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"content": "\u003cp>On Tuesday, Hayward High School students were in sixth period waiting for the bell to ring when they heard a surprise announcement over the loud speaker: “Hayward High, what’s good! It’s your girl \u003ca href=\"https://mn2s.com/booking-agency/live-roster/kamaiyah/\" target=\"_blank\" rel=\"noopener noreferrer\">Kamaiyah\u003c/a>! Come out to the quad, I’m giving out tickets for all y’all to see \u003cem>Panther\u003c/em>. Meet me there, right now!”\u003c/p>\n\u003cp>https://twitter.com/KQEDarts/status/966096310653788160\u003c/p>\n\u003cp>It was a prodigal return for the Oakland-raised rapper: \u003ca href=\"https://ww2.kqed.org/arts/2016/11/28/kamaiyah-proves-shes-oakland-reigning-rap-queen-at-the-fox-theater/\" target=\"_blank\" rel=\"noopener noreferrer\">Kamaiyah\u003c/a> graduated from this very school, Hayward High, in 2010. 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One student DJ blasted West Coast rap on a PA system while Kamaiyah, dressed in gold chains and a lilac jersey emblazoned with a ‘K,’ held court with her fans. Some danced with joy, while others whispered excitedly with their friends.\u003c/p>\n\u003cp>“I’m actually really juiced! I thought they were lying on the speaker,” said a Hayward High sophomore named Pierre, who still seemed incredulous when I caught up with him after he’d gotten his \u003cem>Black Panther\u003c/em> ticket. “They like to mess with us, I thought it was a joke, so I just kind of just walked over here.”\u003c/p>\n\u003cp>https://twitter.com/KQEDarts/status/966097059190210561\u003c/p>\n\u003cp>Even the school administration was energized by Kamaiyah’s surprise visit, which the artist organized earlier that morning. “I’m just so proud of her to have been a student here at our school and now to be famous! I’m just speechless,” said Vice Principal Andrea Hayes.\u003c/p>\n\u003cp>Kamaiyah joins several other rap artists who have bought out entire movie theater auditoriums for kids to see \u003cem>Black Panther\u003c/em> for free, including Kendrick Lamar, Chance the Rapper, and Oakland’s own \u003ca href=\"https://www.instagram.com/p/BfQ7k4ih5yO/?taken-by=fabbydavisjr1\" target=\"_blank\" rel=\"noopener noreferrer\">Mistah F.A.B.\u003c/a> The film, which opened on Feb. 16, broke box office records on opening weekend and is \u003ca href=\"https://ww2.kqed.org/arts/2018/02/16/decoding-black-panthers-technocratic-afrofuturist-utopia/\" target=\"_blank\" rel=\"noopener noreferrer\">being heralded\u003c/a> by fans and critics as a \u003ca href=\"https://ww2.kqed.org/forum/2018/02/15/oaklands-carvell-wallace-on-the-signifance-of-black-panther/\" target=\"_blank\" rel=\"noopener noreferrer\">defining moment in black cinema\u003c/a>.\u003c/p>\n\u003cp>“I feel like everybody needs to see that movie, especially black kids so they can love themselves,” said Kamaiyah.\u003c/p>\n\u003cp>Her former vice principal shares that view. “It’s amazing to have an African-American superhero who our students can relate to and feel like, ‘This is a superhero who looks just like me,'” said Hayes.\u003c/p>\n\u003cp>On the subject of role models, Hayes said that she appreciates Kamaiyah for setting a positive example for young people. “I think the role that she’s setting for young ladies is if you have dreams, go after them, and anything’s possible with hard work.”\u003c/p>\n\u003cp>\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\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On Tuesday, Hayward High School students were in sixth period waiting for the bell to ring when they heard a surprise announcement over the loud speaker: “Hayward High, what’s good! It’s your girl \u003ca href=\"https://mn2s.com/booking-agency/live-roster/kamaiyah/\" target=\"_blank\" rel=\"noopener noreferrer\">Kamaiyah\u003c/a>! Come out to the quad, I’m giving out tickets for all y’all to see \u003cem>Panther\u003c/em>. Meet me there, right now!”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>It was a prodigal return for the Oakland-raised rapper: \u003ca href=\"https://ww2.kqed.org/arts/2016/11/28/kamaiyah-proves-shes-oakland-reigning-rap-queen-at-the-fox-theater/\" target=\"_blank\" rel=\"noopener noreferrer\">Kamaiyah\u003c/a> graduated from this very school, Hayward High, in 2010. After signing with Interscope Records following the release of her 2016 mixtape, \u003cem>A Good Night in the Ghetto\u003c/em>, she relocated to Los Angeles where she’s worked with big-name artists like Drake and YG.\u003c/p>\n\u003cp>But that’s not to say she’s forgotten about her hometown — proven by the visit to her alma mater to give students free tickets to \u003cem>Black Panther\u003c/em>, the new \u003ca href=\"https://ww2.kqed.org/arts/2018/02/19/black-panther-breaks-records-and-barriers-in-debut-weekend/\" target=\"_blank\" rel=\"noopener noreferrer\">box-office smash\u003c/a> directed by fellow Oakland native Ryan Coogler.\u003c/p>\n\u003cp>“When I was growing up, somebody used to take me and my friends to the movies and on adventures and stuff to keep us out of trouble,” said Kamaiyah. “When I thought about the movie coming out, I was like, ‘We should just rent out a theater and take all the kids to see it.’ I feel a great connection because it’s based on Oakland and I’m from Oakland, so, why not?”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>After Kamaiyah’s announcement, hordes of teenagers rushed to the quad for a chance to meet the rapper and snag a movie ticket. One student DJ blasted West Coast rap on a PA system while Kamaiyah, dressed in gold chains and a lilac jersey emblazoned with a ‘K,’ held court with her fans. Some danced with joy, while others whispered excitedly with their friends.\u003c/p>\n\u003cp>“I’m actually really juiced! I thought they were lying on the speaker,” said a Hayward High sophomore named Pierre, who still seemed incredulous when I caught up with him after he’d gotten his \u003cem>Black Panther\u003c/em> ticket. “They like to mess with us, I thought it was a joke, so I just kind of just walked over here.”