller who transcended genre and remained both a long-term commercial force and a towering influence on future generations.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/sections/allsongs/2010/09/27/130159944/you-ve-never-heard-electric-warrior\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>T. Rex\u003c/strong>\u003c/a>‘s influence greatly outstripped its commercial footprint: From 1970 until bandleader Marc Bolan’s death in 1977, the band was prolific and relentlessly inventive, mixing glammy rock and roll with experimental, exciting forays into folk-rock and psychedelia. “Bang a Gong (Get It On)” may be T. Rex’s best-known song, but the group’s catalog is stuffed with hard-hitting classics that have hardly aged.\u003c/p>\n\u003cp>The winner of the Rock Hall’s 2020 Ahmet Ertegun Award—a prize given to influential industry professionals like songwriters, journalists, producers and executives—is \u003cstrong>Jon Landau\u003c/strong>, who began in the late 1960s as a major rock journalist for publications such as \u003cem>Crawdaddy\u003c/em> and \u003cem>Rolling Stone\u003c/em>. In the ’70s, Landau became a record producer, working on albums by the likes of MC5 and Jackson Browne, and began a long-running professional relationship with Bruce Springsteen.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The 35th Annual Rock & Roll Hall of Fame Induction Ceremony takes place on May 2 at Public Auditorium in Cleveland, Ohio. The event will be broadcast live on HBO.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Whitney+Houston%2C+The+Notorious+B.I.G.+Among+2020%27s+Rock+%26+Roll+Hall+Of+Fame+Inductees&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "The Past Year in Music Listening: Video Rules, The Boy's Club Remains",
"headTitle": "The Past Year in Music Listening: Video Rules, The Boy’s Club Remains | KQED",
"content": "\u003cp>As we ease into the 2020s, data about the music industry’s growth is more abundant than ever.\u003c/p>\n\u003cp>Within the last week, BuzzAngle and Nielsen Music—the two central, competing, public-facing music-data firms in the U.S.—released their \u003ca href=\"https://www.billboard.com/files/pdfs/NIELSEN_2019_YEARENDreportUS.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">annual\u003c/a> \u003ca href=\"https://www.buzzanglemusic.com/wp-content/uploads/BuzzAngle-Music-2019-US-Report-Industry.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">reports\u003c/a> on music listening trends. BuzzAngle powers \u003ca href=\"https://www.rollingstone.com/charts-methodology/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Rolling Stone\u003c/em>‘s charts\u003c/a> and is owned by \u003ca href=\"https://pmc.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Penske Media\u003c/a>, the parent company of \u003cem>Rolling Stone\u003c/em>, \u003cem>Variety\u003c/em> and \u003cem>Deadline\u003c/em>; Nielsen Music was \u003ca href=\"https://www.billboard.com/articles/business/8546636/billboard-nielsen-music-valence-media-acquisition-mrc-data\" target=\"_blank\" rel=\"noopener noreferrer\">acquired\u003c/a> by Valence Media, the parent company of \u003cem>Billboard\u003c/em> and \u003cem>The Hollywood Reporter\u003c/em>, in December 2019.\u003c/p>\n\u003cp>The two reports differ on some details, but are directionally similar. Both put the total number of music streams in the U.S. last year over one trillion for the first time, representing a 15% growth in streams year-over-year. Both note that on-demand streaming accounted for over 80% of total consumption in the U.S., and that audio streaming in particular continued to register solid annual growth (from Nielsen’s 24% to BuzzAngle’s 32%).\u003c/p>\n\u003cp>Nielsen’s report in particular sheds light on the artists who dominated the past decade. Drake, Eminem and Taylor Swift were the only three artists to rank in the top 10 for the most album sales and streams last decade—country stars like Kenny Chesney, Tim McGraw and Toby Keith lead the radio airplay charts over the same time period. Interestingly, while Adele had the two best-\u003cem>selling\u003c/em> albums of the decade—\u003cem>21\u003c/em> and \u003cem>25\u003c/em>, respectively, both released in 2015 or earlier—she’s nowhere to be found on any decade-end streaming charts.\u003c/p>\n\u003cp>In general, music listening is accelerating: According to BuzzAngle, last year’s streams alone accounted for more than 30% of all streaming activity over the past six years. But beneath the “one trillion streams” headlines are some deeper truths about the current state of the music business—some of which reflect the industry’s stubborn resistance to change, and others of which provide a sign of the global transformation to come.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Audio streams might rule the U.S., but video streams rule the world\u003c/strong>\u003c/p>\n\u003cp>Audio-streaming services like Spotify and Apple Music tend to suck up much of the air when talking about the modern music industry, at least in the U.S. But zoom out to a global level and it’s actually video—not audio—that reigns supreme.\u003c/p>\n\u003cp>Nielsen Music and BuzzAngle both found that audio accounted for around 70% of total on-demand streams in the U.S. in 2019, with video comprising the remaining 30%. But Nielsen’s worldwide streaming data flips that ratio on its head: Out of the 5.1 trillion on-demand music streams generated globally in 2019, including U.S. plays, 66% came from video, while the remaining 33% came from audio.\u003c/p>\n\u003cp>This is because YouTube is the preferred consumption platform and marketing machine for several international music genres, from \u003ca href=\"https://www.getrevue.co/profile/cheriehu42/issues/why-are-none-of-the-top-10-music-video-debuts-in-youtube-history-from-hip-hop-artists-173643\" target=\"_blank\" rel=\"noopener noreferrer\">K-pop\u003c/a> in Korea to \u003ca href=\"https://www.nytimes.com/2018/11/14/world/asia/t-series-youtube-india.html\" target=\"_blank\" rel=\"noopener noreferrer\">Bollywood\u003c/a> in India (YouTube alone accounts for \u003ca href=\"https://www.musicplus.in/indian-music-industry-cross-%E2%82%B919-2-billion-2021/\" target=\"_blank\" rel=\"noopener noreferrer\">40%\u003c/a> of Indian labels’ revenues). Unlike Spotify Premium or Apple Music, YouTube is free and doesn’t require a login, raising its appeal for music markets whose consumers might have lower per-capita incomes or haven’t yet warmed up to the concept of a paid streaming subscription.\u003c/p>\n\u003cp>\u003cstrong>More songs than ever are in the 500-million-streams club, but power is still concentrated\u003c/strong>\u003c/p>\n\u003cp>Comparing the reports also outlines a dual narrative with respect to whether the music industry is really becoming a more-level playing field.\u003c/p>\n\u003cp>On one hand, more artists and songs are participating in the “top 1%” of the industry. According to BuzzAngle, 31 songs were streamed over 500 million times in 2019, up from 21 such songs in 2018. A tier below, nearly 900 songs were streamed over 100 million times last year, up from 525 in 2018.\u003c/p>\n\u003cp>But that doesn’t mean the distribution of power has gotten any more equitable. BuzzAngle found that the 1,000 most-streamed songs in 2019 accounted for 18% of \u003cem>all\u003c/em> streams, while the top 500 album titles were responsible for 30% of all album sales—same as the year before.\u003c/p>\n\u003cp>Major labels also dominate nearly all of the top artist, album and song charts in both reports. With the exception of YNW Melly’s “\u003ca href=\"https://www.thefader.com/2019/02/20/ynw-melly-murder-on-my-mind-charis-e-kubrin-interview\" target=\"_blank\" rel=\"noopener noreferrer\">Murder On My Mind\u003c/a>,” the top 25 songs, albums and artists of 2019 in BuzzAngle’s report were all owned and/or distributed by a major label. Nielsen Music \u003ca href=\"https://www.billboard.com/amp/articles/business/8547770/nielsen-music-mrc-data-2019-report-streaming-tops-1-trillion-first-time\" target=\"_blank\" rel=\"noopener noreferrer\">found\u003c/a> that Universal Music Group, the largest record label by annual revenue, saw little change to its dominant market share, controlling 38.7% of the market in 2019 versus 38.1% in 2018 .\u003c/p>\n\u003cp>This isn’t necessarily to say that the music business is stale, or hostile to disruption. Consider “Old Town Road.” Within just one year, the song that Lil Nas X made with a $30 beat and then strategically seeded onto platforms like Triller and TikTok ended up becoming the most-streamed song \u003cem>of the past 10 years\u003c/em>, beating ubiquitous hits like “Despacito,” “Rockstar” and “Uptown Funk.” But even “Old Town Road” arguably could not have gotten to its historic peak without major-label backing—in this case, a distribution deal with Columbia Records, which helped Lil Nas X land remixes with Billy Ray Cyrus, Young Thug, Mason Ramsey and RM from BTS. Not only did these high-profile celebrities help promote the single, the remixes’ streams \u003ca href=\"https://www.npr.org/2019/07/18/743121439/lil-nas-x-old-town-road-billie-eilish-bad-guy-remix-billboard-charts\" target=\"_blank\" rel=\"noopener noreferrer\">also counted toward the original song’s tallies\u003c/a>, helping the track make history as the longest-running No. 1 hit on the Billboard Hot 100.\u003c/p>\n\u003cp>\u003cstrong>Vinyl might be having a “revival,” but CDs still account for the vast majority of physical albums\u003c/strong>\u003c/p>\n\u003cp>Album and song sales continue to wane across the board, seeing a 20% to 25% decline year-over-year in 2019, per BuzzAngle and Nielsen, respectively. Yet vinyl album sales continue to grow, by 11% to 15% annually (BuzzAngle and Nielsen, respectively). According to the Recording Industry Association of America (RIAA), revenues from vinyl records are poised to \u003ca href=\"https://www.rollingstone.com/music/music-news/vinyl-cds-revenue-growth-riaa-880959/\" target=\"_blank\" rel=\"noopener noreferrer\">surpass\u003c/a> those from CDs within the next few years.\u003c/p>\n\u003cp>But there’s one important caveat: In terms of units, vinyl is \u003cem>not\u003c/em> the top physical music format—far from it, in fact. In 2019, CDs still accounted for 74% to 80% of physical album units sold, according to BuzzAngle and Nielsen, respectively. (Absolute numbers differ between the two reports; BuzzAngle pegs the number of CDs sold last year at 44.9 million, while Nielsen Music reports 54.8 million.)\u003c/p>\n\u003cp>In contrast, vinyl constituted only around 17% to 19% of physical units sold last year—10.7 million per BuzzAngle and 18.8 million per Nielsen. While vinyl might be providing the music industry with a growing source of revenue, it doesn’t come close to achieving the reach of the CD market. The vinyl market also skews the oldest out of all music formats; six out of the top-10-selling vinyl albums of 2019 were released before 2000, and 67% of vinyl sales overall last year came from catalog (i.e., music older than 18 months), according to Nielsen.\u003c/p>\n\u003cp>\u003cstrong>Remember: album sales aren’t all created equal\u003c/strong>\u003c/p>\n\u003cp>Since streaming now accounts for the vast majority of music listening in the U.S. (again, about 80%), it’s natural to assume that those plays are an appropriate proxy for consumer behavior across other formats. But a closer examination of the Nielsen Music and BuzzAngle reports reveals that that could not be further from the truth.