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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>Update:\u003c/strong> Princess Nokia deleted her original tweet calling out Ariana Grande after accusations surfaced of her \u003ca href=\"https://twitter.com/ElvisSuljevic/status/1086411470882127872\" target=\"_blank\" rel=\"noopener noreferrer\">plagiarizing Kali Uchis\u003c/a> and \u003ca href=\"https://twitter.com/producedbyKrs/status/1086404623957741568?ref_src=twsrc%5Etfw%7Ctwcamp%5Etweetembed%7Ctwterm%5E1086404623957741568&ref_url=https%3A%2F%2Fbossip.com%2F1694524%2Fshouldve-just-sat-there-producer-accuses-princess-nokia-of-jacking-song-she-originally-accused-ariana-grande-of-stealing%2F\" target=\"_blank\" rel=\"noopener noreferrer\">producedbykrs\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>Since her Pharrell-produced album \u003cem>Sweetener \u003c/em>and chart-topping surprise single “thank u, next,” Ariana Grande has enjoyed one of the most successful pop star rebrands of the last several years, attracting a new fanbase that admires her vulnerable yet empowered new approach.\u003c/p>\n\u003cp>But some listeners are starting to side-eye the singer as she edges into cultural-appropriation territory. The latest criticism comes for Grande’s new single and music video for “7 Rings,” including the catchy refrain “You like my hair? / Gee thanks, just bought it,” which she raps in a staccato flow reminiscent of Soulja Boy’s “Pretty Boy Swag.”\u003c/p>\n\u003cp>Ostensibly referring to Grande’s famously long ponytail extensions, the lyrics also sound strikingly similar to the hook of Princess Nokia’s track “Mine,” an outspoken celebration of wigs, weaves, extensions, afros and other various ways black and brown women choose to wear their hair. In the vein of Solange’s “Don’t Touch My Hair,” Nokia tells white onlookers that how she chooses to style herself is her business and her business only. “It’s mine, I bought it / It’s mine, I bought it,” Nokia rhymes over a pop trap beat not unlike that of Grande’s “7 Rings.”\u003c/p>\n\u003cp>“Ain’t that the little song I made about brown women and their hair? Hmmm. Sounds about white,” Princess Nokia said in a Twitter video of herself listening to the songs side by side.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "'Hip-Hop Deserves That Respect': Honoring The Notorious B.I.G., Wu-Tang Clan In NYC",
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"headTitle": "‘Hip-Hop Deserves That Respect’: Honoring The Notorious B.I.G., Wu-Tang Clan In NYC | KQED",
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"content": "\u003cp>In one of its final acts of 2018, the New York City Council unanimously voted to name two streets after some of the city’s most legendary offspring: The Notorious B.I.G. (who was born Christopher Wallace) and Wu-Tang Clan.\u003c/p>\n\u003cp>Pending Mayor Bill de Blasio’s signature, Christopher Wallace Way would be located in Brooklyn and the Wu-Tang Clan District would be in Staten Island. The two naming initiatives were among dozens the council approved on Dec. 20, which also included streets to honor singer Woody Guthrie and poet Audre Lorde.\u003c/p>\n\u003cp>[contextly_sidebar id=”c94twHpYaF7reY50N9dYCnN6PviXgxqW”]\u003c/p>\n\u003cp>LeRoy McCarthy, a longtime New York City resident, led the naming effort to recognize the \u003ca href=\"https://www.npr.org/artists/88479887/the-notorious-b-i-g\">Notorious B.I.G.\u003c/a>, who died in 1997, and \u003ca href=\"https://www.npr.org/artists/15769897/wu-tang-clan\">Wu-Tang Clan\u003c/a>. He tells NPR’s \u003cem>Morning Edition\u003c/em> he was inspired after reading a book on Wallace’s life and in 2013, began trying to convince city officials to create Christopher Wallace Way.\u003c/p>\n\u003cp>Official government recognition for hip-hop’s greats is long overdue, McCarthy says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“There’s a certain sense of dismissal for hip hop historically… they think it’s not worthy of being recognized of the recognition that you would give to classical music or jazz or rock and roll,” McCarthy says. “Hip-hop deserves that respect.”\u003c/p>\n\u003cp>[contextly_sidebar id=”cDnlVeMgAiiQ11zXP5wBivVqfQPiZKcc”]\u003c/p>\n\u003cp>This isn’t McCarthy’s first time pushing for recognition of hip-hop in public space. He also led the naming of Sylvia Robinson Place in New Jersey, which is dedicated to the founder of Sugar Hill Records, as well as Malik “Phife Dawg” Taylor Way in New York, which recognizes the late member of a Tribe Called Quest.\u003c/p>\n\u003cp>https://www.instagram.com/p/pPWUOuyjdZ/\u003c/p>\n\u003cp>Derek Alderman, professor of geography at the University of Tennessee, says that McCarthy’s campaign — and street naming more broadly — shapes the collective memory of a city’s past.\u003c/p>\n\u003cp>“[Street names] give us an idea of whose memories are important and the types of memories cities want to be identified with,” Alderman says. “As soon as you put a name on a street sign, you say something about the public importance of that individual.”\u003c/p>\n\u003cp>Alderman notes that public space throughout history has predominantly been named after white men, and that the addition of Christopher Wallace Way and Wu-Tang Clan District is a step toward a more inclusive cultural geography.\u003c/p>\n\u003cp>[contextly_sidebar id=”lFyO9BY6oSVY6kymfPE5sxToFHKjEonR”]\u003c/p>\n\u003cp>For McCarthy, there’s work left to be done. He’s proposed a street honoring the Beastie Boys in Manhattan and wants to assist an ongoing effort to recognize rapper Big Pun in the Bronx. Beyond the East Coast, McCarthy has his sights on Oakland, Calif., where he is looking to name a street after Tupac Shakur.\u003c/p>\n\u003cp>He says he hopes that young people in New York — he calls them the “hip-hop generation” — see themselves when they walk down the newly named roads.\u003c/p>\n\u003cp>“[I hope] people take pride in it and feel a sense of community and a part of themselves seeing these street signs up,” he says. “Just because you’re not the A+ student or a doctor or lawyer doesn’t mean you can’t feel proud of where you come from and see someone who looks like you honored in this way.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/680283885/680385295\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Hip-Hop+Deserves+That+Respect%27%3A+Honoring+The+Notorious+B.I.G.%2C+Wu-Tang+Clan+In+NYC&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In one of its final acts of 2018, the New York City Council unanimously voted to name two streets after some of the city’s most legendary offspring: The Notorious B.I.G. (who was born Christopher Wallace) and Wu-Tang Clan.\u003c/p>\n\u003cp>Pending Mayor Bill de Blasio’s signature, Christopher Wallace Way would be located in Brooklyn and the Wu-Tang Clan District would be in Staten Island. The two naming initiatives were among dozens the council approved on Dec. 20, which also included streets to honor singer Woody Guthrie and poet Audre Lorde.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>LeRoy McCarthy, a longtime New York City resident, led the naming effort to recognize the \u003ca href=\"https://www.npr.org/artists/88479887/the-notorious-b-i-g\">Notorious B.I.G.\u003c/a>, who died in 1997, and \u003ca href=\"https://www.npr.org/artists/15769897/wu-tang-clan\">Wu-Tang Clan\u003c/a>. He tells NPR’s \u003cem>Morning Edition\u003c/em> he was inspired after reading a book on Wallace’s life and in 2013, began trying to convince city officials to create Christopher Wallace Way.\u003c/p>\n\u003cp>Official government recognition for hip-hop’s greats is long overdue, McCarthy says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Derek Alderman, professor of geography at the University of Tennessee, says that McCarthy’s campaign — and street naming more broadly — shapes the collective memory of a city’s past.\u003c/p>\n\u003cp>“[Street names] give us an idea of whose memories are important and the types of memories cities want to be identified with,” Alderman says. “As soon as you put a name on a street sign, you say something about the public importance of that individual.”\u003c/p>\n\u003cp>Alderman notes that public space throughout history has predominantly been named after white men, and that the addition of Christopher Wallace Way and Wu-Tang Clan District is a step toward a more inclusive cultural geography.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>For McCarthy, there’s work left to be done. He’s proposed a street honoring the Beastie Boys in Manhattan and wants to assist an ongoing effort to recognize rapper Big Pun in the Bronx. Beyond the East Coast, McCarthy has his sights on Oakland, Calif., where he is looking to name a street after Tupac Shakur.\u003c/p>\n\u003cp>He says he hopes that young people in New York — he calls them the “hip-hop generation” — see themselves when they walk down the newly named roads.\u003c/p>\n\u003cp>“[I hope] people take pride in it and feel a sense of community and a part of themselves seeing these street signs up,” he says. “Just because you’re not the A+ student or a doctor or lawyer doesn’t mean you can’t feel proud of where you come from and see someone who looks like you honored in this way.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/680283885/680385295\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Hip-Hop+Deserves+That+Respect%27%3A+Honoring+The+Notorious+B.I.G.%2C+Wu-Tang+Clan+In+NYC&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Fans have been anxiously awaiting Jordan Peele’s next film since the runaway success of 2017’s satirical horror flick \u003cem>Get Out\u003c/em>, and they got their wish on Christmas Day, when the trailer for Peele’s next movie, \u003cem>Us\u003c/em>, premiered.\u003c/p>\n\u003cp>About a family whose vacation to the Santa Cruz Beach Boardwalk gets derailed by zombie-like doppelgangers, the\u003ca href=\"https://www.youtube.com/watch?v=hNCmb-4oXJA&t=2s\" target=\"_blank\" rel=\"noopener\"> trailer\u003c/a> doesn’t reveal the twists Peele undoubtedly has in store. But the guiding motif is Luniz’ 1995 hit “\u003ca href=\"https://www.youtube.com/watch?v=ERtkpnXLrL4\" target=\"_blank\" rel=\"noopener\">I Got Five On It\u003c/a>” from the Oakland duo’s platinum album, \u003cem>Operation Stackola\u003c/em>. The stoner anthem gets an eerie remix, transforming into a high-stakes horror score with spine-tingling strings and thundering, atmospheric bass. [contextly_sidebar id=”WDbc6WgQo3VoKOMFfugoWagim8r5vVTq”]\u003c/p>\n\u003cp>“We hit ’em again,” wrote Luniz’ Numskull on \u003ca href=\"https://www.instagram.com/p/Br0VAkdgN9y/\" target=\"_blank\" rel=\"noopener\">Instagram\u003c/a> when the trailer came out. “You can’t stop a classic.”\u003c/p>\n\u003cp>Peele’s inventive soundtrack choice comes at the end of an unprecedented year for black Bay Area artists in Hollywood, with the success of Ryan Coogler’s \u003cem>Black Panther\u003c/em> and Boots Riley’s \u003cem>Sorry to Bother You\u003c/em>, both set in Oakland. (Peele is from New York, but his wife, comedian Chelsea Peretti, is from Oakland like Riley and Coogler.)\u003c/p>\n\u003cp>We’ll have to wait until \u003cem>Us\u003c/em> comes out in theaters on Mar. 15 to see how this foreboding flip of Luniz’ Town classic factors into Peele’s latest production.\u003c/p>\n\u003cp>https://youtu.be/hNCmb-4oXJA\u003c/p>\n\u003cp>[ad fullwidth]\u003cbr />\n[ad floatright]\u003c/p>\n",
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"content": "\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-medium wp-image-13847131\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/odie-analogue-800x800.jpg\" alt=\"\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/odie-analogue-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/odie-analogue-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/odie-analogue-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/odie-analogue-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/odie-analogue-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/odie-analogue-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/odie-analogue-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/odie-analogue-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/odie-analogue-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/odie-analogue-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/odie-analogue-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/odie-analogue-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/odie-analogue.jpg 876w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003c/p>\n\u003cp>\u003cem>We’re posting our favorite Bay Area albums of 2018 every weekday through Dec. 14. \u003ca href=\"https://www.kqed.org/arts/tag/best-bay-area-albums-2018\" target=\"_blank\" rel=\"noopener\">Check here\u003c/a> to see who else made the list.\u003c/em>\u003c/p>\n\u003cp>Upon first listen, Odie’s \u003cem>Analogue\u003c/em> sounds so agnostic of any one cultural influence or genre that it’s almost impossible to tell where the artist is from. Born and raised in Canada by Nigerian parents before settling in the Bay Area at age 12, the barrier-transcending musician has experienced a life as multi-faceted as his gorgeous take on alt-R&B.\u003c/p>\n\u003cp>On \u003cem>Analogue\u003c/em>, Odie’s warm singing voice and ambient synths are reminiscent of Kid Cudi’s moving, melodic rap, while his rhythmic structure and funky production take cues from African drum patterns and old Michael Jackson hits. Opening track “Bliss City,” made entrancingly intimate with Odie’s half-whispered delivery and twinkling keys, sets the tone for the artist’s introspective lyrics.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/playlists/486503037″ params=”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true” width=”100%” height=”450″ iframe=”true” /]\u003c/p>\n\u003cp>A captivating debut, \u003cem>Analogue\u003c/em> eloquently explores growing up, figuring oneself out and striving for artistic dreams. On “Story,” Odie half-raps, half-sings about finding the faith to carve his own path, leaning on others to believe and pray as he searches for “the words to my story.” “Northface,” a track about a dead-end job at a winter-wear retailer, attests to Odie’s gift for crafting catchy melodies that catch listeners off-guard before returning to a familiar place. [contextly_sidebar id=”jVsL4MhpTnxvZti6dHl4RpC0juKIOvoc”]\u003c/p>\n\u003cp>Odie begins to fall into more confidently into his own rhythm on the upbeat “Faith,” as he raps “New life takin’ over me / My energy so untamed.” And on the dreamy “Phenomenon,” Odie speaks to the fleeting ambition that plagues every 21-year-old with big goals and no clear game plan: “I can feel it, coming on / I think I want to change the whole world / Can you see the phenomenon / Been living on a prayer, all along.” [contextly_sidebar id=”aYSlcK7sjTGz1e7EnmSupisszqZ0LiTa”]\u003c/p>\n\u003cp>Throughout \u003cem>Analogue\u003c/em>, Odie’s poignant, uncomplicated lyricism underscores quintessential, early-20s growing pains against a backdrop of lush, atmospheric production. With his emotive delivery, he creates a singular sound that can only come from blurring genre, time and cultural lines.