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Even the school administration was energized by Kamaiyah’s surprise visit, which the artist organized earlier that morning. “I’m just so proud of her to have been a student here at our school and now to be famous! I’m just speechless,” said Vice Principal Andrea Hayes.\u003c/p>\n\u003cp>Kamaiyah joins several other rap artists who have bought out entire movie theater auditoriums for kids to see \u003cem>Black Panther\u003c/em> for free, including Kendrick Lamar, Chance the Rapper, and Oakland’s own \u003ca href=\"https://www.instagram.com/p/BfQ7k4ih5yO/?taken-by=fabbydavisjr1\" target=\"_blank\" rel=\"noopener noreferrer\">Mistah F.A.B.\u003c/a> The film, which opened on Feb. 16, broke box office records on opening weekend and is \u003ca href=\"https://ww2.kqed.org/arts/2018/02/16/decoding-black-panthers-technocratic-afrofuturist-utopia/\" target=\"_blank\" rel=\"noopener noreferrer\">being heralded\u003c/a> by fans and critics as a \u003ca href=\"https://ww2.kqed.org/forum/2018/02/15/oaklands-carvell-wallace-on-the-signifance-of-black-panther/\" target=\"_blank\" rel=\"noopener noreferrer\">defining moment in black cinema\u003c/a>.\u003c/p>\n\u003cp>“I feel like everybody needs to see that movie, especially black kids so they can love themselves,” said Kamaiyah.\u003c/p>\n\u003cp>Her former vice principal shares that view. “It’s amazing to have an African-American superhero who our students can relate to and feel like, ‘This is a superhero who looks just like me,'” said Hayes.\u003c/p>\n\u003cp>On the subject of role models, Hayes said that she appreciates Kamaiyah for setting a positive example for young people. “I think the role that she’s setting for young ladies is if you have dreams, go after them, and anything’s possible with hard work.”\u003c/p>\n\u003cp>\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\n\u003c/div>\u003c/p>",
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"headTitle": "Coachella Lineup May Point To A Shifting Middle | KQED",
"content": "\u003cp>The official lineup for this year’s\u003ca href=\"https://www.coachella.com/lineup/\"> Coachella Valley Music and Arts Festival\u003c/a>, taking place April 13-15 and 20-22, has arrived.\u003c/p>\n\u003cp>After an annual game of\u003ca href=\"https://hypebeast.com/2017/12/beyonce-the-weeknd-eminem-coachella-headline-2018\"> speculation\u003c/a>, the festival’s parent company Goldenvoice made its announcement last night, confirming (as rumored) that \u003ca href=\"https://www.npr.org/artists/135036318/the-weeknd\">The Weeknd\u003c/a>, \u003ca href=\"https://www.npr.org/artists/19230778/beyonce\">Beyonce\u003c/a> and \u003ca href=\"https://www.npr.org/artists/15404635/eminem\">Eminem\u003c/a> will headline each of its respective three nights.\u003c/p>\n\u003cp>The festival, one of the world’s most successful, is often looked to for evidence of emerging trends in music’s mainstream. Comparing its flyers in years past (always the subject of font-size analysis and \u003ca href=\"https://www.billboard.com/articles/business/6458238/band-names-font-sizes-music-festival-posters-artists\">behind-the-scenes power brokering\u003c/a> over it) to this edition, rap and hip-hop have clearly risen to the top of pop culture. Contrasting Coachella’s lineup 10 years ago — with Jack Johnson, Prince and Roger Waters headlining — 2018’s seems to show, at least in its top billings, rap and R&B taking over the center of the landscape. But also, further down in the font sizing, its bookings of Princess Nokia, Jidenna, Moses Sumney, Kamaiyah, Aminé, DeJ Loaf and producer TroyBoi.\u003c/p>\n\u003cp>There is an important first this year, too: Beyonce’s performance on Saturday marks the first time that a black woman will headline. The superstar was supposed to headline the festival last year, but had to pull out of the slot after becoming pregnant, and was later \u003ca href=\"https://www.npr.org/sections/therecord/2017/03/01/517908059/lady-gaga-replaces-beyonc-at-coachella\">replaced by Lady Gaga\u003c/a>. This year’s April dates will also be Beyonce’s first performance since giving birth to her twins in June 2017.\u003c/p>\n\u003cp>[contextly_sidebar id=”79oXVmZwflNIO6aIMLgO6FLujd5GvFQe”]\u003c/p>\n\u003cp>Though Eminem hasn’t performed on the Coachella stage since his 2012 appearance with Dr. Dre, the \u003ca href=\"https://www.governorsballmusicfestival.com/lineup/\">2018 Governor’s Ball lineup\u003c/a> announcement today is a clear inkling that the diamond-selling Detroit rapper will be hitting the festival circuit hard this summer in support of his recent album \u003ca href=\"https://www.npr.org/2017/12/16/571171947/i-speak-to-everybody-who-is-even-remotely-like-me-eminem-on-revival\">\u003cem>Revival\u003c/em>\u003c/a>. (Other duplicate bookings include Tash Sultana, 6lack, Kali Uchis, Vance Joy, Russ, BROCKHAMPTON, Aminé and Moses Sumney.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In terms of first-timers, the musical spectrum seems broader than ever. New Orleans funk band and 2017 \u003ca href=\"https://www.npr.org/artists/517688972/tank-and-the-bangas\">Tiny Desk Contest winners\u003c/a> Tank and The Bangas will be making its first appearance at the fest this year. After a seven-year hiatus, ’90s era electro-soul star Jamiroquai has been striking a comeback path through the festival circuit over the past year, though this will be his first performance at the festival. And there are nine bubbling Latin acts on the lineup: Los Angeles Azules, Ibeyi, Cuco, Helado Negro, Kali Uchis, Princess Nokia, The Marias and Señor Kino.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Passes for Coachella 2018 go on sale via the \u003ca href=\"https://www.coachella.com/\">festival website\u003c/a> Friday, Jan. 5 at 12:00 PM PST.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Coachella+Lineup+May+Point+To+A+Shifting+Middle&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The official lineup for this year’s\u003ca href=\"https://www.coachella.com/lineup/\"> Coachella Valley Music and Arts Festival\u003c/a>, taking place April 13-15 and 20-22, has arrived.