\u003c/p>\n\u003cp>Sales-oriented music charts, like the Billboard 200, calculate artists’ rankings using formulas that convert stream counts into approximate “album equivalents.” For example, as of summer 2018, the Billboard charts register one “album unit” for every 1,250 paid audio streams, 3,750 ad-supported streams or 3,750 video streams. BuzzAngle, meanwhile, has a simpler, unweighted formula, adding one “album project unit” for every 1,500 on-demand streams, regardless of the streams’ source or financial value.\u003c/p>\n\u003cp>Under these formulas, if only one song on a ten-track album was streamed a million times, with the remaining tracks receiving zero activity, that would count just as much towards an album ranking as every track receiving 100,000 streams each.\u003c/p>\n\u003cp>As of this month—this week, in fact—the Billboard 200 chart is also now \u003ca href=\"https://www.billboard.com/amp/articles/business/chart-beat/8546247/billboard-200-changes-youtube-video-data-streaming-album-charts\" target=\"_blank\" rel=\"noopener noreferrer\">incorporating YouTube data\u003c/a> into its formula, which puts even further weight on an album’s biggest single(s) rather than on all the project’s tracks as a whole. In short, album equivalent units often don’t reflect actual album consumption, let alone physical album purchases—a nuance that’s difficult to communicate in the context of a surface-level chart.\u003c/p>\n\u003cp>\u003cstrong>Radio listening and album sales paint a completely different picture of popularity than streaming\u003c/strong>\u003c/p>\n\u003cp>Let’s compare the top artists on streaming versus terrestrial radio in both reports.\u003c/p>\n\u003cp>Unsurprisingly, hip-hop/R&B was the top genre for on-demand streaming in 2019, accounting for nearly a third of total on-demand streams. Moreover, rappers accounted for over half of the top ten most-streamed artists and songs of the year, according to Nielsen. BuzzAngle reported an even stronger skew in favor of hip-hop/R&B, with the genre accounting for 80% of the top 25 artists of the year (by on-demand streams).\u003c/p>\n\u003cp>In contrast, Nielsen’s radio airplay charts are almost completely devoid of hip-hop. Towards the end of Nielsen’s report, there are four lists of the top artists and songs by airplay spins and audience reach for the decade ending 2019, encompassing 40 total slots. Only \u003cem>five\u003c/em> of those slots went to hip-hop/R&B artists, with country and rock dominating nearly all others.\u003c/p>\n\u003cp>Isolating album and song sales presents a similar story. Country and rock accounted for 14 of BuzzAngle’s top 25 artists by album sales from 2015–2019, while only two rappers make an appearance in Nielsen’s top 10 artists of the decade by album sales and song sales—Drake and Eminem.\u003c/p>\n\u003cp>\u003cstrong>Once disparate, the demographics of streaming, album sales and terrestrial radio listeners are now starting to blur\u003c/strong>\u003c/p>\n\u003cp>Listeners of all ages, including parents and seniors, are adopting smart speakers and other voice-enabled devices at a rapid pace, helping revivify back catalog in the streaming era. And it’s not just the old guard who can benefit from selling vinyl: Colorful physical products like vinyl records can potentially help an artist stand out in the crowded streaming landscape—and, when bundled with a digital download, can even help them climb the charts (as long as they \u003ca href=\"https://www.wsj.com/articles/want-an-album-with-that-t-shirt-billboard-tightens-rules-on-bundling-music-and-merchandise-11574776800\">stick to the rules\u003c/a>). In general, the physical market is also increasingly online, with nearly half of all physical album sales in 2019 happening via online e-commerce stores, according to BuzzAngle.\u003c/p>\n\u003cp>Perhaps the most surprising case study: While Billie Eilish may be a streaming darling, she also has a much more solid track record in vinyl sales than most of her modern-pop peers. In 2019, 19% (BuzzAngle) to 26% (Nielsen Music) of physical units sold for Eilish’s \u003cem>When We All Fall Asleep Where Do We Go\u003c/em> were vinyl LPs. In contrast, only 6% of physical sales for Taylor Swift and 9% of those for Harry Styles came from vinyl.\u003c/p>\n\u003cp>\u003cstrong>The upper echelon of music is still a boy’s club\u003c/strong>\u003c/p>\n\u003cp>A disappointing takeaway from both BuzzAngle’s and Nielsen’s reports is the lack of women among the top-selling artists and songs of both 2019 and the past decade—suggesting that progress towards gender equality in recorded music over the past five to ten years has been incremental at best.\u003c/p>\n\u003cp>Gender inequities vary somewhat by musical genre. The upper echelons of the pop charts tend to be more inclusive—with the likes of Ariana Grande, Billie Eilish and Taylor Swift reigning in 2019—but the top of the hip-hop, country and rock charts remain male-dominated. BuzzAngle’s report reveals that all of the top-consumed hip-hop songs and albums of 2019 were performed by men. With the exception of Lizzo, Nielsen’s hip-hop/R&B year-end charts were also completely male, and not a single woman made it onto Nielsen’s top country and rock charts for the year.\u003c/p>\n\u003cp>While disruptive in a commercial sense, the advent of streaming has not necessarily made this gender split any better. According to BuzzAngle, with the exception of Cardi B’s “Bodak Yellow” and Camila Cabello’s “Havana,” \u003cem>all\u003c/em> of the 25 top-streamed songs over the past five years were by male artists.\u003c/p>\n\u003cp>These findings parallel more longitudinal studies carried out by institutions such as the USC Annenberg Inclusion Initiative, which \u003ca href=\"http://assets.uscannenberg.org/docs/no-country-for-female-artists-research-brief_2019-04-04.pdf\">found\u003c/a> that female artists accounted only for 16% of the top 500 charted country songs from 2014 to 2018. Artists like \u003ca href=\"https://www.glamour.com/story/jennifer-nettles-equal-play?curator=MusicREDEF\" target=\"_blank\" rel=\"noopener noreferrer\">Jennifer Nettles Glamour\u003c/a> have been speaking out against these inequities for years, yet they still play out across streaming, physical and radio formats, as well as in the live sector (e.g. the \u003ca href=\"https://www.refinery29.com/en-us/2020/01/9131472/2020-coachella-lineup-no-women-headlining\" target=\"_blank\" rel=\"noopener noreferrer\">absence of women headliners\u003c/a> from this year’s Coachella lineup).\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>It may be a new decade, but the music business is still rife with ingrained biases and gatekeeping practices that prevent women and other minority groups from accessing key exposure, revenue and career opportunities—let alone appearing on year-end industry reports.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 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=The+Past+Year%2C+And+Decade%2C+In+Music+Listening%3A+Video+Rules%2C+The+Boy%27s+Club+Remains&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As we ease into the 2020s, data about the music industry’s growth is more abundant than ever.\u003c/p>\n\u003cp>Within the last week, BuzzAngle and Nielsen Music—the two central, competing, public-facing music-data firms in the U.S.—released their \u003ca href=\"https://www.billboard.com/files/pdfs/NIELSEN_2019_YEARENDreportUS.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">annual\u003c/a> \u003ca href=\"https://www.buzzanglemusic.com/wp-content/uploads/BuzzAngle-Music-2019-US-Report-Industry.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">reports\u003c/a> on music listening trends. BuzzAngle powers \u003ca href=\"https://www.rollingstone.com/charts-methodology/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Rolling Stone\u003c/em>‘s charts\u003c/a> and is owned by \u003ca href=\"https://pmc.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Penske Media\u003c/a>, the parent company of \u003cem>Rolling Stone\u003c/em>, \u003cem>Variety\u003c/em> and \u003cem>Deadline\u003c/em>; Nielsen Music was \u003ca href=\"https://www.billboard.com/articles/business/8546636/billboard-nielsen-music-valence-media-acquisition-mrc-data\" target=\"_blank\" rel=\"noopener noreferrer\">acquired\u003c/a> by Valence Media, the parent company of \u003cem>Billboard\u003c/em> and \u003cem>The Hollywood Reporter\u003c/em>, in December 2019.\u003c/p>\n\u003cp>The two reports differ on some details, but are directionally similar. Both put the total number of music streams in the U.S. last year over one trillion for the first time, representing a 15% growth in streams year-over-year. Both note that on-demand streaming accounted for over 80% of total consumption in the U.S., and that audio streaming in particular continued to register solid annual growth (from Nielsen’s 24% to BuzzAngle’s 32%).\u003c/p>\n\u003cp>Nielsen’s report in particular sheds light on the artists who dominated the past decade. Drake, Eminem and Taylor Swift were the only three artists to rank in the top 10 for the most album sales and streams last decade—country stars like Kenny Chesney, Tim McGraw and Toby Keith lead the radio airplay charts over the same time period. Interestingly, while Adele had the two best-\u003cem>selling\u003c/em> albums of the decade—\u003cem>21\u003c/em> and \u003cem>25\u003c/em>, respectively, both released in 2015 or earlier—she’s nowhere to be found on any decade-end streaming charts.\u003c/p>\n\u003cp>In general, music listening is accelerating: According to BuzzAngle, last year’s streams alone accounted for more than 30% of all streaming activity over the past six years. But beneath the “one trillion streams” headlines are some deeper truths about the current state of the music business—some of which reflect the industry’s stubborn resistance to change, and others of which provide a sign of the global transformation to come.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Audio streams might rule the U.S., but video streams rule the world\u003c/strong>\u003c/p>\n\u003cp>Audio-streaming services like Spotify and Apple Music tend to suck up much of the air when talking about the modern music industry, at least in the U.S. But zoom out to a global level and it’s actually video—not audio—that reigns supreme.\u003c/p>\n\u003cp>Nielsen Music and BuzzAngle both found that audio accounted for around 70% of total on-demand streams in the U.S. in 2019, with video comprising the remaining 30%. But Nielsen’s worldwide streaming data flips that ratio on its head: Out of the 5.1 trillion on-demand music streams generated globally in 2019, including U.S. plays, 66% came from video, while the remaining 33% came from audio.\u003c/p>\n\u003cp>This is because YouTube is the preferred consumption platform and marketing machine for several international music genres, from \u003ca href=\"https://www.getrevue.co/profile/cheriehu42/issues/why-are-none-of-the-top-10-music-video-debuts-in-youtube-history-from-hip-hop-artists-173643\" target=\"_blank\" rel=\"noopener noreferrer\">K-pop\u003c/a> in Korea to \u003ca href=\"https://www.nytimes.com/2018/11/14/world/asia/t-series-youtube-india.html\" target=\"_blank\" rel=\"noopener noreferrer\">Bollywood\u003c/a> in India (YouTube alone accounts for \u003ca href=\"https://www.musicplus.in/indian-music-industry-cross-%E2%82%B919-2-billion-2021/\" target=\"_blank\" rel=\"noopener noreferrer\">40%\u003c/a> of Indian labels’ revenues). Unlike Spotify Premium or Apple Music, YouTube is free and doesn’t require a login, raising its appeal for music markets whose consumers might have lower per-capita incomes or haven’t yet warmed up to the concept of a paid streaming subscription.