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cp>“I-I-I like bad bitches who be ragin’,” Rico Nasty half-raps, half-roars on “\u003ca href=\"https://www.youtube.com/watch?v=91QQqfr1qzE\" target=\"_blank\" rel=\"noopener\">Rage\u003c/a>,” the penultimate track of her 2018 release, \u003cem>Nasty\u003c/em>. The album’s lead single brims with nu-metal influence and the screamo flow of Trap Lavigne—Rico Nasty’s punk alter ego—solidifying \u003cem>Nasty\u003c/em>‘s place as one of the hardest rap records of the year.\u003c/p>\n\u003cp>Rico’s unabashed confidence and inventive approach have earned her a young, diverse fan base, and, with her harsh, rambunctious style, she’s secured her place as one of the year’s strongest breakout artists. She was featured as one of \u003ca href=\"https://www.billboard.com/articles/columns/hip-hop/8092669/hip-hop-rb-artists-to-watch-in-2018\" target=\"_blank\" rel=\"noopener\">Billboard’s 10 Hip-Hop and R&B Artists to Watch in 2018\u003c/a>, landed a \u003ca href=\"https://www.thefader.com/2018/06/07/rico-nasty-cover-story-interview\" target=\"_blank\" rel=\"noopener\">\u003cem>Fader\u003c/em> cover story\u003c/a> and played multiple sold-out shows on her nationwide \u003cem>Nasty\u003c/em> tour. On Dec. 14, she’s slated to play the festival Rolling Loud Los Angeles alongside Cardi B, Lil Uzi Vert and other chart-topping artists.\u003c/p>\n\u003cp>And, in 2018, Rico wasn’t alone in her rise.\u003c/p>\n\u003cp>Right now, a critical mass of up-and-coming artists is transforming what it means to be a female rapper. With lyrics and aesthetics that break from the vixen archetype of predecessors like Lil Kim and Nicki Minaj, artists such as \u003ca href=\"https://soundcloud.com/rico_nasty\" target=\"_blank\" rel=\"noopener\">Rico Nasty\u003c/a>, \u003ca href=\"https://soundcloud.com/bbymutha\" target=\"_blank\" rel=\"noopener\">BbyMutha\u003c/a>, \u003ca href=\"https://soundcloud.com/junglepussy\" target=\"_blank\" rel=\"noopener\">Junglepussy\u003c/a>, \u003ca href=\"https://soundcloud.com/princessnokia92\" target=\"_blank\" rel=\"noopener\">Princess Nokia\u003c/a>, \u003ca href=\"https://soundcloud.com/tierrawhack\" target=\"_blank\" rel=\"noopener\">Tierra Whack\u003c/a> and \u003ca href=\"https://soundcloud.com/leikeli47\" target=\"_blank\" rel=\"noopener\">Leikeli47\u003c/a> represent a new wave of progressive, rebellious women injecting the masculine genre with a much-needed variety of perspectives and creative approaches. [contextly_sidebar id=”YUTHRcn8mYdCKBorVSxSNbWBxW8mG6E0″]\u003c/p>\n\u003cp>Many of the year’s breakout artists veered away from how female rappers have historically approached sexuality. BbyMutha, for instance, released three tough-as-nails mixtapes that challenge the notion that a single mother of four can’t be sexy. When rapping about her bisexuality, the rapper refrains from pandering to the male gaze; rather, she portrays sexual encounters with both men and women as life experiences that have shaped her identity. Similarly, Junglepussy’s inner world as a narrator—not what she can do sexually for others—takes center stage on her album \u003ca href=\"https://open.spotify.com/album/0y90zPTTH3i18Qerg2mB2e\" target=\"_blank\" rel=\"noopener\">\u003cem>JP3\u003c/em>\u003c/a>, where sex is one aspect of a lifestyle that prioritizes JP’s pleasure and health.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Some of 2018’s strongest releases by female rappers, however, barely touched sexuality at all, focusing instead on cultivating colorful personas and rich, fictional worlds. Tierra Whack’s critically acclaimed debut, \u003ca href=\"https://youtu.be/EOTebhPy04g\" target=\"_blank\" rel=\"noopener\">\u003cem>Whack World\u003c/em>\u003c/a>, drew a captive audience with its playful, imaginative tone. Whack reconfigured the album format for the social media age with 15 bite-sized, one-minute songs that each feel like a world of their own, positing one brief and quirky scenario before stopping mid-breath to move onto the next.\u003c/p>\n\u003cp>https://youtu.be/EOTebhPy04g\u003c/p>\n\u003cp>Following the success of 2017’s \u003cem>1992\u003c/em>, Princess Nokia’s \u003ca href=\"https://soundcloud.com/princessnokia92/sets/a-girl-cried-red-1\" target=\"_blank\" rel=\"noopener\">\u003cem>A Girl Cried Red\u003c/em>\u003c/a> indulged the artist’s emo alter ego. And the mysterious Leikeli47, who typically wears a ski mask to hide her face, exudes a tough-girl femininity in her last release, \u003ca href=\"https://soundcloud.com/leikeli47/sets/acrylic-1\" target=\"_blank\" rel=\"noopener\">\u003cem>Acrylic\u003c/em>\u003c/a>. With interludes that ground \u003cem>Acrylic\u003c/em>—fittingly—in a nail shop, the album conveys the feeling of an intimate girl-talk session as Leikeli plots to get her money and respect up.\u003c/p>\n\u003cp>Importantly, the women rapping in 2018 succeeded without the cosigns of influential male peers. In previous decades, Lil Kim was part of Notorious B.I.G.’s Junior M.A.F.I.A.; Nicki Minaj rose alongside Drake under Lil Wayne’s Cash Money; Missy Elliott started on a songwriting team with Timbaland; and Eve was Ruff Ryders’ first lady. But in 2018, Cardi B became the first female rapper with multiple No. 1 singles, dispelling the notion that, in order to make it, you need to be the one girl in an all-male crew. As Cardi \u003ca href=\"https://hellogiggles.com/reviews-coverage/music/all-the-times-cardi-b-broke-records/\" target=\"_blank\" rel=\"noopener\">dominated the charts\u003c/a> throughout 2018, she opened the door for a plethora of women to rise up in the indie rap scene without male cosigns. [contextly_sidebar id=”zXsyjf5iskLbSpL314xpBc2FEGbmmjnl”]\u003c/p>\n\u003cp>Still, certain stereotypes persist and continue to detract from the notable success of the female rap community. Cardi B’s online and in-person beef with Nicki Minaj, for instance, only served to bolster the long-standing stereotype that there can only be one queen of rap. The ongoing beefs among rising rappers Kash Doll, Asian Doll and Cuban Doll—overlooking the appropriative nature of their names for the purpose of this article—have also marred the otherwise wonderful shift in rap’s patriarchal paradigm with petty in-fighting. [contextly_sidebar id=”c8yobbdCMS3VOo70xtqEkHnzNge12CTD”]\u003c/p>\n\u003cp>Regardless, it’s undeniable that 2018 has proven to be a groundbreaking year for female rappers—both emerging and established. By bringing brazen honesty and nuanced storytelling to the forefront of their work, these women have broken many of the stereotypes that plague the music industry. The fight is far from over, but these women have laid the groundwork—like the women before them—for new artists to come and continue this work.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And, if Rico has it her way, they’ll be rebels who aren’t afraid to let the world feel their rage.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“I-I-I like bad bitches who be ragin’,” Rico Nasty half-raps, half-roars on “\u003ca href=\"https://www.youtube.com/watch?v=91QQqfr1qzE\" target=\"_blank\" rel=\"noopener\">Rage\u003c/a>,” the penultimate track of her 2018 release, \u003cem>Nasty\u003c/em>. The album’s lead single brims with nu-metal influence and the screamo flow of Trap Lavigne—Rico Nasty’s punk alter ego—solidifying \u003cem>Nasty\u003c/em>‘s place as one of the hardest rap records of the year.\u003c/p>\n\u003cp>Rico’s unabashed confidence and inventive approach have earned her a young, diverse fan base, and, with her harsh, rambunctious style, she’s secured her place as one of the year’s strongest breakout artists. She was featured as one of \u003ca href=\"https://www.billboard.com/articles/columns/hip-hop/8092669/hip-hop-rb-artists-to-watch-in-2018\" target=\"_blank\" rel=\"noopener\">Billboard’s 10 Hip-Hop and R&B Artists to Watch in 2018\u003c/a>, landed a \u003ca href=\"https://www.thefader.com/2018/06/07/rico-nasty-cover-story-interview\" target=\"_blank\" rel=\"noopener\">\u003cem>Fader\u003c/em> cover story\u003c/a> and played multiple sold-out shows on her nationwide \u003cem>Nasty\u003c/em> tour. On Dec. 14, she’s slated to play the festival Rolling Loud Los Angeles alongside Cardi B, Lil Uzi Vert and other chart-topping artists.\u003c/p>\n\u003cp>And, in 2018, Rico wasn’t alone in her rise.\u003c/p>\n\u003cp>Right now, a critical mass of up-and-coming artists is transforming what it means to be a female rapper. With lyrics and aesthetics that break from the vixen archetype of predecessors like Lil Kim and Nicki Minaj, artists such as \u003ca href=\"https://soundcloud.com/rico_nasty\" target=\"_blank\" rel=\"noopener\">Rico Nasty\u003c/a>, \u003ca href=\"https://soundcloud.com/bbymutha\" target=\"_blank\" rel=\"noopener\">BbyMutha\u003c/a>, \u003ca href=\"https://soundcloud.com/junglepussy\" target=\"_blank\" rel=\"noopener\">Junglepussy\u003c/a>, \u003ca href=\"https://soundcloud.com/princessnokia92\" target=\"_blank\" rel=\"noopener\">Princess Nokia\u003c/a>, \u003ca href=\"https://soundcloud.com/tierrawhack\" target=\"_blank\" rel=\"noopener\">Tierra Whack\u003c/a> and \u003ca href=\"https://soundcloud.com/leikeli47\" target=\"_blank\" rel=\"noopener\">Leikeli47\u003c/a> represent a new wave of progressive, rebellious women injecting the masculine genre with a much-needed variety of perspectives and creative approaches. \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Many of the year’s breakout artists veered away from how female rappers have historically approached sexuality. BbyMutha, for instance, released three tough-as-nails mixtapes that challenge the notion that a single mother of four can’t be sexy. When rapping about her bisexuality, the rapper refrains from pandering to the male gaze; rather, she portrays sexual encounters with both men and women as life experiences that have shaped her identity. Similarly, Junglepussy’s inner world as a narrator—not what she can do sexually for others—takes center stage on her album \u003ca href=\"https://open.spotify.com/album/0y90zPTTH3i18Qerg2mB2e\" target=\"_blank\" rel=\"noopener\">\u003cem>JP3\u003c/em>\u003c/a>, where sex is one aspect of a lifestyle that prioritizes JP’s pleasure and health.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Some of 2018’s strongest releases by female rappers, however, barely touched sexuality at all, focusing instead on cultivating colorful personas and rich, fictional worlds. Tierra Whack’s critically acclaimed debut, \u003ca href=\"https://youtu.be/EOTebhPy04g\" target=\"_blank\" rel=\"noopener\">\u003cem>Whack World\u003c/em>\u003c/a>, drew a captive audience with its playful, imaginative tone. Whack reconfigured the album format for the social media age with 15 bite-sized, one-minute songs that each feel like a world of their own, positing one brief and quirky scenario before stopping mid-breath to move onto the next.\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/EOTebhPy04g'\n title='//www.youtube.com/embed/EOTebhPy04g'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Following the success of 2017’s \u003cem>1992\u003c/em>, Princess Nokia’s \u003ca href=\"https://soundcloud.com/princessnokia92/sets/a-girl-cried-red-1\" target=\"_blank\" rel=\"noopener\">\u003cem>A Girl Cried Red\u003c/em>\u003c/a> indulged the artist’s emo alter ego. And the mysterious Leikeli47, who typically wears a ski mask to hide her face, exudes a tough-girl femininity in her last release, \u003ca href=\"https://soundcloud.com/leikeli47/sets/acrylic-1\" target=\"_blank\" rel=\"noopener\">\u003cem>Acrylic\u003c/em>\u003c/a>. With interludes that ground \u003cem>Acrylic\u003c/em>—fittingly—in a nail shop, the album conveys the feeling of an intimate girl-talk session as Leikeli plots to get her money and respect up.\u003c/p>\n\u003cp>Importantly, the women rapping in 2018 succeeded without the cosigns of influential male peers. In previous decades, Lil Kim was part of Notorious B.I.G.’s Junior M.A.F.I.A.; Nicki Minaj rose alongside Drake under Lil Wayne’s Cash Money; Missy Elliott started on a songwriting team with Timbaland; and Eve was Ruff Ryders’ first lady. But in 2018, Cardi B became the first female rapper with multiple No. 1 singles, dispelling the notion that, in order to make it, you need to be the one girl in an all-male crew. As Cardi \u003ca href=\"https://hellogiggles.com/reviews-coverage/music/all-the-times-cardi-b-broke-records/\" target=\"_blank\" rel=\"noopener\">dominated the charts\u003c/a> throughout 2018, she opened the door for a plethora of women to rise up in the indie rap scene without male cosigns. \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Still, certain stereotypes persist and continue to detract from the notable success of the female rap community. Cardi B’s online and in-person beef with Nicki Minaj, for instance, only served to bolster the long-standing stereotype that there can only be one queen of rap. The ongoing beefs among rising rappers Kash Doll, Asian Doll and Cuban Doll—overlooking the appropriative nature of their names for the purpose of this article—have also marred the otherwise wonderful shift in rap’s patriarchal paradigm with petty in-fighting. \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Regardless, it’s undeniable that 2018 has proven to be a groundbreaking year for female rappers—both emerging and established. By bringing brazen honesty and nuanced storytelling to the forefront of their work, these women have broken many of the stereotypes that plague the music industry. The fight is far from over, but these women have laid the groundwork—like the women before them—for new artists to come and continue this work.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And, if Rico has it her way, they’ll be rebels who aren’t afraid to let the world feel their rage.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Listen: KQED Arts' Top 20 Albums of 2018",