\u003c/p>\n\u003cp>After an annual game of\u003ca href=\"https://hypebeast.com/2017/12/beyonce-the-weeknd-eminem-coachella-headline-2018\"> speculation\u003c/a>, the festival’s parent company Goldenvoice made its announcement last night, confirming (as rumored) that \u003ca href=\"https://www.npr.org/artists/135036318/the-weeknd\">The Weeknd\u003c/a>, \u003ca href=\"https://www.npr.org/artists/19230778/beyonce\">Beyonce\u003c/a> and \u003ca href=\"https://www.npr.org/artists/15404635/eminem\">Eminem\u003c/a> will headline each of its respective three nights.\u003c/p>\n\u003cp>The festival, one of the world’s most successful, is often looked to for evidence of emerging trends in music’s mainstream. Comparing its flyers in years past (always the subject of font-size analysis and \u003ca href=\"https://www.billboard.com/articles/business/6458238/band-names-font-sizes-music-festival-posters-artists\">behind-the-scenes power brokering\u003c/a> over it) to this edition, rap and hip-hop have clearly risen to the top of pop culture. Contrasting Coachella’s lineup 10 years ago — with Jack Johnson, Prince and Roger Waters headlining — 2018’s seems to show, at least in its top billings, rap and R&B taking over the center of the landscape. But also, further down in the font sizing, its bookings of Princess Nokia, Jidenna, Moses Sumney, Kamaiyah, Aminé, DeJ Loaf and producer TroyBoi.\u003c/p>\n\u003cp>There is an important first this year, too: Beyonce’s performance on Saturday marks the first time that a black woman will headline. The superstar was supposed to headline the festival last year, but had to pull out of the slot after becoming pregnant, and was later \u003ca href=\"https://www.npr.org/sections/therecord/2017/03/01/517908059/lady-gaga-replaces-beyonc-at-coachella\">replaced by Lady Gaga\u003c/a>. This year’s April dates will also be Beyonce’s first performance since giving birth to her twins in June 2017.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Though Eminem hasn’t performed on the Coachella stage since his 2012 appearance with Dr. Dre, the \u003ca href=\"https://www.governorsballmusicfestival.com/lineup/\">2018 Governor’s Ball lineup\u003c/a> announcement today is a clear inkling that the diamond-selling Detroit rapper will be hitting the festival circuit hard this summer in support of his recent album \u003ca href=\"https://www.npr.org/2017/12/16/571171947/i-speak-to-everybody-who-is-even-remotely-like-me-eminem-on-revival\">\u003cem>Revival\u003c/em>\u003c/a>. (Other duplicate bookings include Tash Sultana, 6lack, Kali Uchis, Vance Joy, Russ, BROCKHAMPTON, Aminé and Moses Sumney.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In terms of first-timers, the musical spectrum seems broader than ever. New Orleans funk band and 2017 \u003ca href=\"https://www.npr.org/artists/517688972/tank-and-the-bangas\">Tiny Desk Contest winners\u003c/a> Tank and The Bangas will be making its first appearance at the fest this year. After a seven-year hiatus, ’90s era electro-soul star Jamiroquai has been striking a comeback path through the festival circuit over the past year, though this will be his first performance at the festival. And there are nine bubbling Latin acts on the lineup: Los Angeles Azules, Ibeyi, Cuco, Helado Negro, Kali Uchis, Princess Nokia, The Marias and Señor Kino.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Passes for Coachella 2018 go on sale via the \u003ca href=\"https://www.coachella.com/\">festival website\u003c/a> Friday, Jan. 5 at 12:00 PM PST.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Coachella+Lineup+May+Point+To+A+Shifting+Middle&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Behind the Beats: L.A. Beckons for Trackademicks, 1-O.A.K and Cal-A",
"headTitle": "Behind the Beats: L.A. Beckons for Trackademicks, 1-O.A.K and Cal-A | KQED",
"content": "\u003cp>\u003cem>Music producers play a crucial role in cultivating an artist’s sound even though they’re rarely in the spotlight themselves. In this five-part series, KQED Arts contributor Adrian Spinelli goes behind the scenes with the Bay Area’s most innovative and influential up-and-coming hip-hop producers. Read the previous installments \u003ca href=\"https://ww2.kqed.org/arts/tag/behind-the-beats/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>Trackademicks and 1-O.A.K. were already on the up. The workhorse Bay Area producers had claimed production credits on Kamaiyah’s breakthrough album \u003cem>A Good Night in The Ghetto\u003c/em>, while Trackademicks had produced for IAMSU!, released a joint album with rapper Kool A.D. and lent production support to 1-O.A.K.’s own 2017 LP, \u003cem>Riding In Cars With Girls\u003c/em>.\u003c/p>\n\u003cp>With more career momentum than ever, the East Bay stalwarts were faced with the age-old question: Should they move to Los Angeles to be closer to the music industry’s geographical epicenter? \u003c/p>\n\u003cp>“I’ve been doing this so long… I love the Bay, but I also want to expand,” says the Alameda-bred Trackademicks (neé Jason Valerio), speaking from his new home in L.A. “This is where the major labels are. You gotta be here…where the money’s at and in the zone where someone can call you, like an A&R or a manager…there’s an infrastructure. Like, if anyone says, ‘That beat you sent in, we’re trying to work on it, can you pull up to the studio?’ It’s a proximity thing. \u003c/p>\n\u003cp>https://www.youtube.com/watch?v=gtzefLBravg\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>By now, many of us know the narrative of the Bay Area artist who moves to L.A. to take their career to the next level. It’s hard not to think emotionally about this; we worry that an exodus of talent from the Bay Area will exacerbate the already rapidly gentrifying cultural scope of the music scene. But really, there’s only so much that the Bay Area’s limited industry infrastructure can support in relation to L.A.’s comparative behemoth. \u003c/p>\n\u003cp>In hip-hop especially, distributor/label \u003ca href=\"https://twitter.com/empire?lang=en\" rel=\"noopener\" target=\"_blank\">Empire\u003c/a> stands as one of the few viable music industry resources that can help artists get heard beyond the Bay. The “in-house producer” relationship (like the one between \u003ca href=\"https://ww2.kqed.org/arts/2017/10/17/behind-the-beats-drew-banga/\" rel=\"noopener\" target=\"_blank\">Drew Banga\u003c/a>, Different Fur Studios and Text Me Records, described in a \u003ca href=\"https://ww2.kqed.org/arts/2017/10/17/behind-the-beats-drew-banga/\" rel=\"noopener\" target=\"_blank\">previous installment\u003c/a> of Behind the Beats) is a rare one. And now, as the cadre of talented producers in Bay Area hip-hop gains recognition, it’s not just marquee artists like Kamaiyah and Kehlani who are making the exodus — it’s producers, too.