\u003c/p>\n\u003cp>\u003cstrong>More songs than ever are in the 500-million-streams club, but power is still concentrated\u003c/strong>\u003c/p>\n\u003cp>Comparing the reports also outlines a dual narrative with respect to whether the music industry is really becoming a more-level playing field.\u003c/p>\n\u003cp>On one hand, more artists and songs are participating in the “top 1%” of the industry. According to BuzzAngle, 31 songs were streamed over 500 million times in 2019, up from 21 such songs in 2018. A tier below, nearly 900 songs were streamed over 100 million times last year, up from 525 in 2018.\u003c/p>\n\u003cp>But that doesn’t mean the distribution of power has gotten any more equitable. BuzzAngle found that the 1,000 most-streamed songs in 2019 accounted for 18% of \u003cem>all\u003c/em> streams, while the top 500 album titles were responsible for 30% of all album sales—same as the year before.\u003c/p>\n\u003cp>Major labels also dominate nearly all of the top artist, album and song charts in both reports. With the exception of YNW Melly’s “\u003ca href=\"https://www.thefader.com/2019/02/20/ynw-melly-murder-on-my-mind-charis-e-kubrin-interview\" target=\"_blank\" rel=\"noopener noreferrer\">Murder On My Mind\u003c/a>,” the top 25 songs, albums and artists of 2019 in BuzzAngle’s report were all owned and/or distributed by a major label. Nielsen Music \u003ca href=\"https://www.billboard.com/amp/articles/business/8547770/nielsen-music-mrc-data-2019-report-streaming-tops-1-trillion-first-time\" target=\"_blank\" rel=\"noopener noreferrer\">found\u003c/a> that Universal Music Group, the largest record label by annual revenue, saw little change to its dominant market share, controlling 38.7% of the market in 2019 versus 38.1% in 2018 .\u003c/p>\n\u003cp>This isn’t necessarily to say that the music business is stale, or hostile to disruption. Consider “Old Town Road.” Within just one year, the song that Lil Nas X made with a $30 beat and then strategically seeded onto platforms like Triller and TikTok ended up becoming the most-streamed song \u003cem>of the past 10 years\u003c/em>, beating ubiquitous hits like “Despacito,” “Rockstar” and “Uptown Funk.” But even “Old Town Road” arguably could not have gotten to its historic peak without major-label backing—in this case, a distribution deal with Columbia Records, which helped Lil Nas X land remixes with Billy Ray Cyrus, Young Thug, Mason Ramsey and RM from BTS. Not only did these high-profile celebrities help promote the single, the remixes’ streams \u003ca href=\"https://www.npr.org/2019/07/18/743121439/lil-nas-x-old-town-road-billie-eilish-bad-guy-remix-billboard-charts\" target=\"_blank\" rel=\"noopener noreferrer\">also counted toward the original song’s tallies\u003c/a>, helping the track make history as the longest-running No. 1 hit on the Billboard Hot 100.\u003c/p>\n\u003cp>\u003cstrong>Vinyl might be having a “revival,” but CDs still account for the vast majority of physical albums\u003c/strong>\u003c/p>\n\u003cp>Album and song sales continue to wane across the board, seeing a 20% to 25% decline year-over-year in 2019, per BuzzAngle and Nielsen, respectively. Yet vinyl album sales continue to grow, by 11% to 15% annually (BuzzAngle and Nielsen, respectively). According to the Recording Industry Association of America (RIAA), revenues from vinyl records are poised to \u003ca href=\"https://www.rollingstone.com/music/music-news/vinyl-cds-revenue-growth-riaa-880959/\" target=\"_blank\" rel=\"noopener noreferrer\">surpass\u003c/a> those from CDs within the next few years.\u003c/p>\n\u003cp>But there’s one important caveat: In terms of units, vinyl is \u003cem>not\u003c/em> the top physical music format—far from it, in fact. In 2019, CDs still accounted for 74% to 80% of physical album units sold, according to BuzzAngle and Nielsen, respectively. (Absolute numbers differ between the two reports; BuzzAngle pegs the number of CDs sold last year at 44.9 million, while Nielsen Music reports 54.8 million.)\u003c/p>\n\u003cp>In contrast, vinyl constituted only around 17% to 19% of physical units sold last year—10.7 million per BuzzAngle and 18.8 million per Nielsen. While vinyl might be providing the music industry with a growing source of revenue, it doesn’t come close to achieving the reach of the CD market. The vinyl market also skews the oldest out of all music formats; six out of the top-10-selling vinyl albums of 2019 were released before 2000, and 67% of vinyl sales overall last year came from catalog (i.e., music older than 18 months), according to Nielsen.\u003c/p>\n\u003cp>\u003cstrong>Remember: album sales aren’t all created equal\u003c/strong>\u003c/p>\n\u003cp>Since streaming now accounts for the vast majority of music listening in the U.S. (again, about 80%), it’s natural to assume that those plays are an appropriate proxy for consumer behavior across other formats. But a closer examination of the Nielsen Music and BuzzAngle reports reveals that that could not be further from the truth.\u003c/p>\n\u003cp>Sales-oriented music charts, like the Billboard 200, calculate artists’ rankings using formulas that convert stream counts into approximate “album equivalents.” For example, as of summer 2018, the Billboard charts register one “album unit” for every 1,250 paid audio streams, 3,750 ad-supported streams or 3,750 video streams. BuzzAngle, meanwhile, has a simpler, unweighted formula, adding one “album project unit” for every 1,500 on-demand streams, regardless of the streams’ source or financial value.\u003c/p>\n\u003cp>Under these formulas, if only one song on a ten-track album was streamed a million times, with the remaining tracks receiving zero activity, that would count just as much towards an album ranking as every track receiving 100,000 streams each.\u003c/p>\n\u003cp>As of this month—this week, in fact—the Billboard 200 chart is also now \u003ca href=\"https://www.billboard.com/amp/articles/business/chart-beat/8546247/billboard-200-changes-youtube-video-data-streaming-album-charts\" target=\"_blank\" rel=\"noopener noreferrer\">incorporating YouTube data\u003c/a> into its formula, which puts even further weight on an album’s biggest single(s) rather than on all the project’s tracks as a whole. In short, album equivalent units often don’t reflect actual album consumption, let alone physical album purchases—a nuance that’s difficult to communicate in the context of a surface-level chart.\u003c/p>\n\u003cp>\u003cstrong>Radio listening and album sales paint a completely different picture of popularity than streaming\u003c/strong>\u003c/p>\n\u003cp>Let’s compare the top artists on streaming versus terrestrial radio in both reports.\u003c/p>\n\u003cp>Unsurprisingly, hip-hop/R&B was the top genre for on-demand streaming in 2019, accounting for nearly a third of total on-demand streams. Moreover, rappers accounted for over half of the top ten most-streamed artists and songs of the year, according to Nielsen. BuzzAngle reported an even stronger skew in favor of hip-hop/R&B, with the genre accounting for 80% of the top 25 artists of the year (by on-demand streams).\u003c/p>\n\u003cp>In contrast, Nielsen’s radio airplay charts are almost completely devoid of hip-hop. Towards the end of Nielsen’s report, there are four lists of the top artists and songs by airplay spins and audience reach for the decade ending 2019, encompassing 40 total slots. Only \u003cem>five\u003c/em> of those slots went to hip-hop/R&B artists, with country and rock dominating nearly all others.\u003c/p>\n\u003cp>Isolating album and song sales presents a similar story. Country and rock accounted for 14 of BuzzAngle’s top 25 artists by album sales from 2015–2019, while only two rappers make an appearance in Nielsen’s top 10 artists of the decade by album sales and song sales—Drake and Eminem.\u003c/p>\n\u003cp>\u003cstrong>Once disparate, the demographics of streaming, album sales and terrestrial radio listeners are now starting to blur\u003c/strong>\u003c/p>\n\u003cp>Listeners of all ages, including parents and seniors, are adopting smart speakers and other voice-enabled devices at a rapid pace, helping revivify back catalog in the streaming era. And it’s not just the old guard who can benefit from selling vinyl: Colorful physical products like vinyl records can potentially help an artist stand out in the crowded streaming landscape—and, when bundled with a digital download, can even help them climb the charts (as long as they \u003ca href=\"https://www.wsj.com/articles/want-an-album-with-that-t-shirt-billboard-tightens-rules-on-bundling-music-and-merchandise-11574776800\">stick to the rules\u003c/a>). In general, the physical market is also increasingly online, with nearly half of all physical album sales in 2019 happening via online e-commerce stores, according to BuzzAngle.\u003c/p>\n\u003cp>Perhaps the most surprising case study: While Billie Eilish may be a streaming darling, she also has a much more solid track record in vinyl sales than most of her modern-pop peers. In 2019, 19% (BuzzAngle) to 26% (Nielsen Music) of physical units sold for Eilish’s \u003cem>When We All Fall Asleep Where Do We Go\u003c/em> were vinyl LPs. In contrast, only 6% of physical sales for Taylor Swift and 9% of those for Harry Styles came from vinyl.\u003c/p>\n\u003cp>\u003cstrong>The upper echelon of music is still a boy’s club\u003c/strong>\u003c/p>\n\u003cp>A disappointing takeaway from both BuzzAngle’s and Nielsen’s reports is the lack of women among the top-selling artists and songs of both 2019 and the past decade—suggesting that progress towards gender equality in recorded music over the past five to ten years has been incremental at best.\u003c/p>\n\u003cp>Gender inequities vary somewhat by musical genre. The upper echelons of the pop charts tend to be more inclusive—with the likes of Ariana Grande, Billie Eilish and Taylor Swift reigning in 2019—but the top of the hip-hop, country and rock charts remain male-dominated. BuzzAngle’s report reveals that all of the top-consumed hip-hop songs and albums of 2019 were performed by men. With the exception of Lizzo, Nielsen’s hip-hop/R&B year-end charts were also completely male, and not a single woman made it onto Nielsen’s top country and rock charts for the year.\u003c/p>\n\u003cp>While disruptive in a commercial sense, the advent of streaming has not necessarily made this gender split any better. According to BuzzAngle, with the exception of Cardi B’s “Bodak Yellow” and Camila Cabello’s “Havana,” \u003cem>all\u003c/em> of the 25 top-streamed songs over the past five years were by male artists.\u003c/p>\n\u003cp>These findings parallel more longitudinal studies carried out by institutions such as the USC Annenberg Inclusion Initiative, which \u003ca href=\"http://assets.uscannenberg.org/docs/no-country-for-female-artists-research-brief_2019-04-04.pdf\">found\u003c/a> that female artists accounted only for 16% of the top 500 charted country songs from 2014 to 2018. Artists like \u003ca href=\"https://www.glamour.com/story/jennifer-nettles-equal-play?curator=MusicREDEF\" target=\"_blank\" rel=\"noopener noreferrer\">Jennifer Nettles Glamour\u003c/a> have been speaking out against these inequities for years, yet they still play out across streaming, physical and radio formats, as well as in the live sector (e.g. the \u003ca href=\"https://www.refinery29.com/en-us/2020/01/9131472/2020-coachella-lineup-no-women-headlining\" target=\"_blank\" rel=\"noopener noreferrer\">absence of women headliners\u003c/a> from this year’s Coachella lineup).