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"content": "\u003cp>\u003cem>With year-end list season in full swing at media outlets across the country, KQED Arts is dedicating our top 20 national and international albums list to projects that didn’t reign over the Billboard charts or mainstream publications. Some of our picks celebrate works that made widespread impact, but most of them highlight lesser-known yet worthy releases. Of course, many of our favorite albums were local. For our favorite Bay Area releases of 2018, click \u003ca href=\"https://www.kqed.org/arts/tag/best-bay-area-albums-2018\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>https://youtu.be/HRggdDV-dBc\u003c/p>\n\u003ch3>Best Album to Feed the Spirit of Global Resistance\u003c/h3>\n\u003cp>\u003cstrong>Seun Kuti & Egypt 80, \u003cem>Black Times \u003c/em>(Strut)\u003c/strong>\u003c/p>\n\u003cp>When Nigerian Afrobeat pioneer Fela Kuti passed away in 1997, his son Seun Kuti inherited his virtuosic ensemble Egypt 80 at 14 years old. No pressure, right? With his latest release, \u003cem>Black Times\u003c/em>, Fela’s youngest son reminds us that the revolutionary spirit of the Kuti family is still necessary for 2018’s political battles, and that what they do remarkably well is communicate political messages through jubilant, danceable music without dumbing them down \u003cem>or\u003c/em> coming across as preachy. With florid explosions of horns and hip-shaking congas, Seun Kuti rails against environment-destroying corporations and champions the 99 percent. His dad spoke out against human rights abuses in Nigeria, but Seun Kuti has a far-reaching message for a globalized world.\u003cem>—Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cp>https://youtu.be/pJKOaVjfHus\u003c/p>\n\u003ch3>Best Album to Preserve an Endangered Language\u003c/h3>\n\u003cp>\u003cstrong>Jeremy Dutcher, \u003cem>Wolastoqiyik Lintuwakonawa \u003c/em>(Fontana North)\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Though we love to make jokes about Canada’s politeness and handsome prime minister, Americans often forget that our northern neighbor’s colonial history parallels our own. In the past few years, more and more indigenous artists have been claiming a seat at the table, including pianist and singer Jeremy Dutcher. The recipient of 2018’s Polaris Prize, Dutcher spent five years writing \u003cem>Wolastoqiyik Lintuwakonawa (Our Maliseet Songs)\u003c/em> in Wolastoq, his people’s language that only has around 100 speakers. \u003cem>Wolastoqiyik Lintuwakonawa\u003c/em> is a swooning work of operatic grace, a delicate historical document and a massive middle finger to those that would tell him to “get over it.”\u003cem>—Jody Amable\u003c/em>\u003c/p>\n\u003cp>https://youtu.be/e8g7A7LAO_o\u003c/p>\n\u003ch3>Best Reminder that Multi-Instrumentalists are Super Heroes\u003c/h3>\n\u003cp>\u003cstrong>Kadhja Bonet, \u003cem>Childqueen \u003c/em>(Fat Possum Records)\u003c/strong>\u003c/p>\n\u003cp>The fiercely intelligent Kadhja Bonet wrote, produced, mixed and performed almost every aspect of \u003cem>Childqueen\u003c/em>‘s ten tracks (plus cover art) with a painstaking attention to detail. The resulting work—drawing on soul, R&B and disco with choral and symphonic influences—is threaded with Bonet’s delicate vocals and swollen with a restrained power. \u003cem>Childqueen\u003c/em> masters that thin line between mainstream accessibility and a music geek’s delight, creating a work so fresh it defies all categorization. Bonus: if the album leaves you craving more, she also released a short EP of its outtakes.\u003cem>—Annie Bacon\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=91QQqfr1qzE\u003c/p>\n\u003ch3>Best Album to Channel Your Rage\u003c/h3>\n\u003cp>\u003cstrong>Rico Nasty, \u003cem>Nasty \u003c/em>(Sugar Trap)\u003c/strong>\u003c/p>\n\u003cp>With family separations at the border, a major housing crisis and a patriarchal display at the Supreme Court confirmation hearing, there was plenty to be angry about in 2018. For this rage, Rico Nasty’s firecracker of an album, \u003cem>Nasty\u003c/em>, offers a balm. With the delivery of a drill sergeant, Nasty funnels her anger and insecurities through the growls of nu-metal stalwarts like Korn and Slipknot (“Rage,” “Trust Issues”), and empowered braggadocio of female rappers past (“Countin’ Up,” “Bitch I’m Nasty”). “Nasty” reveals the healing power of fury, and it feels so good.\u003cem>—Montse Reyes\u003c/em>\u003c/p>\n\u003cp>https://youtu.be/9f5zD7ZSNpQ\u003c/p>\n\u003ch3>Best Album for Cruising in a Vintage Cadillac\u003c/h3>\n\u003cp>\u003cstrong>Kali Uchis, \u003cem>Isolation\u003c/em> (Universal)\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Isolation\u003c/em> is Kali Uchis’ strongest project since the self-released mixtape that launched her into indie stardom, \u003cem>Drunken Babble\u003c/em>. Rather than sticking to the lo-fi R&B style that first caught listeners’ attention (which, let’s face it, would be so 2012), Uchis’ major-label debut hones in on the vintage, low-rider oldies-inspired sound the Colombian-American singer has been grasping at for years. With assists from Bootsy Collins and The Internet’s Steve Lacy, Uchis infuses her songwriting with a funky, danceable backbeat that harks back to 1970s Chicano soul, with lyrics that speak to young women striving to get out from under toxic relationships and other forms of patriachy.\u003cem>—Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cp>https://youtu.be/es9-P1SOeHU\u003c/p>\n\u003ch3>Best Album for People Who Live on the Internet\u003c/h3>\n\u003cp>\u003cstrong>Sophie, \u003cem>Oil of Every Pearl’s Un-Insides \u003c/em>(MSMSMSM/Future Classic)\u003c/strong>\u003c/p>\n\u003cp>This year—OK, let’s be real, the last few millennia—men have been acting a damn fool, to put it kindly. Blasting SOPHIE’s spectacularly queer album is the perfect way to drown out the sound of all that entitled macho rage. So much of popular music these days is paint-by-numbers and risk-averse, but SOPHIE takes the traditional form of a pop song and gives it a makeover with a chainsaw. Ever wonder what an elephant exorcism taking place in a nightclub 100 years from now might sound like? Listen to “Ponyboy.” What about the experience of gobbling up a pack of sour straws laced with acid? Get hyper with “Immaterial.” A helium balloon on fire? Enjoy the squeaky destruction of “Faceshopping,” about social media and plastic surgery. The album is manic, surreal, challenging and kind of scary, but that’s because it’s doing something new, and that’s what keeps me going back for another hit.\u003cem>—Emmanuel Hapsis\u003c/em>\u003c/p>\n\u003cp>https://youtu.be/EOTebhPy04g\u003c/p>\n\u003ch3>Best Album to Fuel a Creative Spree\u003c/h3>\n\u003cp>\u003cstrong>Tierra Whack, \u003cem>Whack World \u003c/em>(Self-Released)\u003c/strong>\u003c/p>\n\u003cp>My only complaint about Tierra Whack’s debut is that I want more! Comprised of 15 one-minute tracks, \u003cem>Whack World\u003c/em> is a feat of imagination and brevity during a year when rap’s most-streamed albums (looking at you, Migos, Drake and Rae Sremmurd) were stuffed with throw-away songs that dimmed their brightest moments. In her bite-sized format, Whack shows off her penchant for writing in a variety of genres. On the sexy, R&B track “Bite It,” she makes a statement on how female artists are more often appreciated for their aesthetics than their ingenuity; with “Pet Cemetery,” she eulogizes a dead friend with a silly yet heart-rending play on the cliche “all dogs go to heaven.” The only problem is, each song ends just as you get ready to sing along.\u003cem>—Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cp>https://youtu.be/zI11XRzGRKQ\u003c/p>\n\u003ch3>Best Album To Remind Us That Good People Still Exist\u003c/h3>\n\u003cp>\u003cstrong>Courtney Marie Andrews, \u003cem>May Your Kindness Remain \u003c/em>(Fat Possum Records)\u003c/strong>\u003c/p>\n\u003cp>Once a backup singer for Jimmy Eat World, country-leaning folk singer/songwriter Courtney Marie Andrews wouldn’t have found her way on a winding career path were it not for the altruism of the people she’s met along the way. With the country charm of “Kindness of Strangers,” the blues keys of “Border” and the gospel soul of the album’s title track, Andrews’ \u003cem>May Your Kindness Remain\u003c/em> tells her story brilliantly at every turn. Here’s to hoping we can all move through life as tenderly as this singer with a heart-melting voice.\u003cem>—Adrian Spinelli\u003c/em>\u003c/p>\n\u003cp>https://youtu.be/LdyabrdFMC8\u003c/p>\n\u003ch3>Best Album to Turn Arcade Games into Revelations\u003c/h3>\n\u003cp>\u003cstrong>Kamasi Washington,\u003cem> Heaven and Earth \u003c/em>(Young Turks)\u003c/strong>\u003c/p>\n\u003cp>Kamasi Washington’s \u003cem>Heaven and Earth\u003c/em> is boundless. The virtuosic jazz saxophonist and his band, the West Coast Get Down, maneuver listeners through space, time and place seamlessly on the 144-minute double album. Washington takes us to Los Angeles for some G-funk on “Street Fighter Mas,” reinterprets a classic Bruce Lee theme on “Fists of Fury,” beckons us to church on “Will You Sing?” and ventures south with the bossa nova-tinged “Vi Lua Vi Sol.” The result is a transcendent album that finds its home in the space between the terrestrial and divine.\u003cem>—Montse Reyes\u003c/em>\u003c/p>\n\u003cp>https://youtu.be/42XXZvrnHbM\u003c/p>\n\u003ch3>Most Likely to Start a Mosh Pit\u003c/h3>\n\u003cp>\u003cstrong>Courtney Barnett, \u003cem>Tell Me How You Really Feel \u003c/em>(Marathon Artists/Mom+Pop)\u003c/strong>\u003c/p>\n\u003cp>If Barnett’s 2015 debut, \u003cem>Sometimes I Sit and Think, and Sometimes I Just Sit\u003c/em>, was a house party specifically designed to make sparks fly between unsuspecting guests, \u003cem>Tell Me How You Really Feel\u003c/em> is the hangover and awkward social consequences that unfold the next day. It’s the heartrending sound of an ex-fly on the wall, grappling with the discomfort and paranoia of suddenly being the center of attention. Barnett’s smart inner monologue was the thing that launched her to fame in the first place. Here, she turns the wry observations on herself to remind listeners to be careful what they wish for. The final result is surprising and moving.\u003cem>—Rae Alexandra\u003c/em>\u003c/p>\n\u003cp>https://youtu.be/vz9-pXuvFEU\u003c/p>\n\u003ch3>Best Reminder That Everyone Needs an Editor\u003c/h3>\n\u003cp>\u003cstrong>Vince Staples, \u003cem>FM! \u003c/em>(Def Jam)\u003c/strong>\u003c/p>\n\u003cp>As rap albums grow increasingly bloated, Vince Staples’ \u003cem>FM!\u003c/em> makes a case for concision. Framed as a mock broadcast of the nationally-syndicated radio show \u003cem>Big Boy’s Neighborhood\u003c/em> and produced by Kenny Beats and Hagler, \u003cem>FM!\u003c/em> captures the buoyancy of summertime alongside the casual and stark ubiquity of death in Staples’ Long Beach. “Summertime in the LB wild / We gon’ party till the sun or the guns come out,” he raps on “Feels like Summer,” setting the tone for the 22-minute record. The album is brief but mighty, a feat only accomplished by a wordsmith as economic and skilled as Staples.\u003cem>—Montse Reyes\u003c/em>\u003c/p>\n\u003cp>https://youtu.be/oOAgB44MI3Q\u003c/p>\n\u003ch3>Best Album for Flossing Out Your Poor Oversaturated Brain\u003c/h3>\n\u003cp>\u003cstrong>Autechre, \u003cem>NTS Sessions \u003c/em>(Warp Records)\u003c/strong>\u003c/p>\n\u003cp>It almost shouldn’t have been an album. \u003ci>NTS Sessions\u003c/i>, the hefty 8-hour release from UK electronic duo Autechre, debuted as an online radio premiere in April. However, this isn’t a box set collection of throwaways or B-sides, but rather an invigorating, rich marathon of sound designed as a linear narrative, with its own set of climaxes and comedowns. This is all the more impressive having been generated in the algorithmic software \u003ca href=\"https://youtu.be/dkf87DJhG-4?t=3m4s\" target=\"_blank\" rel=\"noopener\">Max/MSP\u003c/a>; I’m normally a naysayer of AI compositon and its ability to convey emotion, but Autechre have trained their software closer to a human than anything else I’ve heard. Above all, \u003ci>NTS Sessions\u003c/i> is an 8-hour cleanse for the ears and brain—a useful thing amid the information static of 2018. —\u003ci>Gabe Meline\u003c/i>\u003c/p>\n\u003cp>https://youtu.be/MIyUHkTSfLM\u003c/p>\n\u003ch3>Best Album to Accompany a Psychedelic Trip\u003c/h3>\n\u003cp>\u003cstrong>Kikagaku Moyo, \u003cem>Masana Temples \u003c/em>(Guruguru Brain)\u003c/strong>\u003c/p>\n\u003cp>Flipping on \u003cem>Masana Temples\u003c/em>, the fourth LP from Japanese psych-rock band Kikagaku Moyo, I’m transported back to a bean bag chair in a college dorm room, my mind in euphoric bliss. “Dripping Sun” feels like felt-coated black light posters are swirling in a hallucination alongside cowbells, wah pedals and Go Kurosawa’s soft vocals. “Majupose” sounds like Stereolab re-incarnated in Japanese. Released on Amsterdam’s Guruguru Brain label, the kaleidoscopic explorations of Masana Temples are nothing short of high-grade stuff.\u003cem>—Adrian Spinelli\u003c/em>\u003c/p>\n\u003cp>https://youtu.be/OaFymywIT7M\u003c/p>\n\u003ch3>Best Album For Throwing a Middle Finger Up to the Patriarchy\u003c/h3>\n\u003cp>\u003cstrong>Alice Bag, \u003cem>Blueprint \u003c/em>(Don Giovanni Records)\u003c/strong>\u003c/p>\n\u003cp>Outspoken Chicana activist and feminist punk icon Alice Bag digs into her roots and serves up a potent antidote for apathy with \u003cem>Blueprint\u003c/em>. “77” rallies for women everywhere to mobilize towards fair wages (white women make 77 cents to the white man’s dollar while Latinas earn closer to 53). On “Se Cree Joven,” Bag casts off all expectations about how she should look, talk and act at her age with a bouncy, buzzing mantra proclaiming self-love: “Whether I’m 15 or 100 / I’m going to be myself / Because this is how I feel good.” With balladic undertones, \u003cem>Blueprint’\u003c/em>s final track lyrically illustrates the Chicano Moratorium protest and ultimate clash with the police on Aug. 29, 1970: “You say justice is color blind / I know you’re lying” and “White justice doesn’t work for me / White justice is a travesty / White justice just isn’t, just isn’t just.” If there’s anything you take away from this album, one message is crystal clear: “It’s time for change.”