\u003c/p>\n\u003cp>“The main thing is hitting a plateau as an artist and the type of music that we wanted to make,” says 1-O.A.K (neé Brandon McFarland), who grew up in East Oakland. “We can do it ourselves, but we write and produce for people… we had to go somewhere where that was in demand. It was an eye opener, ’cause Kamaiyah was getting notoriety and we’re like ‘We really did produce that shit!’ and we were getting calls about acquiring our services. Stuff started changing and we wanted to be in an environment where things were happening, and we were growing.”\u003c/p>\n\u003cp>Arturo Jose Alcantar III, a Millbrae native who produces music under the moniker Cal-A, was in a similar position as Valerio and McFarland. He’d produced tracks for G-Eazy, P-Lo, Caleborate’s single “Options” and IAMSU! He went from being Caleborate’s tour DJ to P-Lo’s, and along with producing tracks on P-Lo’s \u003cem>More Than Anything\u003c/em>, started working as part of P-Lo’s management team. \u003c/p>\n\u003cp>“You’re making quality shit and the numbers are going up, but I can’t go to Atlantic’s offices and do a songwriting session,” Alcantar says. “You could stay in the Bay as a rapper or singer, but as a producer, you’re not necessarily doing shows… A publishing deal is the goal for me this year. It makes things easier where I can create, submit the records and there are people whose job it is to place those records on albums.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/276401071&color=%23ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Being Bay Area lifers, just plain leaving home for these artists is a big consideration. McFarland served as a mentor to many young artists at Oakland non-profit Youth Radio, winning a Peabody Award for his music consulting and audio editing on a series called \u003cem>Traffic\u003c/em>. He and Valerio are both in their 30s; McFarland says that while it was hard to leave Youth Radio behind, he’s glad he moved now rather than 3-4 years ago. “I would’ve been wide-eyed and partying… my bank account would’ve been empty and I would’ve come back home. ‘Cause you come out here to L.A. and the first thing you do is party.”\u003c/p>\n\u003cp>Nightlife aside, McFarland and Valerio have quickly gotten to work. Both have multiple production credits on the new Kamaiyah album. And where \u003cem>A Good Night In The Ghetto\u003c/em> was released independently, this record will be on a major label, Interscope Records. The pair co-produced the album’s first single, “Build You Up,” which Valerio explains is indicative of the new Kamaiyah album, on which he has production credits for “over half the tracks.”\u003c/p>\n\u003cp>“Her sound is pre-historic, cro-magnon Oakland town,” Valerio says, with a chuckle. “It’s rooted in ’80s and early ’90s soul and R&B. That kinda shit is what I grew up on. I understand the older perspective. So it makes it easier for her to do her thing.”\u003c/p>\n\u003cfigure id=\"attachment_13812164\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/Trackademics.INset_-800x450.jpg\" alt=\"Trackademicks, on the waterfront: 'I love the Bay, but I also want to expand'\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13812164\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Trackademics.INset_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Trackademics.INset_-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Trackademics.INset_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Trackademics.INset_-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Trackademics.INset_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Trackademics.INset_-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Trackademics.INset_-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Trackademics.INset_-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Trackademics.INset_-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Trackademics.INset_-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Trackademicks, on the waterfront: ‘I love the Bay, but I also want to expand.’ \u003ccite>(Kristina Bakrevski)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As roommates in the Mid-City area, Valerio and McFarland’s apartment has that classic L.A. black metal screen door on their street-level unit, but there’s an Oakland Raiders area rug in the middle of their living room. McFarland talks to me on Facetime wearing an Oakland A’s hat, and I can’t help but think of the chorus from the Cali Agents’ “\u003ca href=\"https://www.youtube.com/watch?v=PYVeIjkC_QA\" rel=\"noopener\" target=\"_blank\">Neva Forget\u003c/a>”: “Neva forget where you came from / Neva forget where you got your name from or the game from!” No matter where they go, I’d be hard-pressed to ever separate people like Valerio, McFarland, Alcantar and Kamaiyah from the the Bay Area.\u003c/p>\n\u003cp>“The particular environment [in the Bay Area] and how it’s an actual melting pot — cultures are blended together in such a way that you can tell what’s what,” McFarland says. “I owe every single thing artistically to where I’m from.” \u003c/p>\n\u003cp> \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Adrian Spinelli is a Brazilian-born, San Francisco-based freelance writer, editor and host of the \u003ca href=\"http://noisepop.com/podcast/\" target=\"_blank\" rel=\"noopener\">Noise Pop Podcast\u003c/a>. Follow him on Twitter \u003ca href=\"https://twitter.com/AGSpinelli\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Music producers play a crucial role in cultivating an artist’s sound even though they’re rarely in the spotlight themselves. In this five-part series, KQED Arts contributor Adrian Spinelli goes behind the scenes with the Bay Area’s most innovative and influential up-and-coming hip-hop producers. Read the previous installments \u003ca href=\"https://ww2.kqed.org/arts/tag/behind-the-beats/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>Trackademicks and 1-O.A.K. were already on the up. The workhorse Bay Area producers had claimed production credits on Kamaiyah’s breakthrough album \u003cem>A Good Night in The Ghetto\u003c/em>, while Trackademicks had produced for IAMSU!, released a joint album with rapper Kool A.D. and lent production support to 1-O.A.K.’s own 2017 LP, \u003cem>Riding In Cars With Girls\u003c/em>.