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It may be a new decade, but the music business is still rife with ingrained biases and gatekeeping practices that prevent women and other minority groups from accessing key exposure, revenue and career opportunities—let alone appearing on year-end industry reports.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 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=The+Past+Year%2C+And+Decade%2C+In+Music+Listening%3A+Video+Rules%2C+The+Boy%27s+Club+Remains&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>If you like Bay Area hip-hop and haven’t heard of \u003ca href=\"https://www.kqed.org/arts/13811320/behind-the-beats-drew-banga\" target=\"_blank\" rel=\"noopener noreferrer\">Drew Banga\u003c/a>, chances are you’ve heard his music. He’s the producer behind some of \u003ca href=\"https://www.kqed.org/arts/12064915/meet-23-year-old-caleborate-the-east-bays-next-rap-titan\" target=\"_blank\" rel=\"noopener noreferrer\">Caleborate\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13830210/with-brutal-honesty-oaklands-allblack-reaches-toward-peace\" target=\"_blank\" rel=\"noopener noreferrer\">ALLBLACK\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13817414/the-10-best-bay-area-albums-of-2017-rexx-life-raj-father-figure-2-flourish\" target=\"_blank\" rel=\"noopener noreferrer\">Rexx Life Raj\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13816944/the-10-best-bay-area-albums-of-2017-1-o-a-k-riding-in-cars-with-girls\" target=\"_blank\" rel=\"noopener noreferrer\">1-O.A.K.\u003c/a>‘s biggest songs. And recently, he and his frequent collaborator Bosslife Big Spence released the title track off their project \u003cem>\u003ca href=\"https://soundcloud.com/bosslifebigspence/10k-bosslife-big-spence-pd-by-drew-banga\" target=\"_blank\" rel=\"noopener noreferrer\">10K\u003c/a>. \u003c/em>It’s in early contention to become a standout song of the summer.\u003c/p>\n\u003cp>Drew might be his own competition, as he followed that single with co-producer credit (along with Trackademicks) on Kamaiyah’s latest single “\u003ca href=\"https://t.co/LMaBfxd6nn\" target=\"_blank\" rel=\"noopener noreferrer\">Windows\u003c/a>,” which features Quavo and Tyga.\u003c/p>\n\u003cp>Needless to say, Drew works a lot!\u003c/p>\n\u003cp>On top of all of that, Drew is a father. He often shares videos of his children dancing to his music and playing instruments. His personal and professional lives seem to overlap seamlessly.\u003c/p>\n\u003cp>I talked to Drew about his approach to music and fatherhood.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>A shorter version of this episode was first broadcast on June 14, 2019.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you like Bay Area hip-hop and haven’t heard of \u003ca href=\"https://www.kqed.org/arts/13811320/behind-the-beats-drew-banga\" target=\"_blank\" rel=\"noopener noreferrer\">Drew Banga\u003c/a>, chances are you’ve heard his music. He’s the producer behind some of \u003ca href=\"https://www.kqed.org/arts/12064915/meet-23-year-old-caleborate-the-east-bays-next-rap-titan\" target=\"_blank\" rel=\"noopener noreferrer\">Caleborate\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13830210/with-brutal-honesty-oaklands-allblack-reaches-toward-peace\" target=\"_blank\" rel=\"noopener noreferrer\">ALLBLACK\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13817414/the-10-best-bay-area-albums-of-2017-rexx-life-raj-father-figure-2-flourish\" target=\"_blank\" rel=\"noopener noreferrer\">Rexx Life Raj\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13816944/the-10-best-bay-area-albums-of-2017-1-o-a-k-riding-in-cars-with-girls\" target=\"_blank\" rel=\"noopener noreferrer\">1-O.A.K.\u003c/a>‘s biggest songs. And recently, he and his frequent collaborator Bosslife Big Spence released the title track off their project \u003cem>\u003ca href=\"https://soundcloud.com/bosslifebigspence/10k-bosslife-big-spence-pd-by-drew-banga\" target=\"_blank\" rel=\"noopener noreferrer\">10K\u003c/a>. \u003c/em>It’s in early contention to become a standout song of the summer.\u003c/p>\n\u003cp>Drew might be his own competition, as he followed that single with co-producer credit (along with Trackademicks) on Kamaiyah’s latest single “\u003ca href=\"https://t.co/LMaBfxd6nn\" target=\"_blank\" rel=\"noopener noreferrer\">Windows\u003c/a>,” which features Quavo and Tyga.\u003c/p>\n\u003cp>Needless to say, Drew works a lot!\u003c/p>\n\u003cp>On top of all of that, Drew is a father. He often shares videos of his children dancing to his music and playing instruments. His personal and professional lives seem to overlap seamlessly.\u003c/p>\n\u003cp>I talked to Drew about his approach to music and fatherhood.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "The Best Bay Area Albums of the 2010s",
"headTitle": "The Best Bay Area Albums of the 2010s | KQED",
"content": "\u003cp>The Bay Area is a region oozing with creativity in every scene and genre, so summing up a decade of local music in a single short list is no easy task. Here, KQED Arts & Culture’s music editor humbly offers 20 of the most memorable and impactful albums of the 2010s.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/7JC1vAUtlOwe8AJ3hLmr91\" width=\"700\" height=\"120\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Thee Oh Sees, \u003cem>Carrion Crawler/The Dream\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2011, In the Red Records\u003c/strong>\u003cbr>\nThee Oh Sees channel a need for speed on \u003cem>Carrion Crawler/The Dream\u003c/em>, an album that finds the garage rockers’ instrumentation lurching at high BPMs between poppy refrains and psychedelic guitar solos that stretch on for miles. Anchored by two drummers, the album’s sturdy rhythm section allows John Dwyer, a ringleader of the San Francisco garage rock scene in the early part of the decade, to get wild and weird with guitars and vocals.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1644131755/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>The Seshen, \u003cem>The Seshen\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2012, self-released\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Seven-piece band The Seshen have proven to be one of the Bay Area’s most fun-to-watch live acts this decade, fusing neo-soul and R&B production with jazzy live instrumentation and fluttering layers of vocals by Lalin St. Juste and Akasha Orr. On their self-titled debut, their group synergy manifests as a kaleidoscopic pop sound that’s sleek and expansive in equal measure.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3108730587/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Shannon and the Clams, \u003cem>Dreams in the Rat House\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2013, Hardly Art\u003c/strong>\u003cbr>\nThis decade saw Oakland rockers Shannon and the Clams transform from warehouse party mainstays to a nationally acclaimed act working with the Black Keys’ Dan Auerbach. Full of freewheeling mischief, \u003cem>Dreams in the Rat House\u003c/em> swings between sweet doo-wop harmonies, rowdy country stomps and reverb-heavy punk riffs, and Shannon Shaw’s robust, pleading voice overflows with feeling.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3949757894/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Botanist, \u003cem>IV: Mandragora\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2013, The Flenser\u003c/strong>\u003cbr>\nWith the slow pace of elected officials’ action on climate change, despair is understandable. Which is why, perhaps, the dark chaos of post-black metal is a fitting genre for Botanist, an artist whose apocalyptic album \u003cem>IV: Mandragora\u003c/em> evokes a vengeful Mother Nature wiping out humans. Botanist’s lighting-speed hammered dulcimer infuses the album with eeriness; the artist screeches in a croak that sounds like a thousand-year-old redwood clearing its throat to speak. \u003cem>IV: Mandragora\u003c/em> is the sound of nature in revolt.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=2338106943/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Queens D.Light, \u003cem>California Wildflower\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2014, self-released\u003c/strong>\u003cbr>\nQueens D.Light’s \u003cem>California Wildflower\u003c/em> unfurls a deep personal mythology to boom-bap beats, jazz interludes and psychedelic flourishes. While discovering new dimensions of her sexuality and capacity for love, Queens looks to the Yoruba deity Oshun, the river goddess associated with luxury and pleasure. In her lyrics, sensuality is a means of connecting with the divine within oneself. This stellar hip-hop debut introduced Queens D.Light as a singular voice whose vision can’t be confined to a single medium, as her multifaceted event curation and filmmaking throughout the 2010s attests.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" width=\"100%\" height=\"450\" scrolling=\"no\" frameborder=\"no\" allow=\"autoplay\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/playlists/48447943&color=%23ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Kehlani, \u003cem>Cloud 19\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2014, Wheels of Steel Ent.\u003c/strong>\u003cbr>\nWith \u003cem>Cloud 19\u003c/em>, Kehlani became known as a prodigious R&B singer-songwriter with angelic, acrobatic vocal runs and lyrics wise beyond her years. Kehlani penned the project shortly after graduating from Oakland School for the Arts. With her warm voice and nostalgic references (Montell Jordan and Musiq Soulchild get shout outs), \u003cem>Cloud 19\u003c/em> and its infectious lead single “FWU” established her as an artist bridging the past and future of R&B. Even after Kehlani’s multiple Grammy nominations and Billboard chart success, this early mixtape remains a cult classic.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/7fP1DdLng8DwEQZB2srvl0\" width=\"700\" height=\"120\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Lil B, \u003cem>Hoop Life\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2014, Based World Records\u003c/strong>\u003cbr>\nBefore “Soundcloud rap” became a household term, Berkeley native Lil B was pumping out mixtapes that spanned dozens (and sometimes hundreds) of songs. Though his music varied in quality, Lil B embraced the immediacy of self-publishing on the internet, and used social media to craft a persona (although not without controversy) before such strategies became standard for independent artists. \u003cem>Hoop Life\u003c/em>, his NBA-themed mixtape, features a diss track against then-Warriors rival Kevin Durant, and it positioned Lil B to become an unlikely basketball authority as his hometown team ascended to the NBA Championships in 2015. His “curses” on Durant and James Harden became some of the decade’s most memorable basketball lore, and \u003cem>Hoop Life\u003c/em> was the soundtrack.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1805295426/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Black Spirituals, \u003cem>Black Interiors\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2015, Ratskin Records / 60Hurts\u003c/strong>\u003cbr>\nBlack Spirituals’ \u003cem>Black Interiors\u003c/em> harnesses the improvisational qualities of free jazz, but each note emanating from Zachary James Watkins’ guitar wails with discordant tension, like Jimi Hendrix’s “Star Spangled Banner” slowed to a crawl and wrapped in barbed wire. The album established the duo, also comprised of percussionist Marshall Trammell, as one of Oakland’s most innovative experimental acts, bridging the DIY scene, academia and contemporary classical.