\u003cem>—Lina Blanco\u003c/em>\u003c/p>\n\u003cp>https://youtu.be/rzgw0XldTC0\u003c/p>\n\u003ch3>Best Album to Demonstrate Reggaeton’s Staying Power in Pop\u003c/h3>\n\u003cp>\u003cstrong>J Balvin, \u003cem>Vibras \u003c/em>(Universal Music Latino)\u003c/strong>\u003c/p>\n\u003cp>The international success of Luis Fonsi and Daddy Yankee’s “Despacito” gave rise to the wave of Latinx artists taking over into the Anglo market. Such is the case with Colombian reggaeton singer J Balvin, whose \u003cem>Vibras\u003c/em> album proved that Latinx artists can vie for American pop stardom without releasing an album in English. Even Beyoncé wanted in on this Colombian reggaeton-pop fusion, joining J Balvin on the remix of lead single “Mi Gente.” \u003cem>Vibras\u003c/em> recently won the Latin Grammy for best urban music album, and J Balvin is repaving the glory days of this Afro-Caribbean sound.\u003cem>—Azucena Rasilla\u003c/em>\u003c/p>\n\u003cp>https://youtu.be/qooWnw5rEcI\u003c/p>\n\u003ch3>Best Album to Help Overcome Heartbreak\u003c/h3>\n\u003cp>\u003cstrong>Mitski, \u003cem>Be the Cowboy \u003c/em>(Dead Oceans)\u003c/strong>\u003c/p>\n\u003cp>Have you ever been completely leveled by love? Mitski has too. \u003cem>On Be The Cowboy\u003c/em>, Mitski ditches romantic banalities and sends her fuzzy guitars to the back in favor of exploring a broader pop landscape and the devastation wrought by handing over your heart to someone. Here, Mitski is insatiable, diving head first into the wreckage of her feelings and relationships. Playing it cool isn’t an option. Rather, she’s gutted as pleads for her lover’s presence (“Geyser,” “Come into the Water”), resigns to her loneliness (“Nobody,” “Lonesome Love”) and falls apart (“Pink in the Night”). Her love is as ardent and abjectly desirous as it is isolating.\u003cem>—Montse Reyes\u003c/em>\u003c/p>\n\u003cp>https://youtu.be/1Iom3PA_JaY\u003c/p>\n\u003ch3>Best Album to Remind Us of History’s Lessons\u003c/h3>\n\u003cp>\u003cstrong>Tiffany Austin, \u003cem>Unbroken\u003c/em> (Con Alma Music)\u003c/strong>\u003c/p>\n\u003cp>No single album can encompass the breadth and depth of the African-American experience, but jazz vocalist Tiffany Austin’s \u003cem>Unbroken\u003c/em> offers a kaleidoscopic soul-steeped sojourn into the sounds that have long nourished and sustained black communities. Redolent of church pews and juke joints, protests, late-night slow dances and jam sessions, Austin’s warm and welcoming voice infuses every song with wisdom and grace. With original pieces that stand up effectively next to the standards, she’s well-served by a superlative cast, including an insuperable New York rhythm section featuring pianist Cyrus Chestnut, bassist Rodney Whitaker and drummer Carl Allen.\u003cem>—Andrew Gilbert\u003c/em>\u003c/p>\n\u003cp>https://youtu.be/kjEC49hTitI\u003c/p>\n\u003ch3>Best Pissed-off-at-the-Presidency Album\u003c/h3>\n\u003cp>\u003cstrong>Ministry, \u003cem>AmeriKKKant\u003c/em> (Nuclear Blast)\u003c/strong>\u003c/p>\n\u003cp>Sometimes you want music to match an angry mood, and for days when your dark cloud is specifically political in nature, Ministry’s 14th studio album, \u003cem>AmeriKKKant\u003c/em>, provides the perfect soundtrack. Tightly-wound, appropriately aggressive and full of musical surprises—such as the opening track’s quivering, nervy strings building to the throb-and-squeal of “The Twilight Zone”—AmeriKKKant lays to rest that old canard about people naturally growing more conservative as they grow older. Ministry frontman Al Jourgenson has definitely not mellowed in his elder years, and his outrage is true to form.\u003cem>—Nicole Gluckstern\u003c/em>\u003c/p>\n\u003cp>https://youtu.be/Mru9GG3ur9U\u003c/p>\n\u003ch3>Best Album for Dancing the Pain Away\u003c/h3>\n\u003cp>\u003cstrong>Robyn, \u003cem>Honey \u003c/em>(Embassy One)\u003c/strong>\u003c/p>\n\u003cp>Forget Carmen San Diego—the pressing question of the past eight years has been, where in the world is Robyn?! Now we have our answer: she was in a lab cooking up slow-burn bops to put us in our feelings (“Baby Forgive Me,” “Send to Robyn Immediately”). Since her last solo release, \u003cem>Body Talk\u003c/em>, Robyn has been through a lot of heartbreak, including a romantic breakup and the death of a close collaborator. Much of her new work feels battle-tested, like a scab falling off. \u003cem>Honey\u003c/em> isn’t the sweaty spin around the dance floor we expected, but it’s the deep groove we needed.\u003cem>—Emmanuel Hapsis\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=YYfvzo331Pg\u003c/p>\n\u003ch3>Best Album for Jamming Out at Home in Your Socks\u003c/h3>\n\u003cp>\u003cstrong>Francis and the Lights, \u003cem>Just for Us \u003c/em>(KTTF)\u003c/strong>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>True, Francis and the Lights’ third full-length album came out in 2017. But if an album’s released on Dec. 29, does it really belong to that year? \u003ci>Just For Us\u003c/i> was the soundtrack of my 2018—a mostly contemplative synth-pop soundtrack punctuated by light, dancey numbers worthy of home-alone-in-your-socks moves. Clear communication got harder (“Breaking Up”); nostalgia was ruled out on “Back in Time” (in which Francis states, “That’s not the way time goes”); and I reconsidered self-driving cars (“Cruise”). \u003ci>Just For Us\u003c/i> kept me looking forward in a year I couldn’t be happier to leave behind.\u003cem>—Sarah Hotchkiss\u003c/em>\u003c/p>\n\n",
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"title": "Listen: KQED Arts' Top 20 Albums of 2018 | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>With year-end list season in full swing at media outlets across the country, KQED Arts is dedicating our top 20 national and international albums list to projects that didn’t reign over the Billboard charts or mainstream publications. Some of our picks celebrate works that made widespread impact, but most of them highlight lesser-known yet worthy releases. Of course, many of our favorite albums were local. For our favorite Bay Area releases of 2018, click \u003ca href=\"https://www.kqed.org/arts/tag/best-bay-area-albums-2018\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/HRggdDV-dBc'\n title='//www.youtube.com/embed/HRggdDV-dBc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Best Album to Feed the Spirit of Global Resistance\u003c/h3>\n\u003cp>\u003cstrong>Seun Kuti & Egypt 80, \u003cem>Black Times \u003c/em>(Strut)\u003c/strong>\u003c/p>\n\u003cp>When Nigerian Afrobeat pioneer Fela Kuti passed away in 1997, his son Seun Kuti inherited his virtuosic ensemble Egypt 80 at 14 years old. No pressure, right? With his latest release, \u003cem>Black Times\u003c/em>, Fela’s youngest son reminds us that the revolutionary spirit of the Kuti family is still necessary for 2018’s political battles, and that what they do remarkably well is communicate political messages through jubilant, danceable music without dumbing them down \u003cem>or\u003c/em> coming across as preachy. With florid explosions of horns and hip-shaking congas, Seun Kuti rails against environment-destroying corporations and champions the 99 percent. His dad spoke out against human rights abuses in Nigeria, but Seun Kuti has a far-reaching message for a globalized world.\u003cem>—Nastia Voynovskaya\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/pJKOaVjfHus'\n title='//www.youtube.com/embed/pJKOaVjfHus'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Best Album to Preserve an Endangered Language\u003c/h3>\n\u003cp>\u003cstrong>Jeremy Dutcher, \u003cem>Wolastoqiyik Lintuwakonawa \u003c/em>(Fontana North)\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Though we love to make jokes about Canada’s politeness and handsome prime minister, Americans often forget that our northern neighbor’s colonial history parallels our own. In the past few years, more and more indigenous artists have been claiming a seat at the table, including pianist and singer Jeremy Dutcher. The recipient of 2018’s Polaris Prize, Dutcher spent five years writing \u003cem>Wolastoqiyik Lintuwakonawa (Our Maliseet Songs)\u003c/em> in Wolastoq, his people’s language that only has around 100 speakers. \u003cem>Wolastoqiyik Lintuwakonawa\u003c/em> is a swooning work of operatic grace, a delicate historical document and a massive middle finger to those that would tell him to “get over it.”\u003cem>—Jody Amable\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/e8g7A7LAO_o'\n title='//www.youtube.com/embed/e8g7A7LAO_o'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Best Reminder that Multi-Instrumentalists are Super Heroes\u003c/h3>\n\u003cp>\u003cstrong>Kadhja Bonet, \u003cem>Childqueen \u003c/em>(Fat Possum Records)\u003c/strong>\u003c/p>\n\u003cp>The fiercely intelligent Kadhja Bonet wrote, produced, mixed and performed almost every aspect of \u003cem>Childqueen\u003c/em>‘s ten tracks (plus cover art) with a painstaking attention to detail. The resulting work—drawing on soul, R&B and disco with choral and symphonic influences—is threaded with Bonet’s delicate vocals and swollen with a restrained power. \u003cem>Childqueen\u003c/em> masters that thin line between mainstream accessibility and a music geek’s delight, creating a work so fresh it defies all categorization. Bonus: if the album leaves you craving more, she also released a short EP of its outtakes.\u003cem>—Annie Bacon\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/91QQqfr1qzE'\n title='//www.youtube.com/embed/91QQqfr1qzE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Best Album to Channel Your Rage\u003c/h3>\n\u003cp>\u003cstrong>Rico Nasty, \u003cem>Nasty \u003c/em>(Sugar Trap)\u003c/strong>\u003c/p>\n\u003cp>With family separations at the border, a major housing crisis and a patriarchal display at the Supreme Court confirmation hearing, there was plenty to be angry about in 2018. For this rage, Rico Nasty’s firecracker of an album, \u003cem>Nasty\u003c/em>, offers a balm. With the delivery of a drill sergeant, Nasty funnels her anger and insecurities through the growls of nu-metal stalwarts like Korn and Slipknot (“Rage,” “Trust Issues”), and empowered braggadocio of female rappers past (“Countin’ Up,” “Bitch I’m Nasty”). “Nasty” reveals the healing power of fury, and it feels so good.\u003cem>—Montse Reyes\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/9f5zD7ZSNpQ'\n title='//www.youtube.com/embed/9f5zD7ZSNpQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Best Album for Cruising in a Vintage Cadillac\u003c/h3>\n\u003cp>\u003cstrong>Kali Uchis, \u003cem>Isolation\u003c/em> (Universal)\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Isolation\u003c/em> is Kali Uchis’ strongest project since the self-released mixtape that launched her into indie stardom, \u003cem>Drunken Babble\u003c/em>. Rather than sticking to the lo-fi R&B style that first caught listeners’ attention (which, let’s face it, would be so 2012), Uchis’ major-label debut hones in on the vintage, low-rider oldies-inspired sound the Colombian-American singer has been grasping at for years. With assists from Bootsy Collins and The Internet’s Steve Lacy, Uchis infuses her songwriting with a funky, danceable backbeat that harks back to 1970s Chicano soul, with lyrics that speak to young women striving to get out from under toxic relationships and other forms of patriachy.\u003cem>—Nastia Voynovskaya\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/es9-P1SOeHU'\n title='//www.youtube.com/embed/es9-P1SOeHU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Best Album for People Who Live on the Internet\u003c/h3>\n\u003cp>\u003cstrong>Sophie, \u003cem>Oil of Every Pearl’s Un-Insides \u003c/em>(MSMSMSM/Future Classic)\u003c/strong>\u003c/p>\n\u003cp>This year—OK, let’s be real, the last few millennia—men have been acting a damn fool, to put it kindly. Blasting SOPHIE’s spectacularly queer album is the perfect way to drown out the sound of all that entitled macho rage. So much of popular music these days is paint-by-numbers and risk-averse, but SOPHIE takes the traditional form of a pop song and gives it a makeover with a chainsaw. Ever wonder what an elephant exorcism taking place in a nightclub 100 years from now might sound like? Listen to “Ponyboy.” What about the experience of gobbling up a pack of sour straws laced with acid? Get hyper with “Immaterial.” A helium balloon on fire? Enjoy the squeaky destruction of “Faceshopping,” about social media and plastic surgery. The album is manic, surreal, challenging and kind of scary, but that’s because it’s doing something new, and that’s what keeps me going back for another hit.\u003cem>—Emmanuel Hapsis\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/EOTebhPy04g'\n title='//www.youtube.com/embed/EOTebhPy04g'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Best Album to Fuel a Creative Spree\u003c/h3>\n\u003cp>\u003cstrong>Tierra Whack, \u003cem>Whack World \u003c/em>(Self-Released)\u003c/strong>\u003c/p>\n\u003cp>My only complaint about Tierra Whack’s debut is that I want more! Comprised of 15 one-minute tracks, \u003cem>Whack World\u003c/em> is a feat of imagination and brevity during a year when rap’s most-streamed albums (looking at you, Migos, Drake and Rae Sremmurd) were stuffed with throw-away songs that dimmed their brightest moments. In her bite-sized format, Whack shows off her penchant for writing in a variety of genres. On the sexy, R&B track “Bite It,” she makes a statement on how female artists are more often appreciated for their aesthetics than their ingenuity; with “Pet Cemetery,” she eulogizes a dead friend with a silly yet heart-rending play on the cliche “all dogs go to heaven.” The only problem is, each song ends just as you get ready to sing along.\u003cem>—Nastia Voynovskaya\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/zI11XRzGRKQ'\n title='//www.youtube.com/embed/zI11XRzGRKQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Best Album To Remind Us That Good People Still Exist\u003c/h3>\n\u003cp>\u003cstrong>Courtney Marie Andrews, \u003cem>May Your Kindness Remain \u003c/em>(Fat Possum Records)\u003c/strong>\u003c/p>\n\u003cp>Once a backup singer for Jimmy Eat World, country-leaning folk singer/songwriter Courtney Marie Andrews wouldn’t have found her way on a winding career path were it not for the altruism of the people she’s met along the way. With the country charm of “Kindness of Strangers,” the blues keys of “Border” and the gospel soul of the album’s title track, Andrews’ \u003cem>May Your Kindness Remain\u003c/em> tells her story brilliantly at every turn. Here’s to hoping we can all move through life as tenderly as this singer with a heart-melting voice.