\u003c/p>\n\u003cp>With more career momentum than ever, the East Bay stalwarts were faced with the age-old question: Should they move to Los Angeles to be closer to the music industry’s geographical epicenter? \u003c/p>\n\u003cp>“I’ve been doing this so long… I love the Bay, but I also want to expand,” says the Alameda-bred Trackademicks (neé Jason Valerio), speaking from his new home in L.A. “This is where the major labels are. You gotta be here…where the money’s at and in the zone where someone can call you, like an A&R or a manager…there’s an infrastructure. Like, if anyone says, ‘That beat you sent in, we’re trying to work on it, can you pull up to the studio?’ It’s a proximity thing. \u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/gtzefLBravg'\n title='//www.youtube.com/embed/gtzefLBravg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>By now, many of us know the narrative of the Bay Area artist who moves to L.A. to take their career to the next level. It’s hard not to think emotionally about this; we worry that an exodus of talent from the Bay Area will exacerbate the already rapidly gentrifying cultural scope of the music scene. But really, there’s only so much that the Bay Area’s limited industry infrastructure can support in relation to L.A.’s comparative behemoth. \u003c/p>\n\u003cp>In hip-hop especially, distributor/label \u003ca href=\"https://twitter.com/empire?lang=en\" rel=\"noopener\" target=\"_blank\">Empire\u003c/a> stands as one of the few viable music industry resources that can help artists get heard beyond the Bay. The “in-house producer” relationship (like the one between \u003ca href=\"https://ww2.kqed.org/arts/2017/10/17/behind-the-beats-drew-banga/\" rel=\"noopener\" target=\"_blank\">Drew Banga\u003c/a>, Different Fur Studios and Text Me Records, described in a \u003ca href=\"https://ww2.kqed.org/arts/2017/10/17/behind-the-beats-drew-banga/\" rel=\"noopener\" target=\"_blank\">previous installment\u003c/a> of Behind the Beats) is a rare one. And now, as the cadre of talented producers in Bay Area hip-hop gains recognition, it’s not just marquee artists like Kamaiyah and Kehlani who are making the exodus — it’s producers, too.\u003c/p>\n\u003cp>“The main thing is hitting a plateau as an artist and the type of music that we wanted to make,” says 1-O.A.K (neé Brandon McFarland), who grew up in East Oakland. “We can do it ourselves, but we write and produce for people… we had to go somewhere where that was in demand. It was an eye opener, ’cause Kamaiyah was getting notoriety and we’re like ‘We really did produce that shit!’ and we were getting calls about acquiring our services. Stuff started changing and we wanted to be in an environment where things were happening, and we were growing.”\u003c/p>\n\u003cp>Arturo Jose Alcantar III, a Millbrae native who produces music under the moniker Cal-A, was in a similar position as Valerio and McFarland. He’d produced tracks for G-Eazy, P-Lo, Caleborate’s single “Options” and IAMSU! He went from being Caleborate’s tour DJ to P-Lo’s, and along with producing tracks on P-Lo’s \u003cem>More Than Anything\u003c/em>, started working as part of P-Lo’s management team. \u003c/p>\n\u003cp>“You’re making quality shit and the numbers are going up, but I can’t go to Atlantic’s offices and do a songwriting session,” Alcantar says. “You could stay in the Bay as a rapper or singer, but as a producer, you’re not necessarily doing shows… A publishing deal is the goal for me this year. It makes things easier where I can create, submit the records and there are people whose job it is to place those records on albums.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/276401071&color=%23ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Being Bay Area lifers, just plain leaving home for these artists is a big consideration. McFarland served as a mentor to many young artists at Oakland non-profit Youth Radio, winning a Peabody Award for his music consulting and audio editing on a series called \u003cem>Traffic\u003c/em>. He and Valerio are both in their 30s; McFarland says that while it was hard to leave Youth Radio behind, he’s glad he moved now rather than 3-4 years ago. “I would’ve been wide-eyed and partying… my bank account would’ve been empty and I would’ve come back home. ‘Cause you come out here to L.A. and the first thing you do is party.”\u003c/p>\n\u003cp>Nightlife aside, McFarland and Valerio have quickly gotten to work. Both have multiple production credits on the new Kamaiyah album. And where \u003cem>A Good Night In The Ghetto\u003c/em> was released independently, this record will be on a major label, Interscope Records. The pair co-produced the album’s first single, “Build You Up,” which Valerio explains is indicative of the new Kamaiyah album, on which he has production credits for “over half the tracks.”\u003c/p>\n\u003cp>“Her sound is pre-historic, cro-magnon Oakland town,” Valerio says, with a chuckle. “It’s rooted in ’80s and early ’90s soul and R&B. That kinda shit is what I grew up on. I understand the older perspective. So it makes it easier for her to do her thing.”\u003c/p>\n\u003cfigure id=\"attachment_13812164\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/Trackademics.INset_-800x450.jpg\" alt=\"Trackademicks, on the waterfront: 'I love the Bay, but I also want to expand'\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13812164\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Trackademics.INset_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Trackademics.INset_-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Trackademics.INset_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Trackademics.INset_-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Trackademics.INset_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Trackademics.INset_-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Trackademics.INset_-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Trackademics.INset_-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Trackademics.INset_-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Trackademics.INset_-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Trackademicks, on the waterfront: ‘I love the Bay, but I also want to expand.’ \u003ccite>(Kristina Bakrevski)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As roommates in the Mid-City area, Valerio and McFarland’s apartment has that classic L.A. black metal screen door on their street-level unit, but there’s an Oakland Raiders area rug in the middle of their living room. McFarland talks to me on Facetime wearing an Oakland A’s hat, and I can’t help but think of the chorus from the Cali Agents’ “\u003ca href=\"https://www.youtube.com/watch?v=PYVeIjkC_QA\" rel=\"noopener\" target=\"_blank\">Neva Forget\u003c/a>”: “Neva forget where you came from / Neva forget where you got your name from or the game from!” No matter where they go, I’d be hard-pressed to ever separate people like Valerio, McFarland, Alcantar and Kamaiyah from the the Bay Area.\u003c/p>\n\u003cp>“The particular environment [in the Bay Area] and how it’s an actual melting pot — cultures are blended together in such a way that you can tell what’s what,” McFarland says. “I owe every single thing artistically to where I’m from.” \u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Adrian Spinelli is a Brazilian-born, San Francisco-based freelance writer, editor and host of the \u003ca href=\"http://noisepop.com/podcast/\" target=\"_blank\" rel=\"noopener\">Noise Pop Podcast\u003c/a>. Follow him on Twitter \u003ca href=\"https://twitter.com/AGSpinelli\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The 10 Best Bay Area Albums of 2016: Kamaiyah, 'A Good Night In the Ghetto'",
"headTitle": "The 10 Best Bay Area Albums of 2016: Kamaiyah, ‘A Good Night In the Ghetto’ | KQED",
"content": "\u003cp>Let’s just get this out of the way: “How Does it Feel to Be Rich” is an impeccable song, the type of thing you play to your 13-year-old niece who likes Nicki Minaj and your 45-year-old “there’s no good rap music anymore” uncle alike, a timeless jam wrapped in a 1990s vibe, the squirreliest synth bass this side of “Boss Tycoon,” a rhetorical question answered by its popularity, the minitruck anthem that never was, a shot of aural morphine to anyone raised on Bay Area hip-hop.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=dzY6doznXQM\u003c/p>\n\u003cp>Which is why Kamaiyah’s proper follow-up, \u003cem>A Good Night in the Ghetto\u003c/em>, could have been such a letdown. Or, at least, a stale victory lap for “How Does it Feel,” cashing in on its success through remixes and retreads. Instead, it keeps the same subwoofer-in-the-trunk, Members Only-jacket feel, with a bright young rapper on the mic ready to claim her territory.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/attachment-1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12512424\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/attachment-1-800x800.jpg\" alt=\"attachment-1\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/attachment-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/attachment-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/attachment-1-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/attachment-1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/attachment-1-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/attachment-1-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/attachment-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/attachment-1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/attachment-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/attachment-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/attachment-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/attachment-1-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003cp>Said territory-claiming shouldn’t be too hard. This year, Kamaiyah filled a featured spot on YG’s “Why You Always Hatin’” from his stellar album \u003cem>Still Brazy\u003c/em>, and, in Oakland, opened two nights in a row for Drake. But it’s the vibe of the cover photo — a crew of friends, some liquor, those apartment steps — that keeps \u003cem>A Good Night in the Ghetto\u003c/em> rooted in Oakland soul, no matter how far Kamaiyah’s star ascends. Here’s to a full-length follow-up.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Previously:\u003c/strong>\u003c/em>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/20/the-10-best-bay-area-albums-of-2016-musk-musk-2-the-second-skumming/\" target=\"_blank\" rel=\"noopener\">\u003cem>Musk, ‘Musk 2: The Second Skumming’\u003c/em>\u003c/a>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/19/the-10-best-bay-area-albums-of-2016-ccr-headcleaners-tear-down-the-wall/\" target=\"_blank\" rel=\"noopener\">\u003cem>CCR Headcleaner, ‘Tear Down the Wall’\u003c/em>\u003c/a>\u003cbr>\n\u003cem>\u003ca href=\"https://ww2.kqed.org/arts/2016/12/16/the-10-best-bay-area-albums-of-2016-caleborate-1993/\">Caleborate, ‘1993’\u003c/a>\u003c/em>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/15/the-10-best-bay-area-albums-of-2016-e-40-the-d-boy-diaries-books-1-2/\" target=\"_blank\" rel=\"noopener\">\u003cem>E-40, ‘The D-Boy Diaries Books 1 &2’\u003c/em>\u003c/a>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/14/the-10-best-bay-area-albums-of-2016-fantastic-negrito-the-last-days-of-oakland/\" target=\"_blank\" rel=\"noopener\">\u003cem>Fantastic Negrito, ‘The Last Days of Oakland’\u003c/em>\u003c/a>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/13/the-10-best-bay-area-albums-of-2016-thao-the-get-down-stay-down-a-man-alive/\" target=\"_blank\" rel=\"noopener\">\u003cem>Thao & The Get Down Stay Down, ‘A Man Alive’\u003c/em>\u003c/a>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/12/the-10-best-local-records-of-2016-jay-som-turn-into/\" target=\"_blank\" rel=\"noopener\">\u003cem>Jay Som, ‘Turn Into’\u003c/em>\u003c/a>\u003c/p>\n\n",