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/3utWbzZz4YqSW0HGLqyovN\" width=\"700\" height=\"120\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>P-Lo and Kool John, \u003cem>Moovie!\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2015, self-released\u003c/strong>\u003cbr>\nAs children of the hyphy movement, the East Bay collective HBK Gang evolved the uptempo, homegrown 2000s rap sound into party music for the new generation. A prime example of this is P-Lo and Kool John’s \u003cem>Moovie!\u003c/em>, an album best played in the club, or somewhere between 2am and 4am on the way to the afterparty. With “3 White Hoes,” “Blue Hunnids” and “Bitch I Look Good,” the duo gave us minimalist twerk anthems with ample bass to rattle your speakers.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/1jKclz9xknsgxOK9XGAXRi\" width=\"700\" height=\"120\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Kamaiyah, \u003cem>A Good Night in the Ghetto\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2016\u003c/strong>\u003cbr>\nWith her viral single “How Does It Feel,” Kamaiyah made a rap anthem for everyday working people trying to make their way in an increasingly unaffordable Bay Area. In contrast to the one-percenter ethos that dominated the radio this decade, her debut mixtape \u003cem>A Good Night in the Ghetto\u003c/em> speaks to those who don’t necessarily seek excessively flashy things—just comfort and stability. With the feel-good energy of an intimate house party, \u003cem>A Good Night in the Ghetto\u003c/em> propelled Kamaiyah as one of the Bay Area’s most well-known voices.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1240226381/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Cherushii, \u003cem>Manic\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2016\u003c/strong>\u003cbr>\nCherushii presents her sparkling vision of the dance floor as a place for connection and liberation on \u003cem>Manic\u003c/em>, an ebullient collection of house tracks. With its funky pulse and playful synths that shimmy and bounce, the EP recalls ’90s house acts like Crystal Waters and Inner City. The instrumental version of the title track features a saxophone solo by Marcia Miget—it’s the project’s most ecstatic highpoint, and a convincing argument for why brass belongs in club music. Cherushii passed away in the Ghost Ship fire the same year \u003cem>Manic\u003c/em> was released, and the project lives on as a record of her infectiously joyful vision.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=856121914/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Rayana Jay, \u003cem>Sorry About Last Night\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2016, self-released\u003c/strong>\u003cbr>\nDrunken regrets, problematic lovers, undefined “situationships”—it’s all part of dating in your 20s, and Rayana Jay’s standout R&B debut \u003cem>Sorry About Last Night\u003c/em> captures all of its uncertainties and painful growing pains. Set to smooth, sparse production, her velvety voice takes center stage as she expertly builds earworm melodies. Lead single “Sleepy Brown,” which propelled Jay to the national stage, has a vintage, funky feel you can’t help but sway and step to.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1941114977/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Club Chai, \u003cem>Club Chai Vol. 1\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2017, Club Chai\u003c/strong>\u003cbr>\nIt’s hard to name a collective that’s shaped the Bay Area’s club music scene more this decade than Club Chai. With the compilation \u003cem>Club Chai Vol. 1\u003c/em>, 8ULENTINA and FOOZOOL lay out their thesis for the genre-amorphous label and party. The suspenseful original tracks produced by the founders for the compilation give Middle Eastern percussion a ghostly sheen. The album also features work by some of electronic music’s most exciting new voices, including darkwave experimentalist Spellling, techno producer Russell E.L. Butler and haunted cumbia remixer Turbo Sonidero. Each artist pulls from different cultural backgrounds and subgenres, and all push the envelope of what electronic music can be.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1762232894/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>King Woman, \u003cem>Created in the Image of Suffering\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2017, Relapse Records\u003c/strong>\u003cbr>\nKing Woman’s slow-burning, sludgy album \u003cem>Created in the Image of Suffering\u003c/em> swallows listeners in swathes of heavy distortion. The doom metal project, one of Kristina Esfandiari’s many musical alter-egos, served as an outlet for the artist to process the experience of leaving a religious community. Her droning voice is weighed down by an audible anguish as she parses through her disillusionment with Christianity. Layers of gauzy guitar riffs build up with the ornate intricacy of gothic architecture, and crashing cymbals offer opportunities for deeply satisfying catharsis.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/5XgUtV3205kTcgoSLNf8ix\" width=\"700\" height=\"120\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Fantastic Negrito, \u003cem>The Last Days of Oakland\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2017, Blackball Universe\u003c/strong>\u003cbr>\nLiving among Oakland’s extreme wealth inequality can feel maddening, and with \u003cem>The Last Days of Oakland\u003c/em>, Fantastic Negrito offers an impressionistic portrait of the opposing forces that define life in the town—the result being a 2017 Grammy award for Best Contemporary Blues Album. With its gritty guitar solos, driving rhythms and Fantastic Negrito’s howling vocals, it captures the cognitive dissonance of witnessing thousands of people who’ve lost their homes living in abject poverty on the streets. \u003cem>The Last Days of Oakland\u003c/em> is an urgent dispatch that appeals to listeners’ moral consciousness.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/6ztEEOoAi6xyYhiiDn3gxc\" width=\"700\" height=\"120\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>SOB x RBE, \u003cem>SOB x RBE\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2017, EMPIRE\u003c/strong>\u003cbr>\nWith their debut mixtape, SOB x RBE jolted the Bay Area awake with their unbridled energy and explosive chemistry of flows. “Anti” and “Lane Switching” quickly rose from viral hits to radio mainstays, showcasing how DaBoii, Slimmy B and Lul G’s gruff barks alongside crooner Yhung T.O.’s soulful-gangster hooks (think the Gen Z version of Nate Dogg). Now a trio without Lul G, SOB x RBE brought on the latest evolution of West Coast street rap—one that’s fiery and aggressive, with whiplash-inducing speed.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=523521630/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Kronos Quartet and Trio Da Kali, \u003cem>Ladilikan\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2017, World Circuit Limited\u003c/strong>\u003cbr>\nOne of the most adventurous ensembles in the contemporary classical world, Kronos Quartet engaged in many unorthodox collaborations this decade. One of the highlights was their work with virtuosic Malian ensemble Trio Da Kali. With singer Hawa Kassé Mady Diabaté’s rich, booming voice, Lassana Mamadou Kouyaté’s dexterous balafon percussion and Mamadou Diabaté’s string work on the ngoni, the album interlaces the liveliness of traditional Malian griot music with elegant string playing. The collaboration proved to be a fruitful one, as Diabaté took part in Kronos’ \u003cem>50 for the Future\u003c/em> Project, which commissions new works from diverse composers each year.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/7JSvfznch1vfoMOJxd7zPb\" width=\"700\" height=\"120\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Ambrose Akinmusire,\u003cem> A Rift in Decorum\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2017, Blue Note\u003c/strong>\u003cbr>\nCritics have called Ambrose Akinmusire a trumpet wunderkind since his Berkeley High days, and his live album \u003cem>A Rift in Decorum\u003c/em>, recorded at New York’s historic Village Vanguard, shows him pushing his instrument to the limits of its expressive possibilities. Accompanied by bass, piano and drums, Akinmusire’s trumpet oscillates from emanating long, pained wails and running through rapid-fire riffs. The spacious, pensive compositions allow him plenty of room to explore.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=4268731096/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Toro y Moi, \u003cem>Outer Peace\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2019, Carpark Records\u003c/strong>\u003cbr>\nToro y Moi’s \u003cem>Outer Peace\u003c/em> came during a period of the artist stepping into his full powers as a songwriter, performer and visual artist, and the album’s funky celebrations of the creative grind speak to his role as a catalyst in the local scene. For the album, Toro enlisted conga player Brijean Murphy (a formidable solo artist in her own right), whose expert percussion adds richness to Toro’s propulsive grooves. \u003cem>Outer Peace\u003c/em>’s upbeat sounds represented a departure from his more wistful, airy chillwave of years past, and its bold, confident energy looks good on him.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=136764004/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>Spellling, \u003cem>Mazy Fly\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2019, Sacred Bones Records\u003c/strong>\u003cbr>\nBridging darkwave, synth-pop and even disco, Spellling’s \u003cem>Mazy Fly\u003c/em> sees the artist adding a full-bodied intricacy to her loop-pedal sorcery. Guest appearances from collaborators on percussion, guitar, violin and sax flesh out Spellling’s layers of looped keys and delicate, lace-like vocals. Within this architecture, the singer explores subtle, spiritual themes—including on the chilling track “Haunted Water,” which delves into the karmic baggage of the transatlantic slave trade.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Bay Area is a region oozing with creativity in every scene and genre, so summing up a decade of local music in a single short list is no easy task. Here, KQED Arts & Culture’s music editor humbly offers 20 of the most memorable and impactful albums of the 2010s.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/7JC1vAUtlOwe8AJ3hLmr91\" width=\"700\" height=\"120\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Thee Oh Sees, \u003cem>Carrion Crawler/The Dream\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2011, In the Red Records\u003c/strong>\u003cbr>\nThee Oh Sees channel a need for speed on \u003cem>Carrion Crawler/The Dream\u003c/em>, an album that finds the garage rockers’ instrumentation lurching at high BPMs between poppy refrains and psychedelic guitar solos that stretch on for miles. Anchored by two drummers, the album’s sturdy rhythm section allows John Dwyer, a ringleader of the San Francisco garage rock scene in the early part of the decade, to get wild and weird with guitars and vocals.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1644131755/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>The Seshen, \u003cem>The Seshen\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2012, self-released\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Seven-piece band The Seshen have proven to be one of the Bay Area’s most fun-to-watch live acts this decade, fusing neo-soul and R&B production with jazzy live instrumentation and fluttering layers of vocals by Lalin St. Juste and Akasha Orr. On their self-titled debut, their group synergy manifests as a kaleidoscopic pop sound that’s sleek and expansive in equal measure.