\u003cem>—Adrian Spinelli\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/LdyabrdFMC8'\n title='//www.youtube.com/embed/LdyabrdFMC8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Best Album to Turn Arcade Games into Revelations\u003c/h3>\n\u003cp>\u003cstrong>Kamasi Washington,\u003cem> Heaven and Earth \u003c/em>(Young Turks)\u003c/strong>\u003c/p>\n\u003cp>Kamasi Washington’s \u003cem>Heaven and Earth\u003c/em> is boundless. The virtuosic jazz saxophonist and his band, the West Coast Get Down, maneuver listeners through space, time and place seamlessly on the 144-minute double album. Washington takes us to Los Angeles for some G-funk on “Street Fighter Mas,” reinterprets a classic Bruce Lee theme on “Fists of Fury,” beckons us to church on “Will You Sing?” and ventures south with the bossa nova-tinged “Vi Lua Vi Sol.” The result is a transcendent album that finds its home in the space between the terrestrial and divine.\u003cem>—Montse Reyes\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/42XXZvrnHbM'\n title='//www.youtube.com/embed/42XXZvrnHbM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Most Likely to Start a Mosh Pit\u003c/h3>\n\u003cp>\u003cstrong>Courtney Barnett, \u003cem>Tell Me How You Really Feel \u003c/em>(Marathon Artists/Mom+Pop)\u003c/strong>\u003c/p>\n\u003cp>If Barnett’s 2015 debut, \u003cem>Sometimes I Sit and Think, and Sometimes I Just Sit\u003c/em>, was a house party specifically designed to make sparks fly between unsuspecting guests, \u003cem>Tell Me How You Really Feel\u003c/em> is the hangover and awkward social consequences that unfold the next day. It’s the heartrending sound of an ex-fly on the wall, grappling with the discomfort and paranoia of suddenly being the center of attention. Barnett’s smart inner monologue was the thing that launched her to fame in the first place. Here, she turns the wry observations on herself to remind listeners to be careful what they wish for. The final result is surprising and moving.\u003cem>—Rae Alexandra\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/vz9-pXuvFEU'\n title='//www.youtube.com/embed/vz9-pXuvFEU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Best Reminder That Everyone Needs an Editor\u003c/h3>\n\u003cp>\u003cstrong>Vince Staples, \u003cem>FM! \u003c/em>(Def Jam)\u003c/strong>\u003c/p>\n\u003cp>As rap albums grow increasingly bloated, Vince Staples’ \u003cem>FM!\u003c/em> makes a case for concision. Framed as a mock broadcast of the nationally-syndicated radio show \u003cem>Big Boy’s Neighborhood\u003c/em> and produced by Kenny Beats and Hagler, \u003cem>FM!\u003c/em> captures the buoyancy of summertime alongside the casual and stark ubiquity of death in Staples’ Long Beach. “Summertime in the LB wild / We gon’ party till the sun or the guns come out,” he raps on “Feels like Summer,” setting the tone for the 22-minute record. The album is brief but mighty, a feat only accomplished by a wordsmith as economic and skilled as Staples.\u003cem>—Montse Reyes\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/oOAgB44MI3Q'\n title='//www.youtube.com/embed/oOAgB44MI3Q'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Best Album for Flossing Out Your Poor Oversaturated Brain\u003c/h3>\n\u003cp>\u003cstrong>Autechre, \u003cem>NTS Sessions \u003c/em>(Warp Records)\u003c/strong>\u003c/p>\n\u003cp>It almost shouldn’t have been an album. \u003ci>NTS Sessions\u003c/i>, the hefty 8-hour release from UK electronic duo Autechre, debuted as an online radio premiere in April. However, this isn’t a box set collection of throwaways or B-sides, but rather an invigorating, rich marathon of sound designed as a linear narrative, with its own set of climaxes and comedowns. This is all the more impressive having been generated in the algorithmic software \u003ca href=\"https://youtu.be/dkf87DJhG-4?t=3m4s\" target=\"_blank\" rel=\"noopener\">Max/MSP\u003c/a>; I’m normally a naysayer of AI compositon and its ability to convey emotion, but Autechre have trained their software closer to a human than anything else I’ve heard. Above all, \u003ci>NTS Sessions\u003c/i> is an 8-hour cleanse for the ears and brain—a useful thing amid the information static of 2018. —\u003ci>Gabe Meline\u003c/i>\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/MIyUHkTSfLM'\n title='//www.youtube.com/embed/MIyUHkTSfLM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Best Album to Accompany a Psychedelic Trip\u003c/h3>\n\u003cp>\u003cstrong>Kikagaku Moyo, \u003cem>Masana Temples \u003c/em>(Guruguru Brain)\u003c/strong>\u003c/p>\n\u003cp>Flipping on \u003cem>Masana Temples\u003c/em>, the fourth LP from Japanese psych-rock band Kikagaku Moyo, I’m transported back to a bean bag chair in a college dorm room, my mind in euphoric bliss. “Dripping Sun” feels like felt-coated black light posters are swirling in a hallucination alongside cowbells, wah pedals and Go Kurosawa’s soft vocals. “Majupose” sounds like Stereolab re-incarnated in Japanese. Released on Amsterdam’s Guruguru Brain label, the kaleidoscopic explorations of Masana Temples are nothing short of high-grade stuff.\u003cem>—Adrian Spinelli\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/OaFymywIT7M'\n title='//www.youtube.com/embed/OaFymywIT7M'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Best Album For Throwing a Middle Finger Up to the Patriarchy\u003c/h3>\n\u003cp>\u003cstrong>Alice Bag, \u003cem>Blueprint \u003c/em>(Don Giovanni Records)\u003c/strong>\u003c/p>\n\u003cp>Outspoken Chicana activist and feminist punk icon Alice Bag digs into her roots and serves up a potent antidote for apathy with \u003cem>Blueprint\u003c/em>. “77” rallies for women everywhere to mobilize towards fair wages (white women make 77 cents to the white man’s dollar while Latinas earn closer to 53). On “Se Cree Joven,” Bag casts off all expectations about how she should look, talk and act at her age with a bouncy, buzzing mantra proclaiming self-love: “Whether I’m 15 or 100 / I’m going to be myself / Because this is how I feel good.” With balladic undertones, \u003cem>Blueprint’\u003c/em>s final track lyrically illustrates the Chicano Moratorium protest and ultimate clash with the police on Aug. 29, 1970: “You say justice is color blind / I know you’re lying” and “White justice doesn’t work for me / White justice is a travesty / White justice just isn’t, just isn’t just.” If there’s anything you take away from this album, one message is crystal clear: “It’s time for change.”\u003cem>—Lina Blanco\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/rzgw0XldTC0'\n title='//www.youtube.com/embed/rzgw0XldTC0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Best Album to Demonstrate Reggaeton’s Staying Power in Pop\u003c/h3>\n\u003cp>\u003cstrong>J Balvin, \u003cem>Vibras \u003c/em>(Universal Music Latino)\u003c/strong>\u003c/p>\n\u003cp>The international success of Luis Fonsi and Daddy Yankee’s “Despacito” gave rise to the wave of Latinx artists taking over into the Anglo market. Such is the case with Colombian reggaeton singer J Balvin, whose \u003cem>Vibras\u003c/em> album proved that Latinx artists can vie for American pop stardom without releasing an album in English. Even Beyoncé wanted in on this Colombian reggaeton-pop fusion, joining J Balvin on the remix of lead single “Mi Gente.” \u003cem>Vibras\u003c/em> recently won the Latin Grammy for best urban music album, and J Balvin is repaving the glory days of this Afro-Caribbean sound.\u003cem>—Azucena Rasilla\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/qooWnw5rEcI'\n title='//www.youtube.com/embed/qooWnw5rEcI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Best Album to Help Overcome Heartbreak\u003c/h3>\n\u003cp>\u003cstrong>Mitski, \u003cem>Be the Cowboy \u003c/em>(Dead Oceans)\u003c/strong>\u003c/p>\n\u003cp>Have you ever been completely leveled by love? Mitski has too. \u003cem>On Be The Cowboy\u003c/em>, Mitski ditches romantic banalities and sends her fuzzy guitars to the back in favor of exploring a broader pop landscape and the devastation wrought by handing over your heart to someone. Here, Mitski is insatiable, diving head first into the wreckage of her feelings and relationships. Playing it cool isn’t an option. Rather, she’s gutted as pleads for her lover’s presence (“Geyser,” “Come into the Water”), resigns to her loneliness (“Nobody,” “Lonesome Love”) and falls apart (“Pink in the Night”). Her love is as ardent and abjectly desirous as it is isolating.\u003cem>—Montse Reyes\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/1Iom3PA_JaY'\n title='//www.youtube.com/embed/1Iom3PA_JaY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Best Album to Remind Us of History’s Lessons\u003c/h3>\n\u003cp>\u003cstrong>Tiffany Austin, \u003cem>Unbroken\u003c/em> (Con Alma Music)\u003c/strong>\u003c/p>\n\u003cp>No single album can encompass the breadth and depth of the African-American experience, but jazz vocalist Tiffany Austin’s \u003cem>Unbroken\u003c/em> offers a kaleidoscopic soul-steeped sojourn into the sounds that have long nourished and sustained black communities. Redolent of church pews and juke joints, protests, late-night slow dances and jam sessions, Austin’s warm and welcoming voice infuses every song with wisdom and grace. With original pieces that stand up effectively next to the standards, she’s well-served by a superlative cast, including an insuperable New York rhythm section featuring pianist Cyrus Chestnut, bassist Rodney Whitaker and drummer Carl Allen.\u003cem>—Andrew Gilbert\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/kjEC49hTitI'\n title='//www.youtube.com/embed/kjEC49hTitI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Best Pissed-off-at-the-Presidency Album\u003c/h3>\n\u003cp>\u003cstrong>Ministry, \u003cem>AmeriKKKant\u003c/em> (Nuclear Blast)\u003c/strong>\u003c/p>\n\u003cp>Sometimes you want music to match an angry mood, and for days when your dark cloud is specifically political in nature, Ministry’s 14th studio album, \u003cem>AmeriKKKant\u003c/em>, provides the perfect soundtrack. Tightly-wound, appropriately aggressive and full of musical surprises—such as the opening track’s quivering, nervy strings building to the throb-and-squeal of “The Twilight Zone”—AmeriKKKant lays to rest that old canard about people naturally growing more conservative as they grow older. Ministry frontman Al Jourgenson has definitely not mellowed in his elder years, and his outrage is true to form.\u003cem>—Nicole Gluckstern\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Mru9GG3ur9U'\n title='//www.youtube.com/embed/Mru9GG3ur9U'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Best Album for Dancing the Pain Away\u003c/h3>\n\u003cp>\u003cstrong>Robyn, \u003cem>Honey \u003c/em>(Embassy One)\u003c/strong>\u003c/p>\n\u003cp>Forget Carmen San Diego—the pressing question of the past eight years has been, where in the world is Robyn?! Now we have our answer: she was in a lab cooking up slow-burn bops to put us in our feelings (“Baby Forgive Me,” “Send to Robyn Immediately”). Since her last solo release, \u003cem>Body Talk\u003c/em>, Robyn has been through a lot of heartbreak, including a romantic breakup and the death of a close collaborator. Much of her new work feels battle-tested, like a scab falling off. \u003cem>Honey\u003c/em> isn’t the sweaty spin around the dance floor we expected, but it’s the deep groove we needed.\u003cem>—Emmanuel Hapsis\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/YYfvzo331Pg'\n title='//www.youtube.com/embed/YYfvzo331Pg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Best Album for Jamming Out at Home in Your Socks\u003c/h3>\n\u003cp>\u003cstrong>Francis and the Lights, \u003cem>Just for Us \u003c/em>(KTTF)\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>True, Francis and the Lights’ third full-length album came out in 2017. But if an album’s released on Dec. 29, does it really belong to that year? \u003ci>Just For Us\u003c/i> was the soundtrack of my 2018—a mostly contemplative synth-pop soundtrack punctuated by light, dancey numbers worthy of home-alone-in-your-socks moves. Clear communication got harder (“Breaking Up”); nostalgia was ruled out on “Back in Time” (in which Francis states, “That’s not the way time goes”); and I reconsidered self-driving cars (“Cruise”). \u003ci>Just For Us\u003c/i> kept me looking forward in a year I couldn’t be happier to leave behind.\u003cem>—Sarah Hotchkiss\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-13846576\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/prezi-do-better.jpg\" alt=\"\" width=\"630\" height=\"630\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/prezi-do-better.jpg 630w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/prezi-do-better-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/prezi-do-better-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/prezi-do-better-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/prezi-do-better-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/prezi-do-better-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/prezi-do-better-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/prezi-do-better-150x150.jpg 150w\" sizes=\"(max-width: 630px) 100vw, 630px\" />\u003c/p>\n\u003cp>\u003cem>We’re posting our favorite Bay Area albums of 2018 every weekday through Dec. 14. \u003ca href=\"https://www.kqed.org/arts/tag/best-bay-area-albums-2018\" target=\"_blank\" rel=\"noopener\">Check here\u003c/a> to see who else made the list.\u003c/em>\u003c/p>\n\u003cp>In the fall of 2017, \u003ca href=\"https://soundcloud.com/prezimusic\" target=\"_blank\" rel=\"noopener\">Prezi’s\u003c/a> “Do Better” emerged from the undercurrents of Bay Area rap to become a regional hit, logging 5 million YouTube views and airplay on 106.1 KMEL. Much of its power lies in the Hunters Point rapper’s anxiously sung chorus: “Family tellin’ me to do better / I’m a do better.” Delivering his verses over a thumping mid-tempo beat that matches his world-weary words, Prezi encapsulated the life of a 26-year-old who’s been in and out of jail and fallen prey to his worst impulses, and also personified anyone who struggles to rise above their day-to-day circumstances with a measure of grace. It was a poetic expression of personal trials and tribulations that felt universal.\u003c/p>\n\u003cp>Released in January, Prezi’s subsequent \u003cem>Do Better\u003c/em> album builds on that breakout single with a sound full of slapping, block-hugging mob music. Oddly, he never returns to the anxious mid-range singing voice he deployed for that transcendent title track (although the album includes a high-profile “Do Better” remix with Philthy Rich, OMB Peezy and Mozzy). [contextly_sidebar id=”FftNeH3xYC1N4Er4KqncPzRzfjiaBkyd”]\u003c/p>\n\u003cp>Instead, Prezi relies on a grizzled, sand-papery flow for tracks like “Come & Go,” where he raps over an arrangement of ominous keys, “These streets taught me never trust a soul.” Much of it sounds like pure venting, a chance for him to release his frustrations about friends who “claim to fight for me, never took a punch” and women who thought he was ugly until he established a viable music career. But he sets aside some tenderness for “Family,” a warmly melodic collaboration with Mozzy and singer Tree Thomas. “Long way up out the projects, just wanna make my mama proud / Head to the sky, like ‘If Grams could just see me now,'” he raps, then adds a shout-out for his daughter’s mom, whose “loyalty was never a question.” [contextly_sidebar id=”ABosYc7S2LHRF5jGQTfviJhfVP4oZ1rh”]\u003c/p>\n\u003cp>Throughout \u003cem>Do Better\u003c/em>, Prezi taps into a rich vein of Northern California hip-hop that commemorates the struggle to find a better way of life, and is unapologetic about the means—criminal or otherwise—that one uses to reach that goal. Prezi’s grit and hustle may make him the “president” of a neighborhood often marked by civic neglect, but even in the wider realm of street rap, it has also brought him an inarguable breakthrough, one of the best singles in recent memory and a promising full-length debut. He’s here now.\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/2UpcGeI8kxbeRkxUJBAEY3\" width=\"300\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>[ad fullwidth]\u003cbr />\n[ad floatright]\u003c/p>\n",