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"excerpt": "The Oaklander's debut full-length showcases a bright young rapper on the mic, ready to claim her territory.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Let’s just get this out of the way: “How Does it Feel to Be Rich” is an impeccable song, the type of thing you play to your 13-year-old niece who likes Nicki Minaj and your 45-year-old “there’s no good rap music anymore” uncle alike, a timeless jam wrapped in a 1990s vibe, the squirreliest synth bass this side of “Boss Tycoon,” a rhetorical question answered by its popularity, the minitruck anthem that never was, a shot of aural morphine to anyone raised on Bay Area hip-hop.\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/dzY6doznXQM'\n title='//www.youtube.com/embed/dzY6doznXQM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Which is why Kamaiyah’s proper follow-up, \u003cem>A Good Night in the Ghetto\u003c/em>, could have been such a letdown. Or, at least, a stale victory lap for “How Does it Feel,” cashing in on its success through remixes and retreads. Instead, it keeps the same subwoofer-in-the-trunk, Members Only-jacket feel, with a bright young rapper on the mic ready to claim her territory.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/attachment-1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12512424\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/attachment-1-800x800.jpg\" alt=\"attachment-1\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/attachment-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/attachment-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/attachment-1-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/attachment-1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/attachment-1-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/attachment-1-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/attachment-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/attachment-1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/attachment-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/attachment-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/attachment-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/attachment-1-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003c/p>\n\u003cp>Said territory-claiming shouldn’t be too hard. This year, Kamaiyah filled a featured spot on YG’s “Why You Always Hatin’” from his stellar album \u003cem>Still Brazy\u003c/em>, and, in Oakland, opened two nights in a row for Drake. But it’s the vibe of the cover photo — a crew of friends, some liquor, those apartment steps — that keeps \u003cem>A Good Night in the Ghetto\u003c/em> rooted in Oakland soul, no matter how far Kamaiyah’s star ascends. Here’s to a full-length follow-up.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Previously:\u003c/strong>\u003c/em>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/20/the-10-best-bay-area-albums-of-2016-musk-musk-2-the-second-skumming/\" target=\"_blank\" rel=\"noopener\">\u003cem>Musk, ‘Musk 2: The Second Skumming’\u003c/em>\u003c/a>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/19/the-10-best-bay-area-albums-of-2016-ccr-headcleaners-tear-down-the-wall/\" target=\"_blank\" rel=\"noopener\">\u003cem>CCR Headcleaner, ‘Tear Down the Wall’\u003c/em>\u003c/a>\u003cbr>\n\u003cem>\u003ca href=\"https://ww2.kqed.org/arts/2016/12/16/the-10-best-bay-area-albums-of-2016-caleborate-1993/\">Caleborate, ‘1993’\u003c/a>\u003c/em>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/15/the-10-best-bay-area-albums-of-2016-e-40-the-d-boy-diaries-books-1-2/\" target=\"_blank\" rel=\"noopener\">\u003cem>E-40, ‘The D-Boy Diaries Books 1 &2’\u003c/em>\u003c/a>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/14/the-10-best-bay-area-albums-of-2016-fantastic-negrito-the-last-days-of-oakland/\" target=\"_blank\" rel=\"noopener\">\u003cem>Fantastic Negrito, ‘The Last Days of Oakland’\u003c/em>\u003c/a>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/13/the-10-best-bay-area-albums-of-2016-thao-the-get-down-stay-down-a-man-alive/\" target=\"_blank\" rel=\"noopener\">\u003cem>Thao & The Get Down Stay Down, ‘A Man Alive’\u003c/em>\u003c/a>\u003cbr>\n\u003ca href=\"https://ww2.kqed.org/arts/2016/12/12/the-10-best-local-records-of-2016-jay-som-turn-into/\" target=\"_blank\" rel=\"noopener\">\u003cem>Jay Som, ‘Turn Into’\u003c/em>\u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Kamaiyah Proves She’s Oakland's Reigning Rap Queen at the Fox Theater",
"headTitle": "Kamaiyah Proves She’s Oakland’s Reigning Rap Queen at the Fox Theater | KQED",
"content": "\u003cp>Considering her astronomical rise over the past six months, it’s hard to imagine that Kamaiyah was actually working night shifts as a security guard this time last year. \u003c/p>\n\u003cp>But off the strength of her March mixtape, \u003cem>A Good Night in the Ghetto\u003c/em>, the Oakland native landed a deal with Interscope Records and became close collaborators with some of hip-hop’s brightest talents. Kamaiyah not only co-wrote YG’s infectious player anthem “\u003ca href=\"https://www.youtube.com/watch?v=n1CLmap_CVU\" target=\"_blank\" rel=\"noopener\">Why You Always Hatin’\u003c/a>” — which, with its Oakland slang and a guest spot by Drake, rose to No. 62 on the Billboard chart — but she also steals the spotlight from her more famous co-stars in the video, rapping the hook in a silk robe as two men give her a foot rub. \u003c/p>\n\u003cp>Now, she’s become part of one of the most transgressive things to happen to hip-hop in 2016: YG’s “F–k Donald Trump” tour. \u003c/p>\n\u003cfigure id=\"attachment_12409049\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/Kamaiyah.3.jpg\" alt=\"Kamaiyah performs at the Fox Theater in Oakland, Nov. 25, 2016.\" width=\"800\" height=\"775\" class=\"size-full wp-image-12409049\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Kamaiyah.3.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Kamaiyah.3-160x155.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Kamaiyah.3-768x744.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Kamaiyah.3-240x233.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Kamaiyah.3-375x363.