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3108730587/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Shannon and the Clams, \u003cem>Dreams in the Rat House\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2013, Hardly Art\u003c/strong>\u003cbr>\nThis decade saw Oakland rockers Shannon and the Clams transform from warehouse party mainstays to a nationally acclaimed act working with the Black Keys’ Dan Auerbach. Full of freewheeling mischief, \u003cem>Dreams in the Rat House\u003c/em> swings between sweet doo-wop harmonies, rowdy country stomps and reverb-heavy punk riffs, and Shannon Shaw’s robust, pleading voice overflows with feeling.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3949757894/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Botanist, \u003cem>IV: Mandragora\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2013, The Flenser\u003c/strong>\u003cbr>\nWith the slow pace of elected officials’ action on climate change, despair is understandable. Which is why, perhaps, the dark chaos of post-black metal is a fitting genre for Botanist, an artist whose apocalyptic album \u003cem>IV: Mandragora\u003c/em> evokes a vengeful Mother Nature wiping out humans. Botanist’s lighting-speed hammered dulcimer infuses the album with eeriness; the artist screeches in a croak that sounds like a thousand-year-old redwood clearing its throat to speak. \u003cem>IV: Mandragora\u003c/em> is the sound of nature in revolt.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=2338106943/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Queens D.Light, \u003cem>California Wildflower\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2014, self-released\u003c/strong>\u003cbr>\nQueens D.Light’s \u003cem>California Wildflower\u003c/em> unfurls a deep personal mythology to boom-bap beats, jazz interludes and psychedelic flourishes. While discovering new dimensions of her sexuality and capacity for love, Queens looks to the Yoruba deity Oshun, the river goddess associated with luxury and pleasure. In her lyrics, sensuality is a means of connecting with the divine within oneself. This stellar hip-hop debut introduced Queens D.Light as a singular voice whose vision can’t be confined to a single medium, as her multifaceted event curation and filmmaking throughout the 2010s attests.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" width=\"100%\" height=\"450\" scrolling=\"no\" frameborder=\"no\" allow=\"autoplay\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/playlists/48447943&color=%23ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Kehlani, \u003cem>Cloud 19\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2014, Wheels of Steel Ent.\u003c/strong>\u003cbr>\nWith \u003cem>Cloud 19\u003c/em>, Kehlani became known as a prodigious R&B singer-songwriter with angelic, acrobatic vocal runs and lyrics wise beyond her years. Kehlani penned the project shortly after graduating from Oakland School for the Arts. With her warm voice and nostalgic references (Montell Jordan and Musiq Soulchild get shout outs), \u003cem>Cloud 19\u003c/em> and its infectious lead single “FWU” established her as an artist bridging the past and future of R&B. Even after Kehlani’s multiple Grammy nominations and Billboard chart success, this early mixtape remains a cult classic.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/7fP1DdLng8DwEQZB2srvl0\" width=\"700\" height=\"120\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Lil B, \u003cem>Hoop Life\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2014, Based World Records\u003c/strong>\u003cbr>\nBefore “Soundcloud rap” became a household term, Berkeley native Lil B was pumping out mixtapes that spanned dozens (and sometimes hundreds) of songs. Though his music varied in quality, Lil B embraced the immediacy of self-publishing on the internet, and used social media to craft a persona (although not without controversy) before such strategies became standard for independent artists. \u003cem>Hoop Life\u003c/em>, his NBA-themed mixtape, features a diss track against then-Warriors rival Kevin Durant, and it positioned Lil B to become an unlikely basketball authority as his hometown team ascended to the NBA Championships in 2015. His “curses” on Durant and James Harden became some of the decade’s most memorable basketball lore, and \u003cem>Hoop Life\u003c/em> was the soundtrack.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1805295426/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Black Spirituals, \u003cem>Black Interiors\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2015, Ratskin Records / 60Hurts\u003c/strong>\u003cbr>\nBlack Spirituals’ \u003cem>Black Interiors\u003c/em> harnesses the improvisational qualities of free jazz, but each note emanating from Zachary James Watkins’ guitar wails with discordant tension, like Jimi Hendrix’s “Star Spangled Banner” slowed to a crawl and wrapped in barbed wire. The album established the duo, also comprised of percussionist Marshall Trammell, as one of Oakland’s most innovative experimental acts, bridging the DIY scene, academia and contemporary classical.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/3utWbzZz4YqSW0HGLqyovN\" width=\"700\" height=\"120\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>P-Lo and Kool John, \u003cem>Moovie!\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2015, self-released\u003c/strong>\u003cbr>\nAs children of the hyphy movement, the East Bay collective HBK Gang evolved the uptempo, homegrown 2000s rap sound into party music for the new generation. A prime example of this is P-Lo and Kool John’s \u003cem>Moovie!\u003c/em>, an album best played in the club, or somewhere between 2am and 4am on the way to the afterparty. With “3 White Hoes,” “Blue Hunnids” and “Bitch I Look Good,” the duo gave us minimalist twerk anthems with ample bass to rattle your speakers.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/1jKclz9xknsgxOK9XGAXRi\" width=\"700\" height=\"120\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Kamaiyah, \u003cem>A Good Night in the Ghetto\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2016\u003c/strong>\u003cbr>\nWith her viral single “How Does It Feel,” Kamaiyah made a rap anthem for everyday working people trying to make their way in an increasingly unaffordable Bay Area. In contrast to the one-percenter ethos that dominated the radio this decade, her debut mixtape \u003cem>A Good Night in the Ghetto\u003c/em> speaks to those who don’t necessarily seek excessively flashy things—just comfort and stability. With the feel-good energy of an intimate house party, \u003cem>A Good Night in the Ghetto\u003c/em> propelled Kamaiyah as one of the Bay Area’s most well-known voices.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1240226381/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Cherushii, \u003cem>Manic\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2016\u003c/strong>\u003cbr>\nCherushii presents her sparkling vision of the dance floor as a place for connection and liberation on \u003cem>Manic\u003c/em>, an ebullient collection of house tracks. With its funky pulse and playful synths that shimmy and bounce, the EP recalls ’90s house acts like Crystal Waters and Inner City. The instrumental version of the title track features a saxophone solo by Marcia Miget—it’s the project’s most ecstatic highpoint, and a convincing argument for why brass belongs in club music. Cherushii passed away in the Ghost Ship fire the same year \u003cem>Manic\u003c/em> was released, and the project lives on as a record of her infectiously joyful vision.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=856121914/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Rayana Jay, \u003cem>Sorry About Last Night\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2016, self-released\u003c/strong>\u003cbr>\nDrunken regrets, problematic lovers, undefined “situationships”—it’s all part of dating in your 20s, and Rayana Jay’s standout R&B debut \u003cem>Sorry About Last Night\u003c/em> captures all of its uncertainties and painful growing pains. Set to smooth, sparse production, her velvety voice takes center stage as she expertly builds earworm melodies. Lead single “Sleepy Brown,” which propelled Jay to the national stage, has a vintage, funky feel you can’t help but sway and step to.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1941114977/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Club Chai, \u003cem>Club Chai Vol. 1\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2017, Club Chai\u003c/strong>\u003cbr>\nIt’s hard to name a collective that’s shaped the Bay Area’s club music scene more this decade than Club Chai. With the compilation \u003cem>Club Chai Vol. 1\u003c/em>, 8ULENTINA and FOOZOOL lay out their thesis for the genre-amorphous label and party. The suspenseful original tracks produced by the founders for the compilation give Middle Eastern percussion a ghostly sheen. The album also features work by some of electronic music’s most exciting new voices, including darkwave experimentalist Spellling, techno producer Russell E.L. Butler and haunted cumbia remixer Turbo Sonidero. Each artist pulls from different cultural backgrounds and subgenres, and all push the envelope of what electronic music can be.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1762232894/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>King Woman, \u003cem>Created in the Image of Suffering\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2017, Relapse Records\u003c/strong>\u003cbr>\nKing Woman’s slow-burning, sludgy album \u003cem>Created in the Image of Suffering\u003c/em> swallows listeners in swathes of heavy distortion. The doom metal project, one of Kristina Esfandiari’s many musical alter-egos, served as an outlet for the artist to process the experience of leaving a religious community. Her droning voice is weighed down by an audible anguish as she parses through her disillusionment with Christianity. Layers of gauzy guitar riffs build up with the ornate intricacy of gothic architecture, and crashing cymbals offer opportunities for deeply satisfying catharsis.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/5XgUtV3205kTcgoSLNf8ix\" width=\"700\" height=\"120\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Fantastic Negrito, \u003cem>The Last Days of Oakland\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2017, Blackball Universe\u003c/strong>\u003cbr>\nLiving among Oakland’s extreme wealth inequality can feel maddening, and with \u003cem>The Last Days of Oakland\u003c/em>, Fantastic Negrito offers an impressionistic portrait of the opposing forces that define life in the town—the result being a 2017 Grammy award for Best Contemporary Blues Album. With its gritty guitar solos, driving rhythms and Fantastic Negrito’s howling vocals, it captures the cognitive dissonance of witnessing thousands of people who’ve lost their homes living in abject poverty on the streets. \u003cem>The Last Days of Oakland\u003c/em> is an urgent dispatch that appeals to listeners’ moral consciousness.