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"title": "Vallejo-Raised Singer H.E.R. Snags 5 Grammy Nominations",
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"content": "\u003cp>Little personal information is out there about R&B singer H.E.R., who, until recently, didn’t show her face in her videos or promo materials.\u003c/p>\n\u003cp>The mysterious Vallejo-raised singer, born Gabi Wilson, got her first record deal at age 14. Now 21 years old, she’s become a critical darling since releasing her self-titled EPs \u003cem>H.E.R. Volume 1\u003c/em> and \u003cem>Volume 2\u003c/em> in 2016 and ’17. She counts Rihanna, Alicia Keys, Usher and \u003ca href=\"https://twitter.com/hermusicx/status/898295477858295808?lang=en\" target=\"_blank\" rel=\"noopener\">E-40\u003c/a> among her fans. Since her debut, H.E.R. has snagged two No. 1 singles on Billboard’s adult R&B chart, “Focus” and “Best Part” featuring fellow rising R&B star Daniel Caesar, and supported Bryson Tiller and Chris Brown on tour.\u003c/p>\n\u003cp>H.E.R., whose smoky voice and wise-beyond-her-years lyrics have drawn comparisons to Lauryn Hill, can now add five Grammy nominations to her impressive resume. The \u003ca href=\"https://www.grammy.com/grammys/news/2019-grammy-awards-complete-nominations-list\" target=\"_blank\" rel=\"noopener\">slate of 2019 contenders\u003c/a>, announced Friday, has her up for album of the year, best new artist, best R&B performance, best R&B song and best R&B album. H.E.R. told Billboard that the album of the year nomination— where she’s up against heavy-hitters Cardi B, Drake and Post Malone—surprised her the most. It’s for her self-titled album (RCA), comprised of songs from those earlier \u003cem>Volume 1\u003c/em> and \u003cem>Volume 2\u003c/em> EPs.\u003c/p>\n\u003cp>Discussing the spontaneous nature of the project, she she told \u003ca href=\"https://www.billboard.com/articles/news/grammys/8489232/her-talks-5-grammy-nominations-staying-true-to-herself-people-just\" target=\"_blank\" rel=\"noopener\">Billboard\u003c/a>: “It was literally a ‘It’s time for me to drop music. I finally realized who I was. Let me just see what happens’ [kind of thing]. Then, two years later, a sold-out tour and five Grammy nominations.”\u003c/p>\n\u003cp>We’ll be rooting for H.E.R. when the Grammy Awards air on Feb. 10. Check out the full list of 2019 nominees \u003ca href=\"https://www.grammy.com/grammys/news/2019-grammy-awards-complete-nominations-list\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://youtu.be/Z5ze4CUAkE8\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Little personal information is out there about R&B singer H.E.R., who, until recently, didn’t show her face in her videos or promo materials.\u003c/p>\n\u003cp>The mysterious Vallejo-raised singer, born Gabi Wilson, got her first record deal at age 14. Now 21 years old, she’s become a critical darling since releasing her self-titled EPs \u003cem>H.E.R. Volume 1\u003c/em> and \u003cem>Volume 2\u003c/em> in 2016 and ’17. She counts Rihanna, Alicia Keys, Usher and \u003ca href=\"https://twitter.com/hermusicx/status/898295477858295808?lang=en\" target=\"_blank\" rel=\"noopener\">E-40\u003c/a> among her fans. Since her debut, H.E.R. has snagged two No. 1 singles on Billboard’s adult R&B chart, “Focus” and “Best Part” featuring fellow rising R&B star Daniel Caesar, and supported Bryson Tiller and Chris Brown on tour.\u003c/p>\n\u003cp>H.E.R., whose smoky voice and wise-beyond-her-years lyrics have drawn comparisons to Lauryn Hill, can now add five Grammy nominations to her impressive resume. The \u003ca href=\"https://www.grammy.com/grammys/news/2019-grammy-awards-complete-nominations-list\" target=\"_blank\" rel=\"noopener\">slate of 2019 contenders\u003c/a>, announced Friday, has her up for album of the year, best new artist, best R&B performance, best R&B song and best R&B album. H.E.R. told Billboard that the album of the year nomination— where she’s up against heavy-hitters Cardi B, Drake and Post Malone—surprised her the most. It’s for her self-titled album (RCA), comprised of songs from those earlier \u003cem>Volume 1\u003c/em> and \u003cem>Volume 2\u003c/em> EPs.\u003c/p>\n\u003cp>Discussing the spontaneous nature of the project, she she told \u003ca href=\"https://www.billboard.com/articles/news/grammys/8489232/her-talks-5-grammy-nominations-staying-true-to-herself-people-just\" target=\"_blank\" rel=\"noopener\">Billboard\u003c/a>: “It was literally a ‘It’s time for me to drop music. I finally realized who I was. Let me just see what happens’ [kind of thing]. Then, two years later, a sold-out tour and five Grammy nominations.”\u003c/p>\n\u003cp>We’ll be rooting for H.E.R. when the Grammy Awards air on Feb. 10. Check out the full list of 2019 nominees \u003ca href=\"https://www.grammy.com/grammys/news/2019-grammy-awards-complete-nominations-list\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "After a High-Speed Police Chase, A Female Rapper Endures Rap's Double Standard",
"headTitle": "After a High-Speed Police Chase, A Female Rapper Endures Rap’s Double Standard | KQED",
"content": "\u003cp>In \u003cem>The Autobiography of Gucci Mane\u003c/em>, the Atlanta rap star details his numerous stints in DeKalb County Jail and how they bolstered his street cred. When the Bay Area’s Mac Dre was locked up for conspiracy to commit robbery in 1992, he recorded an album over the jail phone that became legendary. This past year, Brooklyn rapper 6ix9ine’s various legal troubles—including a guilty plea for a child sex crime, and an arrest for firearms—propelled him into the Billboard Hot 100 and brought collaborations with Kanye West and Nicki Minaj.\u003c/p>\n\u003cp>But the reaction was noticeably different when Oakland rapper \u003ca href=\"https://www.kqed.org/arts/13832451/qing-qi-rapper-and-thizzler-host-calls-out-scrubs-takes-no-prisoners\" target=\"_blank\" rel=\"noopener noreferrer\">Qing Qi\u003c/a> (Nikia Durgin) was booked in Nevada County Jail last week for an alleged burglary and high-speed getaway chase from police.\u003c/p>\n\u003cp>[contextly_sidebar id=”F6piqvMX5hkxFHGwhGJArqCagQfzxmOr”]\u003c/p>\n\u003cp>According to police, Qing Qi sped off at 120 miles per hour with her headlights off after officers stopped her on suspicion of burglarizing a CVS in Grass Valley. She nearly got away, but crashed in nearby Auburn, and was caught attempting to hail an Uber back to Oakland. \u003cem>The Union\u003c/em> \u003ca href=\"https://www.theunion.com/news/local-news/burglary-suspects-accused-of-fleeing-officers-wrecking-in-auburn-out-on-bond/\" target=\"_blank\" rel=\"noopener noreferrer\">reported\u003c/a> that officers found several thousand dollars of hair-care products and makeup in her car.\u003c/p>\n\u003cp>Qing Qi now faces two felony counts of second-degree burglary, one felony count of evading a peace officer and one misdemeanor count of obstructing a peace officer. Pending sentencing, she could spend up to nine years in jail.\u003c/p>\n\u003cp>All of which would ordinarily mean, by the rap rulebook, a surge in a rapper’s career. Except when Qing Qi’s mugshot appeared on the homepage of \u003ca href=\"https://www.kron4.com/news/bay-area/san-francisco-women-arrested-for-burglary-after-high-speed-pursuit/1604372781\" target=\"_blank\" rel=\"noopener noreferrer\">KRON4\u003c/a> on Nov. 17 and spread through Bay Area social media, the local rap community didn’t celebrate her outlaw status. Nor was there the type of sympathy that’s usually expressed for male rappers who get caught and put behind bars. Instead, the majority of the \u003ca href=\"https://www.instagram.com/p/BqT8dODDE-J/\" target=\"_blank\" rel=\"noopener noreferrer\">comments\u003c/a> took jabs at Qing Qi’s hair and weight.\u003c/p>\n\u003cfigure id=\"attachment_13845979\" class=\"wp-caption alignright\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13845979\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/IMG_4648.jpg\" alt=\"A screen shot of a screen shot of Mozzy's Instagram post with Qing Qi's mugshot. \" width=\"750\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IMG_4648.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IMG_4648-160x285.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IMG_4648-675x1200.jpg 675w\" sizes=\"(max-width: 750px) 100vw, 750px\" />\u003cfigcaption class=\"wp-caption-text\">A screen shot of a screen shot of Mozzy’s Instagram post with Qing Qi’s mugshot. \u003ccite>(@allhailtheqing/Instagram)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Reactions escalated when Sacramento rapper \u003ca href=\"https://www.kqed.org/arts/13842545/mozzy-on-gangland-landlord-kendrick-and-how-a-persistent-grind-pays-off\" target=\"_blank\" rel=\"noopener noreferrer\">Mozzy\u003c/a>, who has over 828,000 Instagram followers (and, ironically, is Qing Qi’s labelmate on San Francisco imprint \u003ca href=\"https://www.empi.re/\" target=\"_blank\" rel=\"noopener noreferrer\">Empire\u003c/a>), posted her and her alleged accomplice’s mugshots with the caption “Lil petty thievery n thingz” and numerous laugh-cry emojis. (The post has since been deleted.)\u003c/p>\n\u003cp>Following Mozzy’s lead, his followers responded with taunts, many commenting that she deserved arrest after dissing Sacramento during her time as co-host of Thizzler’s YouTube talk show, \u003cem>That’s My Word.\u003c/em> (While \u003ca href=\"https://youtu.be/aC-6QSiQz7E?t=8\" target=\"_blank\" rel=\"noopener noreferrer\">debating\u003c/a> whether Sacramento is culturally part of the Bay Area, Qing Qi quipped that “Sacramento people are weird,” to which her co-host DNas replied, “They’re 2005 Oakland,” implying that Sacramento is behind the times.)\u003c/p>\n\u003cp>Mozzy’s manager, DavO, told KQED through a publicist that Mozzy was trying to make a point. “He just wanted to show people how things can quickly turn around for you,” he wrote in an email, adding that Mozzy had planned to post Qing Qi’s bond, “just to show you that the same people who you put down, that you do not know from a can of paint, can be the same ones that you may need later in life. He deleted [his post] because he didn’t want to humiliate her.” (Qing Qi’s rap crew, Pu Tang Clan, posted her bond before Mozzy had the opportunity.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Still, regardless of Mozzy’s intentions, his Instagram post provided a springboard for thousands of followers to mock Qing Qi’s misfortune and appearance. Other prominent Bay Area artists, including \u003ca href=\"https://www.kqed.org/arts/13825052/kamaiyah-surprises-hayward-high-school-with-black-panther-tickets\" target=\"_blank\" rel=\"noopener noreferrer\">Kamaiyah\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13838218/on-the-ranch-with-nef-the-pharaoh\" target=\"_blank\" rel=\"noopener noreferrer\">Nef the Pharaoh\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13811392/behind-the-beats-p-lo\" target=\"_blank\" rel=\"noopener noreferrer\">P-Lo\u003c/a>, appeared to laugh along in the comments.\u003c/p>\n\u003cp>Such response was markedly different than the hero worship lavished on Los Angeles rapper \u003ca href=\"https://www.latimes.com/entertainment/music/la-et-ms-03greedo-20180617-story.html\" target=\"_blank\" rel=\"noopener noreferrer\">03 Greedo\u003c/a>, for example, when he was sentenced to 20 years for trafficking meth this summer. Other than the other female rappers in Qing Qi’s Pu Tang Clan, few people stuck their necks out to \u003ca href=\"https://www.instagram.com/p/BqV54MOAY5l/\" target=\"_blank\" rel=\"noopener noreferrer\">defend her\u003c/a>.\u003c/p>\n\u003cp>Reached by phone, Qing Qi’s Thizzler co-host DNas addressed the double standard.\u003c/p>\n\u003cp>“If anything happens to anybody else, we ain’t makin’ these jokes,” he said, adding that he himself hasn’t gotten nearly as much backlash for his Sacramento comments as Qing Qi. “I’m supporting Qi.”\u003c/p>\n\u003cfigure id=\"attachment_13846004\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13846004\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/MG_5390-qing-qi-800x1266.jpeg\" alt=\"\" width=\"800\" height=\"1266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/MG_5390-qing-qi-800x1266.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/MG_5390-qing-qi-160x253.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/MG_5390-qing-qi-768x1215.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/MG_5390-qing-qi-758x1200.jpeg 758w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/MG_5390-qing-qi.jpeg 809w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003cfigcaption class=\"wp-caption-text\">Qing Qi.\u003c/figcaption>\u003c/figure>\n\u003cp>In a phone interview a week after her arrest, Qi acknowledged that, as an outspoken woman who is far from the narrow, socially acceptable mold of what a female rapper should be, her charges were received differently.\u003c/p>\n\u003cp>“For some reason, people are really upset by me. There are so many people, rappers, who have mugshots for bipping,” Qing Qi told me, using a slang term for breaking car windows. “But when I do something, they put it everywhere and everybody has to talk about it.”\u003c/p>\n\u003cp>Indeed, Qing Qi does rub some people the wrong way. She’s a single mom who raps about her sexuality, she’s full-figured and wears lingerie with her belly out, she often wears an afro, and she’s brashly outspoken about gender inequality in her music. Her 2018 mixtape \u003cem>\u003ca href=\"https://soundcloud.com/qingqi/sets/if-the-niggah-aint-shit-play-this-for-his-bitch\" target=\"_blank\" rel=\"noopener noreferrer\">ITNASPTFHB\u003c/a>\u003c/em> calls out male entitlement with hilarious punchlines that undoubtedly bruise some men’s egos.\u003c/p>\n\u003cp>In other words, if you’re a man with any amount of insecurity, she’s easy to hate.\u003c/p>\n\u003cp>“I think I’m very scary. If what I’m trying to do, and the music I’m trying to push and the image I’m trying to push is successful, I think it would bother a lot of people because it would change things drastically,” Qing Qi told me. “Because then you wouldn’t have to be skinny to show your stomach in a music video, or wear a lot of makeup, or get a long-ass weave to go to an interview.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Qing Qi’s court case is ongoing, and at press time, her public defender Tamara Zaromskis wasn’t sure when the case would go to trial—only that her plea, entered Thursday, would not be a guilty plea. But Qing Qi is optimistic. Upon her release, she put out a diss track called “\u003ca href=\"https://soundcloud.com/qingqi/tangy-qing-qi-pu-tang-clan\" target=\"_blank\" rel=\"noopener noreferrer\">Tangy\u003c/a>” to the beat of Kelis’ “Bossy”: “I got way too much shit goin’ on to be concerned with you weird internet thugs,” she raps.\u003c/p>\n\u003cp>As she summed it up in our interview: “It seems like controversy is my biggest ally.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003c/p>\n\u003cp>\u003cem>Correction: This article originally attributed the quote from Mozzy’s manager DavO to his publicist Aishah White, who passed along the information.\u003c/em>\u003c/p>\n",
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"excerpt": "Qing Qi's troubles with the law would elevate any male rapper's career. Instead, she now faces mockery and scorn.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In \u003cem>The Autobiography of Gucci Mane\u003c/em>, the Atlanta rap star details his numerous stints in DeKalb County Jail and how they bolstered his street cred. When the Bay Area’s Mac Dre was locked up for conspiracy to commit robbery in 1992, he recorded an album over the jail phone that became legendary. This past year, Brooklyn rapper 6ix9ine’s various legal troubles—including a guilty plea for a child sex crime, and an arrest for firearms—propelled him into the Billboard Hot 100 and brought collaborations with Kanye West and Nicki Minaj.\u003c/p>\n\u003cp>But the reaction was noticeably different when Oakland rapper \u003ca href=\"https://www.kqed.org/arts/13832451/qing-qi-rapper-and-thizzler-host-calls-out-scrubs-takes-no-prisoners\" target=\"_blank\" rel=\"noopener noreferrer\">Qing Qi\u003c/a> (Nikia Durgin) was booked in Nevada County Jail last week for an alleged burglary and high-speed getaway chase from police.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>According to police, Qing Qi sped off at 120 miles per hour with her headlights off after officers stopped her on suspicion of burglarizing a CVS in Grass Valley. She nearly got away, but crashed in nearby Auburn, and was caught attempting to hail an Uber back to Oakland. \u003cem>The Union\u003c/em> \u003ca href=\"https://www.theunion.com/news/local-news/burglary-suspects-accused-of-fleeing-officers-wrecking-in-auburn-out-on-bond/\" target=\"_blank\" rel=\"noopener noreferrer\">reported\u003c/a> that officers found several thousand dollars of hair-care products and makeup in her car.\u003c/p>\n\u003cp>Qing Qi now faces two felony counts of second-degree burglary, one felony count of evading a peace officer and one misdemeanor count of obstructing a peace officer. Pending sentencing, she could spend up to nine years in jail.\u003c/p>\n\u003cp>All of which would ordinarily mean, by the rap rulebook, a surge in a rapper’s career. Except when Qing Qi’s mugshot appeared on the homepage of \u003ca href=\"https://www.kron4.com/news/bay-area/san-francisco-women-arrested-for-burglary-after-high-speed-pursuit/1604372781\" target=\"_blank\" rel=\"noopener noreferrer\">KRON4\u003c/a> on Nov. 17 and spread through Bay Area social media, the local rap community didn’t celebrate her outlaw status. Nor was there the type of sympathy that’s usually expressed for male rappers who get caught and put behind bars. Instead, the majority of the \u003ca href=\"https://www.instagram.com/p/BqT8dODDE-J/\" target=\"_blank\" rel=\"noopener noreferrer\">comments\u003c/a> took jabs at Qing Qi’s hair and weight.\u003c/p>\n\u003cfigure id=\"attachment_13845979\" class=\"wp-caption alignright\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13845979\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/IMG_4648.jpg\" alt=\"A screen shot of a screen shot of Mozzy's Instagram post with Qing Qi's mugshot. \" width=\"750\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IMG_4648.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IMG_4648-160x285.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IMG_4648-675x1200.jpg 675w\" sizes=\"(max-width: 750px) 100vw, 750px\" />\u003cfigcaption class=\"wp-caption-text\">A screen shot of a screen shot of Mozzy’s Instagram post with Qing Qi’s mugshot. \u003ccite>(@allhailtheqing/Instagram)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Reactions escalated when Sacramento rapper \u003ca href=\"https://www.kqed.org/arts/13842545/mozzy-on-gangland-landlord-kendrick-and-how-a-persistent-grind-pays-off\" target=\"_blank\" rel=\"noopener noreferrer\">Mozzy\u003c/a>, who has over 828,000 Instagram followers (and, ironically, is Qing Qi’s labelmate on San Francisco imprint \u003ca href=\"https://www.empi.re/\" target=\"_blank\" rel=\"noopener noreferrer\">Empire\u003c/a>), posted her and her alleged accomplice’s mugshots with the caption “Lil petty thievery n thingz” and numerous laugh-cry emojis. (The post has since been deleted.)\u003c/p>\n\u003cp>Following Mozzy’s lead, his followers responded with taunts, many commenting that she deserved arrest after dissing Sacramento during her time as co-host of Thizzler’s YouTube talk show, \u003cem>That’s My Word.\u003c/em> (While \u003ca href=\"https://youtu.be/aC-6QSiQz7E?t=8\" target=\"_blank\" rel=\"noopener noreferrer\">debating\u003c/a> whether Sacramento is culturally part of the Bay Area, Qing Qi quipped that “Sacramento people are weird,” to which her co-host DNas replied, “They’re 2005 Oakland,” implying that Sacramento is behind the times.)\u003c/p>\n\u003cp>Mozzy’s manager, DavO, told KQED through a publicist that Mozzy was trying to make a point. “He just wanted to show people how things can quickly turn around for you,” he wrote in an email, adding that Mozzy had planned to post Qing Qi’s bond, “just to show you that the same people who you put down, that you do not know from a can of paint, can be the same ones that you may need later in life. He deleted [his post] because he didn’t want to humiliate her.” (Qing Qi’s rap crew, Pu Tang Clan, posted her bond before Mozzy had the opportunity.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Still, regardless of Mozzy’s intentions, his Instagram post provided a springboard for thousands of followers to mock Qing Qi’s misfortune and appearance. Other prominent Bay Area artists, including \u003ca href=\"https://www.kqed.org/arts/13825052/kamaiyah-surprises-hayward-high-school-with-black-panther-tickets\" target=\"_blank\" rel=\"noopener noreferrer\">Kamaiyah\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13838218/on-the-ranch-with-nef-the-pharaoh\" target=\"_blank\" rel=\"noopener noreferrer\">Nef the Pharaoh\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13811392/behind-the-beats-p-lo\" target=\"_blank\" rel=\"noopener noreferrer\">P-Lo\u003c/a>, appeared to laugh along in the comments.\u003c/p>\n\u003cp>Such response was markedly different than the hero worship lavished on Los Angeles rapper \u003ca href=\"https://www.latimes.com/entertainment/music/la-et-ms-03greedo-20180617-story.html\" target=\"_blank\" rel=\"noopener noreferrer\">03 Greedo\u003c/a>, for example, when he was sentenced to 20 years for trafficking meth this summer. Other than the other female rappers in Qing Qi’s Pu Tang Clan, few people stuck their necks out to \u003ca href=\"https://www.instagram.com/p/BqV54MOAY5l/\" target=\"_blank\" rel=\"noopener noreferrer\">defend her\u003c/a>.\u003c/p>\n\u003cp>Reached by phone, Qing Qi’s Thizzler co-host DNas addressed the double standard.\u003c/p>\n\u003cp>“If anything happens to anybody else, we ain’t makin’ these jokes,” he said, adding that he himself hasn’t gotten nearly as much backlash for his Sacramento comments as Qing Qi. “I’m supporting Qi.”\u003c/p>\n\u003cfigure id=\"attachment_13846004\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13846004\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/MG_5390-qing-qi-800x1266.jpeg\" alt=\"\" width=\"800\" height=\"1266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/MG_5390-qing-qi-800x1266.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/MG_5390-qing-qi-160x253.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/MG_5390-qing-qi-768x1215.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/MG_5390-qing-qi-758x1200.jpeg 758w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/MG_5390-qing-qi.jpeg 809w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003cfigcaption class=\"wp-caption-text\">Qing Qi.\u003c/figcaption>\u003c/figure>\n\u003cp>In a phone interview a week after her arrest, Qi acknowledged that, as an outspoken woman who is far from the narrow, socially acceptable mold of what a female rapper should be, her charges were received differently.\u003c/p>\n\u003cp>“For some reason, people are really upset by me. There are so many people, rappers, who have mugshots for bipping,” Qing Qi told me, using a slang term for breaking car windows. “But when I do something, they put it everywhere and everybody has to talk about it.”\u003c/p>\n\u003cp>Indeed, Qing Qi does rub some people the wrong way. She’s a single mom who raps about her sexuality, she’s full-figured and wears lingerie with her belly out, she often wears an afro, and she’s brashly outspoken about gender inequality in her music. Her 2018 mixtape \u003cem>\u003ca href=\"https://soundcloud.com/qingqi/sets/if-the-niggah-aint-shit-play-this-for-his-bitch\" target=\"_blank\" rel=\"noopener noreferrer\">ITNASPTFHB\u003c/a>\u003c/em> calls out male entitlement with hilarious punchlines that undoubtedly bruise some men’s egos.\u003c/p>\n\u003cp>In other words, if you’re a man with any amount of insecurity, she’s easy to hate.\u003c/p>\n\u003cp>“I think I’m very scary. If what I’m trying to do, and the music I’m trying to push and the image I’m trying to push is successful, I think it would bother a lot of people because it would change things drastically,” Qing Qi told me. “Because then you wouldn’t have to be skinny to show your stomach in a music video, or wear a lot of makeup, or get a long-ass weave to go to an interview.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Qing Qi’s court case is ongoing, and at press time, her public defender Tamara Zaromskis wasn’t sure when the case would go to trial—only that her plea, entered Thursday, would not be a guilty plea. But Qing Qi is optimistic. Upon her release, she put out a diss track called “\u003ca href=\"https://soundcloud.com/qingqi/tangy-qing-qi-pu-tang-clan\" target=\"_blank\" rel=\"noopener noreferrer\">Tangy\u003c/a>” to the beat of Kelis’ “Bossy”: “I got way too much shit goin’ on to be concerned with you weird internet thugs,” she raps.\u003c/p>\n\u003cp>As she summed it up in our interview: “It seems like controversy is my biggest ally.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003c/p>\n\u003cp>\u003cem>Correction: This article originally attributed the quote from Mozzy’s manager DavO to his publicist Aishah White, who passed along the information.\u003c/em>\u003c/p>\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ca href=\"http://noisepopfest.com\" target=\"_blank\" rel=\"noopener\">Noise Pop\u003c/a> is preparing to take over Fillmore, Great American Music Hall, Starline Social Club and other Bay Area venues for a week of shows Feb. 25–Mar. 3, and the promotional outfit just announced its a big chunk of its lineup for the 2019 fest, with more acts to be revealed in January. Per usual, the concert series features an eclectic mix of hip-hop, R&B, indie rock, pop and experimental music. Best of all, unlike a weekend-long fest, you can choose your own adventure and attend the shows suited to your tastes.\u003c/p>\n\u003cp>Next year’s Noise Pop features some standout rising artists as well as established faves. \u003ca href=\"http://princessnokia.org/\" target=\"_blank\" rel=\"noopener\">Princess Nokia\u003c/a>, the trendsetting New York rapper who puts body positivity and her Afro-Caribbean roots at the forefront of her work, is one of those acts, as well as \u003ca href=\"https://www.beirutband.com/\" target=\"_blank\" rel=\"noopener\">Beirut\u003c/a>, the horn-forward indie rock band whose work draws from Eastern European folk music. \u003ca href=\"https://www.facebook.com/bathsmusic/\" target=\"_blank\" rel=\"noopener\">Baths\u003c/a>, the LA producer, makes colorful electronic compositions that are as whimsical as they are danceable. Venerated guitarist \u003ca href=\"https://bobmould.com/\" target=\"_blank\" rel=\"noopener\">Bob Mould\u003c/a>, known for his work with Hüsker Dü in the ’80s and Sugar in the ’90s, also performs.\u003c/p>\n\u003cp>Check out the complete Noise Pop lineup below, and visit the festival’s website for the full \u003ca href=\"http://schedule.noisepopfest.com/\" target=\"_blank\" rel=\"noopener\">schedule\u003c/a>.\u003c/p>\n\u003cp>Beirut\u003cbr>\nBob Mould\u003cbr>\nPrincess Nokia\u003cbr>\nPetit Biscuit\u003cbr>\nTeenage Fanclub\u003cbr>\nAlbert Hammond Jr\u003cbr>\nJason Lytle (of Grandaddy)\u003cbr>\nBaths\u003cbr>\nTourist\u003cbr>\nUffie\u003cbr>\nMen I Trust\u003cbr>\nDaughters\u003cbr>\nCurrent Joys\u003cbr>\nDarlingside\u003cbr>\nYves Tumor\u003cbr>\nVHS Collection\u003cbr>\nCaroline Rose\u003cbr>\nThe Marías\u003cbr>\nMNEK\u003cbr>\nMy Brightest Diamond\u003cbr>\nMNDSGN\u003cbr>\nKllo\u003cbr>\nHaley Heynderickx\u003cbr>\nCharlotte Lawrence\u003cbr>\nJerry Paper\u003cbr>\nKodie Shane\u003cbr>\nHelado Negro\u003cbr>\nKamaal Williams\u003cbr>\nTommy Newport\u003cbr>\nMarissa Nadler\u003cbr>\nQrion\u003cbr>\nOh Pep!