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/6ztEEOoAi6xyYhiiDn3gxc\" width=\"700\" height=\"120\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>SOB x RBE, \u003cem>SOB x RBE\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2017, EMPIRE\u003c/strong>\u003cbr>\nWith their debut mixtape, SOB x RBE jolted the Bay Area awake with their unbridled energy and explosive chemistry of flows. “Anti” and “Lane Switching” quickly rose from viral hits to radio mainstays, showcasing how DaBoii, Slimmy B and Lul G’s gruff barks alongside crooner Yhung T.O.’s soulful-gangster hooks (think the Gen Z version of Nate Dogg). Now a trio without Lul G, SOB x RBE brought on the latest evolution of West Coast street rap—one that’s fiery and aggressive, with whiplash-inducing speed.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=523521630/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Kronos Quartet and Trio Da Kali, \u003cem>Ladilikan\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2017, World Circuit Limited\u003c/strong>\u003cbr>\nOne of the most adventurous ensembles in the contemporary classical world, Kronos Quartet engaged in many unorthodox collaborations this decade. One of the highlights was their work with virtuosic Malian ensemble Trio Da Kali. With singer Hawa Kassé Mady Diabaté’s rich, booming voice, Lassana Mamadou Kouyaté’s dexterous balafon percussion and Mamadou Diabaté’s string work on the ngoni, the album interlaces the liveliness of traditional Malian griot music with elegant string playing. The collaboration proved to be a fruitful one, as Diabaté took part in Kronos’ \u003cem>50 for the Future\u003c/em> Project, which commissions new works from diverse composers each year.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/7JSvfznch1vfoMOJxd7zPb\" width=\"700\" height=\"120\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Ambrose Akinmusire,\u003cem> A Rift in Decorum\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2017, Blue Note\u003c/strong>\u003cbr>\nCritics have called Ambrose Akinmusire a trumpet wunderkind since his Berkeley High days, and his live album \u003cem>A Rift in Decorum\u003c/em>, recorded at New York’s historic Village Vanguard, shows him pushing his instrument to the limits of its expressive possibilities. Accompanied by bass, piano and drums, Akinmusire’s trumpet oscillates from emanating long, pained wails and running through rapid-fire riffs. The spacious, pensive compositions allow him plenty of room to explore.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=4268731096/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Toro y Moi, \u003cem>Outer Peace\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2019, Carpark Records\u003c/strong>\u003cbr>\nToro y Moi’s \u003cem>Outer Peace\u003c/em> came during a period of the artist stepping into his full powers as a songwriter, performer and visual artist, and the album’s funky celebrations of the creative grind speak to his role as a catalyst in the local scene. For the album, Toro enlisted conga player Brijean Murphy (a formidable solo artist in her own right), whose expert percussion adds richness to Toro’s propulsive grooves. \u003cem>Outer Peace\u003c/em>’s upbeat sounds represented a departure from his more wistful, airy chillwave of years past, and its bold, confident energy looks good on him.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=136764004/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Looking for things to do in the Bay Area this weekend? The Do List has you covered with concerts, festivals, exhibitions, plays, performances and more.\u003c/p>\n\u003cp>You can listen to this week’s episode with KQED’s Gabe Meline, Sarah Hotchkiss and Sam Lefebvre above, or read about our picks below.\u003c/p>\n\u003cp>\u003cstrong>Terry Fox, ‘The Labyrinth Scored for the Purrs of 11 Different Cats’\u003c/strong>: Here’s a fun one: \u003ca href=\"https://www.youtube.com/watch?v=iTSCVMxjXNg\" rel=\"noopener noreferrer\" target=\"_blank\">the sound of 11 cats purring\u003c/a>, layered together by artist Terry Fox, in an exhibition at BAMPFA. The sound of a cat purr is obviously a calming one, and Fox designed it to be listened to while walking a cathedral-style labyrinth in this 1977 piece, \u003cem>The Labyrinth Scored for the Purrs of 11 Different Cats\u003c/em>. The purr of each individual cat is meant to represent one of the 11 concentric rings of the labyrinth as you walk it—and friends, this is your last chance, because this totally one-of-a-kind experience ends this weekend, Dec. 15, at BAMPFA in downtown Berkeley. \u003ca href=\"https://bampfa.org/program/terry-fox-resonance\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—GM\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Art With Elders Holiday Sale\u003c/strong>: Here’s a slightly more conventional suggestion this week. It’s a one-day holiday art show and sale at Cushion Works, a Mission District project space… And maybe you’re thinking… Another holiday sale? But this one’s slightly different. All the work comes from the Art With Elders program, a really incredible nonprofit that provides art classes for Bay Area seniors in long-term care communities like Laguna Honda Hospital. And this is a specially curated display of that work. That’s Sunday, Dec. 15, at Cushion Works in San Francisco. \u003ca href=\"https://www.artwithelders.org/2019/12/cushion-works-holiday-show-and-sale/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—SH\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Hip-Hop at the Fine Art Museum\u003c/strong>: There’s an exhibit we’ve talked about previously on the Do List called \u003cem>Soul of a Nation\u003c/em>—a massive exhibition celebrating black artists and black power at the de Young. What’s new this weekend is what I’m 99% sure has never happened before there: a show by a hip-hop group at the museum. Saturday brings the Oakland group Souls of Mischief to the de Young, in both a live show and a screening of their documentary, \u003cem>‘Til Infinity\u003c/em>. A big bonus here is that museum admission is free that day for Bay Area residents, including admission to \u003cem>Soul of a Nation\u003c/em>. That’s Saturday, Dec. 14, at the de Young Museum in San Francisco. \u003ca href=\"https://deyoung.famsf.org/calendar/free-saturdays-musical-performance-souls-mischief-til-infinity-souls-mischief-film\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—GM\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>ABO Comix Release Party\u003c/strong>: ABO Comix publishes autobiographical comics by and for queer and transgender prisoners incarcerated around the country. The Oakland publisher is part of a movement centering prison abolition in the struggle for LGBTQ liberation, and considers part of that work to be diligently corresponding with queer prisoners and figuring out how to get them money for their artwork. In the past couple years, ABO has raised more than $10,000 for its artists. This weekend, ABO celebrates the release of its third anthology with a show featuring a local punk band called Anti Repression Music. That’s on Saturday, Dec. 14, at Classic Cars West in Oakland. \u003ca href=\"https://oaklandartmurmur.org/events/abo-comix-iii-release-party/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—SL\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>‘The Nutcracker’\u003c/strong>: I know, I know—you can see \u003cem>The Nutcracker\u003c/em> on approximately twelve billion stages this month. I’ve got two to recommend. The first is the big kahuna: the SF Ballet’s \u003cem>Nutcracker\u003c/em>. I finally saw this last year, and all I can say is believe the hype. It’s dazzling with a breathtaking set, top-tier dancing, you can’t go wrong. That runs at the War Memorial Opera House through Dec. 29. Details here. But then there’s a version of \u003cem>The Nutcracker\u003c/em> in Oakland that’s a little different. There’s no nutcracker. No mouse, even. It’s called \u003cem>KOLA: An Afro Diasporic Remix of the Nutcracker\u003c/em>. The lead character, Nzingha, travels through the African diaspora learning different dances, like Afro-Haitian, Afro-Cuban, jazz, hip-hop, break-dancing and more. That runs now through Dec. 22 at Castlemont High School in Oakland. \u003ca href=\"https://www.thepeoplesconservatory.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—GM\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Looking for things to do in the Bay Area this weekend? The Do List has you covered with concerts, festivals, exhibitions, plays, performances and more.\u003c/p>\n\u003cp>You can listen to this week’s episode with KQED’s Gabe Meline, Sarah Hotchkiss and Sam Lefebvre above, or read about our picks below.\u003c/p>\n\u003cp>\u003cstrong>Terry Fox, ‘The Labyrinth Scored for the Purrs of 11 Different Cats’\u003c/strong>: Here’s a fun one: \u003ca href=\"https://www.youtube.com/watch?v=iTSCVMxjXNg\" rel=\"noopener noreferrer\" target=\"_blank\">the sound of 11 cats purring\u003c/a>, layered together by artist Terry Fox, in an exhibition at BAMPFA. The sound of a cat purr is obviously a calming one, and Fox designed it to be listened to while walking a cathedral-style labyrinth in this 1977 piece, \u003cem>The Labyrinth Scored for the Purrs of 11 Different Cats\u003c/em>. The purr of each individual cat is meant to represent one of the 11 concentric rings of the labyrinth as you walk it—and friends, this is your last chance, because this totally one-of-a-kind experience ends this weekend, Dec. 15, at BAMPFA in downtown Berkeley. \u003ca href=\"https://bampfa.org/program/terry-fox-resonance\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—GM\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Art With Elders Holiday Sale\u003c/strong>: Here’s a slightly more conventional suggestion this week. It’s a one-day holiday art show and sale at Cushion Works, a Mission District project space… And maybe you’re thinking… Another holiday sale? But this one’s slightly different. All the work comes from the Art With Elders program, a really incredible nonprofit that provides art classes for Bay Area seniors in long-term care communities like Laguna Honda Hospital. And this is a specially curated display of that work. That’s Sunday, Dec. 15, at Cushion Works in San Francisco. \u003ca href=\"https://www.artwithelders.org/2019/12/cushion-works-holiday-show-and-sale/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—SH\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Hip-Hop at the Fine Art Museum\u003c/strong>: There’s an exhibit we’ve talked about previously on the Do List called \u003cem>Soul of a Nation\u003c/em>—a massive exhibition celebrating black artists and black power at the de Young. What’s new this weekend is what I’m 99% sure has never happened before there: a show by a hip-hop group at the museum. Saturday brings the Oakland group Souls of Mischief to the de Young, in both a live show and a screening of their documentary, \u003cem>‘Til Infinity\u003c/em>. A big bonus here is that museum admission is free that day for Bay Area residents, including admission to \u003cem>Soul of a Nation\u003c/em>. That’s Saturday, Dec. 14, at the de Young Museum in San Francisco. \u003ca href=\"https://deyoung.famsf.org/calendar/free-saturdays-musical-performance-souls-mischief-til-infinity-souls-mischief-film\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—GM\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>ABO Comix Release Party\u003c/strong>: ABO Comix publishes autobiographical comics by and for queer and transgender prisoners incarcerated around the country. The Oakland publisher is part of a movement centering prison abolition in the struggle for LGBTQ liberation, and considers part of that work to be diligently corresponding with queer prisoners and figuring out how to get them money for their artwork. In the past couple years, ABO has raised more than $10,000 for its artists. This weekend, ABO celebrates the release of its third anthology with a show featuring a local punk band called Anti Repression Music. That’s on Saturday, Dec. 14, at Classic Cars West in Oakland. \u003ca href=\"https://oaklandartmurmur.org/events/abo-comix-iii-release-party/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—SL\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>‘The Nutcracker’\u003c/strong>: I know, I know—you can see \u003cem>The Nutcracker\u003c/em> on approximately twelve billion stages this month. I’ve got two to recommend. The first is the big kahuna: the SF Ballet’s \u003cem>Nutcracker\u003c/em>. I finally saw this last year, and all I can say is believe the hype. It’s dazzling with a breathtaking set, top-tier dancing, you can’t go wrong. That runs at the War Memorial Opera House through Dec. 29. Details here. But then there’s a version of \u003cem>The Nutcracker\u003c/em> in Oakland that’s a little different. There’s no nutcracker. No mouse, even. It’s called \u003cem>KOLA: An Afro Diasporic Remix of the Nutcracker\u003c/em>. The lead character, Nzingha, travels through the African diaspora learning different dances, like Afro-Haitian, Afro-Cuban, jazz, hip-hop, break-dancing and more. That runs now through Dec. 22 at Castlemont High School in Oakland. \u003ca href=\"https://www.thepeoplesconservatory.