\u003cbr>\nJitwam\u003cbr>\nKERA\u003cbr>\nThe Love Language\u003cbr>\nRiver Whyless\u003cbr>\nIlluminati Hotties\u003cbr>\nClub Night\u003cbr>\nawakebutstillinbed\u003cbr>\nPartner\u003cbr>\nDude York\u003cbr>\nBlanck Mass\u003cbr>\nGilligan Moss\u003cbr>\nTravis Hayes\u003cbr>\nLos Wálters\u003cbr>\nField Medic\u003cbr>\nChynna\u003cbr>\nKatzù Oso\u003cbr>\nH.C. McEntire\u003cbr>\nHana Vu\u003cbr>\nHilary Woods\u003cbr>\nSwarvy\u003cbr>\nOuri\u003cbr>\nSunsleeper\u003cbr>\nSundressed\u003cbr>\nAlien Boy\u003cbr>\nGap Girls\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://noisepopfest.com\" target=\"_blank\" rel=\"noopener\">Noise Pop\u003c/a> is preparing to take over Fillmore, Great American Music Hall, Starline Social Club and other Bay Area venues for a week of shows Feb. 25–Mar. 3, and the promotional outfit just announced its a big chunk of its lineup for the 2019 fest, with more acts to be revealed in January. Per usual, the concert series features an eclectic mix of hip-hop, R&B, indie rock, pop and experimental music. Best of all, unlike a weekend-long fest, you can choose your own adventure and attend the shows suited to your tastes.\u003c/p>\n\u003cp>Next year’s Noise Pop features some standout rising artists as well as established faves. \u003ca href=\"http://princessnokia.org/\" target=\"_blank\" rel=\"noopener\">Princess Nokia\u003c/a>, the trendsetting New York rapper who puts body positivity and her Afro-Caribbean roots at the forefront of her work, is one of those acts, as well as \u003ca href=\"https://www.beirutband.com/\" target=\"_blank\" rel=\"noopener\">Beirut\u003c/a>, the horn-forward indie rock band whose work draws from Eastern European folk music. \u003ca href=\"https://www.facebook.com/bathsmusic/\" target=\"_blank\" rel=\"noopener\">Baths\u003c/a>, the LA producer, makes colorful electronic compositions that are as whimsical as they are danceable. Venerated guitarist \u003ca href=\"https://bobmould.com/\" target=\"_blank\" rel=\"noopener\">Bob Mould\u003c/a>, known for his work with Hüsker Dü in the ’80s and Sugar in the ’90s, also performs.\u003c/p>\n\u003cp>Check out the complete Noise Pop lineup below, and visit the festival’s website for the full \u003ca href=\"http://schedule.noisepopfest.com/\" target=\"_blank\" rel=\"noopener\">schedule\u003c/a>.\u003c/p>\n\u003cp>Beirut\u003cbr>\nBob Mould\u003cbr>\nPrincess Nokia\u003cbr>\nPetit Biscuit\u003cbr>\nTeenage Fanclub\u003cbr>\nAlbert Hammond Jr\u003cbr>\nJason Lytle (of Grandaddy)\u003cbr>\nBaths\u003cbr>\nTourist\u003cbr>\nUffie\u003cbr>\nMen I Trust\u003cbr>\nDaughters\u003cbr>\nCurrent Joys\u003cbr>\nDarlingside\u003cbr>\nYves Tumor\u003cbr>\nVHS Collection\u003cbr>\nCaroline Rose\u003cbr>\nThe Marías\u003cbr>\nMNEK\u003cbr>\nMy Brightest Diamond\u003cbr>\nMNDSGN\u003cbr>\nKllo\u003cbr>\nHaley Heynderickx\u003cbr>\nCharlotte Lawrence\u003cbr>\nJerry Paper\u003cbr>\nKodie Shane\u003cbr>\nHelado Negro\u003cbr>\nKamaal Williams\u003cbr>\nTommy Newport\u003cbr>\nMarissa Nadler\u003cbr>\nQrion\u003cbr>\nOh Pep!\u003cbr>\nJitwam\u003cbr>\nKERA\u003cbr>\nThe Love Language\u003cbr>\nRiver Whyless\u003cbr>\nIlluminati Hotties\u003cbr>\nClub Night\u003cbr>\nawakebutstillinbed\u003cbr>\nPartner\u003cbr>\nDude York\u003cbr>\nBlanck Mass\u003cbr>\nGilligan Moss\u003cbr>\nTravis Hayes\u003cbr>\nLos Wálters\u003cbr>\nField Medic\u003cbr>\nChynna\u003cbr>\nKatzù Oso\u003cbr>\nH.C. McEntire\u003cbr>\nHana Vu\u003cbr>\nHilary Woods\u003cbr>\nSwarvy\u003cbr>\nOuri\u003cbr>\nSunsleeper\u003cbr>\nSundressed\u003cbr>\nAlien Boy\u003cbr>\nGap Girls\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Syko, Producer of Mac Dre's 'Thizzle Dance,' Reported Dead",
"headTitle": "Syko, Producer of Mac Dre’s ‘Thizzle Dance,’ Reported Dead | KQED",
"content": "\u003cp>Syko, the Seattle rapper and producer best known for producing Mac Dre’s iconic hyphy anthem “\u003ca href=\"https://www.youtube.com/watch?v=lhPUi_RbFwU\" target=\"_blank\" rel=\"noopener\">Thizzle Dance\u003c/a>,” was killed in a car accident on Friday, Nov. 16, according to friends and fans posting on social media.\u003c/p>\n\u003cp>Many of those mourning the producer shared a \u003ca href=\"https://komonews.com/news/local/man-dead-after-crashing-car-near-boeing-in-everett?fbclid=IwAR2mwFvaiqT4DSDb2DK3JHzyrJPpE7KGbRa6y6cBxfptg4VfWCGzh5NmDCM\" target=\"_blank\" rel=\"noopener\">KOMO News article\u003c/a> about an unnamed man who crashed in Everett, Washington Friday. The Snohomish County medical examiner’s office confirmed that death to KQED, and one of Syko’s close friends, Darryl Reese, confirmed that Syko, real name Theophilus Adams, did indeed pass away yesterday.\u003c/p>\n\u003cfigure id=\"attachment_13845115\" class=\"wp-caption alignright\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13845115\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/IMG_4641.jpg\" alt=\"Syko.\" width=\"750\" height=\"689\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IMG_4641.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IMG_4641-160x147.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IMG_4641-240x220.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IMG_4641-375x345.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IMG_4641-520x478.jpg 520w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">Syko. \u003ccite>(Darryl Reese)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Reese described Syko, who was originally from Portland, Ore., as a passionate musician, good friend and devoted father of two kids. “He was a very happy dude,” Reese says. “I never argued with Syko. He was crazy, tremendous energy. He would light up a room every time he stepped in it.”\u003c/p>\n\u003cp>Syko helped define the Bay Area’s hyphy movement with his bouncy, bass-heavy production on Mac Dre’s 2002 \u003cem>Thizzelle Washington\u003c/em> album, including the ubiquitous “Thizzle Dance” and “Boss Tycoon.” Syko’s sound later inspired artists like Mistah F.A.B. and E-40 as hyphy, the Bay Area’s best-known rap subculture, became a phenomenon in the mid 2000s.\u003c/p>\n\u003cp>In addition to his own production work, Syko was an advocate for other producers and underground musicians.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“People don’t realize he was a champion of that sound,” said Reese, who interviewed Syko for his podcast, \u003ca href=\"https://soundcloud.com/theglowupcast/the-glow-up-ep-10-og-west-coast-producer-syko\" target=\"_blank\" rel=\"noopener\">\u003cem>The Glow Up\u003c/em>\u003c/a>, last year, where the producer spoke extensively about his work with Mac Dre. “That’s what always mattered to him, producers getting their credit.”\u003c/p>\n\u003cp>https://youtu.be/wS6NXlfkAgw\u003c/p>\n\u003cp>“\u003cspan class=\"s1\">The main thing he wanted to do always was support and show love,” said Gizzle McFly, a Richmond, Calif. rapper who collaborated with Syko extensively since 2012. The two of them were in the process of recording an album together at the time of Syko’s death. “Any conversation with him, he based that off what he learned from Mac Dre—which was somebody who believed in him and gave him a shot. And from him having that shot, he made some of the most memorable and influential songs in West Coast and—I would say—rap history.”\u003c/span>\u003c/p>\n\u003cp>In his final \u003ca href=\"https://www.instagram.com/p/BqRPfX4gySO/\" target=\"_blank\" rel=\"noopener\">Instagram post\u003c/a>, Syko hinted at the future.\u003c/p>\n\u003cp>“Don’t define me by Thizzle Dance and Boss Tycoon,” Syko wrote. “If I can make Drake dance on stage to my shit, I know I got some more work to do.”\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story was updated on Nov. 19 to include quotes from Gizzle McFly.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Syko, the Seattle rapper and producer best known for producing Mac Dre’s iconic hyphy anthem “\u003ca href=\"https://www.youtube.com/watch?v=lhPUi_RbFwU\" target=\"_blank\" rel=\"noopener\">Thizzle Dance\u003c/a>,” was killed in a car accident on Friday, Nov. 16, according to friends and fans posting on social media.\u003c/p>\n\u003cp>Many of those mourning the producer shared a \u003ca href=\"https://komonews.com/news/local/man-dead-after-crashing-car-near-boeing-in-everett?fbclid=IwAR2mwFvaiqT4DSDb2DK3JHzyrJPpE7KGbRa6y6cBxfptg4VfWCGzh5NmDCM\" target=\"_blank\" rel=\"noopener\">KOMO News article\u003c/a> about an unnamed man who crashed in Everett, Washington Friday. The Snohomish County medical examiner’s office confirmed that death to KQED, and one of Syko’s close friends, Darryl Reese, confirmed that Syko, real name Theophilus Adams, did indeed pass away yesterday.\u003c/p>\n\u003cfigure id=\"attachment_13845115\" class=\"wp-caption alignright\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13845115\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/IMG_4641.jpg\" alt=\"Syko.\" width=\"750\" height=\"689\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IMG_4641.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IMG_4641-160x147.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IMG_4641-240x220.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IMG_4641-375x345.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IMG_4641-520x478.jpg 520w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">Syko. \u003ccite>(Darryl Reese)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Reese described Syko, who was originally from Portland, Ore., as a passionate musician, good friend and devoted father of two kids. “He was a very happy dude,” Reese says. “I never argued with Syko. He was crazy, tremendous energy. He would light up a room every time he stepped in it.”\u003c/p>\n\u003cp>Syko helped define the Bay Area’s hyphy movement with his bouncy, bass-heavy production on Mac Dre’s 2002 \u003cem>Thizzelle Washington\u003c/em> album, including the ubiquitous “Thizzle Dance” and “Boss Tycoon.” Syko’s sound later inspired artists like Mistah F.A.B. and E-40 as hyphy, the Bay Area’s best-known rap subculture, became a phenomenon in the mid 2000s.\u003c/p>\n\u003cp>In addition to his own production work, Syko was an advocate for other producers and underground musicians.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“People don’t realize he was a champion of that sound,” said Reese, who interviewed Syko for his podcast, \u003ca href=\"https://soundcloud.com/theglowupcast/the-glow-up-ep-10-og-west-coast-producer-syko\" target=\"_blank\" rel=\"noopener\">\u003cem>The Glow Up\u003c/em>\u003c/a>, last year, where the producer spoke extensively about his work with Mac Dre. “That’s what always mattered to him, producers getting their credit.”\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/wS6NXlfkAgw'\n title='//www.youtube.com/embed/wS6NXlfkAgw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“\u003cspan class=\"s1\">The main thing he wanted to do always was support and show love,” said Gizzle McFly, a Richmond, Calif. rapper who collaborated with Syko extensively since 2012. The two of them were in the process of recording an album together at the time of Syko’s death. “Any conversation with him, he based that off what he learned from Mac Dre—which was somebody who believed in him and gave him a shot. And from him having that shot, he made some of the most memorable and influential songs in West Coast and—I would say—rap history.”\u003c/span>\u003c/p>\n\u003cp>In his final \u003ca href=\"https://www.instagram.com/p/BqRPfX4gySO/\" target=\"_blank\" rel=\"noopener\">Instagram post\u003c/a>, Syko hinted at the future.\u003c/p>\n\u003cp>“Don’t define me by Thizzle Dance and Boss Tycoon,” Syko wrote. “If I can make Drake dance on stage to my shit, I know I got some more work to do.”\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story was updated on Nov. 19 to include quotes from Gizzle McFly.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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}
},
"baycurious": {
"id": "baycurious",
"title": "Bay Curious",
"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/news/series/baycurious",
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"source": "kqed",
"order": 3
},
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"npr": "https://www.npr.org/podcasts/500557090/bay-curious",
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}
},
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"id": "bbc-world-service",
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"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
"airtime": "MON-FRI 9pm-10pm, TUE-FRI 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.bbc.co.uk/sounds/play/live:bbc_world_service",
"meta": {
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"source": "BBC World Service"
},
"link": "/radio/program/bbc-world-service",
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"apple": "https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2",
"tuneIn": "https://tunein.com/radio/BBC-World-Service-p455581/",
"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/californiareport",
"meta": {
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"source": "kqed",
"order": 8
},
"link": "/californiareport",
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"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
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}
},
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"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
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"officialWebsiteLink": "/podcasts/closealltabs",
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"source": "kqed",
"order": 1
},
"link": "/podcasts/closealltabs",
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
"site": "radio",
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},
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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}
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"meta": {
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"source": "kqed",
"order": 9
},
"link": "/forum",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
"spotify": "https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"
}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
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