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—GM\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Slate’s wildly popular investigative podcast, \u003ca href=\"https://podcasts.apple.com/us/podcast/slow-burn/id1315040130\">\u003cem>Slow Burn\u003c/em>\u003c/a>, is back for its third season, which dives into the murders of two of the biggest hip-hop stars of the 1990s—\u003ca href=\"https://www.npr.org/artists/88479205/tupac-shakur\">Tupac Shakur\u003c/a> and \u003ca href=\"https://www.npr.org/artists/88479887/the-notorious-b-i-g\">The Notorious B.I.G.\u003c/a>\u003c/p>\n\u003cp>Although the subject might seem like a left turn (\u003cem>Slow Burn\u003c/em>‘s first two seasons focused on the Watergate scandal and Bill Clinton’s impeachment, respectively), it fits into the show’s commitment to carefully covering the biggest stories of the past 50 years.\u003c/p>\n\u003cp>In their heyday, Tupac and “Biggie” were at the center of a feud between East Coast and West Coast rappers. Tupac was killed in September 1996 in a Las Vegas drive-by shooting, and although there have been multiple police and journalistic investigations, no one was ever convicted for the crime. Six months later, The Notorious B.I.G. was gunned down in Los Angeles, and his murder also went unsolved. Naturally, rumors have swirled about a potential connection between each rapper’s death and their legendary feud.\u003c/p>\n\u003cp>\u003cem>Slow Burn\u003c/em> has set a strong precedent of diving past surface level on its subjects, and season three is no exception. “We had a sense of what generally animated the beef, but we didn’t know the stories underneath that,” season three host Joel Anderson says. “So that’s what we’re trying to do with this podcast—talking to people that were there at the time, figuring out all these lovely little relationships and incidents that led up to their deaths.”\u003c/p>\n\u003cp>The first episode shifts the mainstream narrative: Pac and Biggie were initially friends, Anderson says. They met at a party in LA and Pac took Biggie under his wing, but that friendship shattered when Pac was shot five times upon entering a studio in New York. Pac, who survived, noticed that members of Biggie’s crew, Junior M.A.F.I.A., were on-site and believed it was a setup.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Joel Anderson says there’s no evidence to suggest that Biggie was involved in this shooting, but Pac thought otherwise. He and other West Coast rappers released a string of songs dissing Biggie and his label, Bad Boy Records. In turn, Biggie released songs such as “Who Shot Ya” that many interpreted as replies.\u003c/p>\n\u003cp>Anderson says that the loss of these two artists speaks volumes about the state of black people in America, even today.\u003c/p>\n\u003cp>“You have two guys, two of the brightest stars to emerge out of the hip-hop era in that time, and they’re gone, just like that,” Anderson says. “And if those two guys can get killed and nothing can happen, then what does that say for the rest of us? As you see, it’s not like we’ve been able to solve that problem.”\u003c/p>\n\u003cp>\u003cem>The first two episodes of \u003c/em>\u003ca href=\"https://podcasts.apple.com/us/podcast/slow-burn/id1315040130\">Slow Burn\u003c/a>\u003cem> season three from Slate are out now. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Digital intern Mano Sundaresan and digital editor Cyrena Touros\u003c/em> \u003cem>contributed to this story\u003c/em>.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Slow+Burn%27+Season+3+Turns+Its+Investigative+Eye+To+The+Murders+Of+Biggie+And+Tupac&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>Joel Anderson says there’s no evidence to suggest that Biggie was involved in this shooting, but Pac thought otherwise. He and other West Coast rappers released a string of songs dissing Biggie and his label, Bad Boy Records. In turn, Biggie released songs such as “Who Shot Ya” that many interpreted as replies.\u003c/p>\n\u003cp>Anderson says that the loss of these two artists speaks volumes about the state of black people in America, even today.\u003c/p>\n\u003cp>“You have two guys, two of the brightest stars to emerge out of the hip-hop era in that time, and they’re gone, just like that,” Anderson says. “And if those two guys can get killed and nothing can happen, then what does that say for the rest of us? As you see, it’s not like we’ve been able to solve that problem.”\u003c/p>\n\u003cp>\u003cem>The first two episodes of \u003c/em>\u003ca href=\"https://podcasts.apple.com/us/podcast/slow-burn/id1315040130\">Slow Burn\u003c/a>\u003cem> season three from Slate are out now. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Digital intern Mano Sundaresan and digital editor Cyrena Touros\u003c/em> \u003cem>contributed to this story\u003c/em>.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Slow+Burn%27+Season+3+Turns+Its+Investigative+Eye+To+The+Murders+Of+Biggie+And+Tupac&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>Note: This episode originally aired March 17, 2019\u003c/em>\u003c/p>\n\u003cp>Shy’an G’s music is like listening to an open diary entry.\u003c/p>\n\u003cp>Shy’an, an East Bay native, says her style of writing dates back to the time she stole her sister’s copy of Tupac’s \u003cem>All Eyez on Me\u003c/em>.\u003c/p>\n\u003cp>The short version is that she sat under the jungle gym on the playground while listening to the album on a Discman, penning her own rhymes, and she hasn’t stopped since.\u003c/p>\n\u003cfigure id=\"attachment_13853017\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13853017\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/ShyanG.Rightnowish.MAIN_-800x500.jpg\" alt=\"Cover detail from Shy'an'G's new album, 'The Reset.'\" width=\"800\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/ShyanG.Rightnowish.MAIN_-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/ShyanG.Rightnowish.MAIN_-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/ShyanG.Rightnowish.MAIN_-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/ShyanG.Rightnowish.MAIN_.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cover detail from Shy’an’G’s new album, ‘The Reset.’ \u003ccite>(Shyan'G)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The longer, more nuanced version is the story of a young woman who honed her craft and has used it to navigate all that life has thrown at her, from educational hurdles to unsavory roommates.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Writing and family have been Shy’an’s support system through it all. As an ode to her support system, she recently dropped \u003cem>\u003ca href=\"https://soundcloud.com/shyan-g/sets/the-reset\">The Reset\u003c/a>\u003c/em>, her second studio project. For this week’s episode of \u003cem>Rightnowish\u003c/em>, I chopped it up with her about the project, which highlights family, writing and taking a moment to realize you’ve made it through some trials.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Click the audio link above to check it out.\u003c/p>\n\n",
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"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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"order": 9
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"id": "fresh-air",
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"airtime": "SUN 7:30pm-8pm",
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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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"order": 15
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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. ",
"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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"order": 18
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"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
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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",
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"source": "American Public Media"
},
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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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},
"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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"meta": {
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"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",
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"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.",
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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",
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"order": 11
},
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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",
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},
"link": "/radio/program/on-the-media",
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},
"pbs-newshour": {
"id": "pbs-newshour",
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"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
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"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
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},
"perspectives": {
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"order": 14
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"planet-money": {
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"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",
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},
"link": "/radio/program/planet-money",
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"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
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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",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"order": 5
},
"link": "/podcasts/politicalbreakdown",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
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