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Kamaiyah.3-520x504.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Kamaiyah.3-32x32.jpg 32w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kamaiyah performs at the Fox Theater in Oakland, Nov. 25, 2016. \u003ccite>(Nailah Howze (\u003ca href=\"http://www.cloudnaiii.com/\">Cloudnaiii.com\u003c/a>))\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>YG became an unexpected leader of Trump resistance in hip-hop after dropping his single “FDT” during the primaries. The Compton native doesn’t exactly fit the stereotypical “conscious rapper” mold, but he, Kamaiyah, and the other rappers on the tour — RJ and Sad Boy — are using their platform and street credibility to mobilize hip-hop fans to get politically active.\u003c/p>\n\u003cp>As for Kamaiyah, the 24-year-old is ascending to a unique position in the hip-hop industry, both as a female artist and one from Oakland. Unlike New York, Chicago, or Memphis, the Bay Area doesn’t have a strong legacy of established female rappers. Nineties pioneers, such as the Conscious Daughters (whom Kamaiyah considers role models) and Suga T of E-40’s group The Click, never rose to the same level of recognition as their male peers. And the Bay Area’s regional style of street rap, mob music, has revolved so much around pimp culture that it’s easy to see why women might feel discouraged from rapping in the first place. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Add to those challenges the stringent expectations the recording industry places on its female stars — and the fact that major labels have historically overlooked Northern Californian rap talent — and Kamaiyah’s success feels like a win for Oaklanders and women everywhere. \u003c/p>\n\u003cp>https://www.youtube.com/watch?v=eGBVA42kmlg\u003c/p>\n\u003cp>As Kamaiyah told me in \u003ca href=\"http://www.eastbayexpress.com/oakland/kamaiyah-makes-rap-for-the-99-percent/Content?oid=4705683\" target=\"_blank\" rel=\"noopener\">an interview for the \u003cem>East Bay Express\u003c/em>\u003c/a> in March, she’s not interested in becoming a sexpot like Nicki Minaj, and could care less about presenting an image of unattainable wealth. And yet tickets sold out for the tour’s Oakland stop Friday night at the Fox Theater (tonight’s encore is also sold out), with audience members just as eager to root for their hometown hero as they were to see YG and publicly bash the president-elect. \u003c/p>\n\u003cp>A gleeful Kamaiyah looked triumphant on stage in her Rugrats-themed vintage bomber jacket, big T-shirt, and khakis. Members of Big Money Gang, her crew of childhood friends, endearingly cheered her on as she spat bars celebrating sexual freedom, friendship, and financial success over the funky bass lines of her debut release. And after performing “How Does It Feel,” the banger that vindicated broke twenty-somethings and gave her her rise, she even previewed some material from her yet-to-be-announced 2017 project.\u003c/p>\n\u003cp>Kamaiyah wasted little time on stage banter, but when she did speak, her messaging was clear: “I’m the first lady of the F–k Donald Trump tour,” she declared, inspiring cheers for female empowerment and left-wing camaraderie.\u003c/p>\n\u003cfigure id=\"attachment_12409050\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/Kamaiyah.2.jpg\" alt=\"Kamaiyah performs at the Fox Theater in Oakland, Nov. 25, 2016. \" width=\"800\" height=\"740\" class=\"size-full wp-image-12409050\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Kamaiyah.2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Kamaiyah.2-160x148.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Kamaiyah.2-768x710.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Kamaiyah.2-240x222.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Kamaiyah.2-375x347.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Kamaiyah.2-520x481.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kamaiyah performs at the Fox Theater in Oakland, Nov. 25, 2016. \u003ccite>(Nailah Howze (\u003ca href=\"http://www.cloudnaiii.com/\">Cloudnaiii.com\u003c/a>))\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of the most energized points of the night was when YG and Kamaiyah performed “Why You Always Hatin’” (no surprise Drizzy appearance, though) and “F–k It Up” together. The two artists made clear their undeniable creative synergy, as both are torchbearers of West Coast street rap tradition, writing lyrics that celebrate a good time while acknowledging the dark realities of where they come from. (It was refreshing, too, to see YG praise Kamaiyah as his equal when many blogs and radio stations neglected to credit her for her feature on “Why You Always Hatin’” upon its release.)\u003c/p>\n\u003cp>“I wanna get political. I didn’t think I had it in me,” YG said after running through “Bicken Back Being Bool,” “Toot It and Boot It,” and other party songs and street anthems. He brought out Sad Boy to perform “Blacks & Browns,” a pensive track about solidarity among black and Latino people that speaks out against inner-city violence and systemic racism; the stage lit up green, white, and red as a flag bearer waved the Mexican flag behind them. \u003c/p>\n\u003cp>The night concluded with YG bringing out a Trump piñata and inviting four volunteers from the audience — one black, one white, one Latino, and one Asian — up to the stage. The four young people channeled their political rage into destroying the effigy, leading YG into his final and perhaps most powerful song of the night: “FDT.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But for many in the hometown crowd, the night was all about Kamaiyah — defying expectations of what a female rapper should look and sound like, and becoming an ambassador of Oakland culture to the mainstream while doing it.\u003c/p>\n\n",
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"excerpt": "The talented 24-year-old Oakland native's swift ascension marks a welcome turning point both for the Town and for women in hip-hop.",
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"description": "The talented 24-year-old Oakland native's swift ascension marks a welcome turning point both for the Town and for women in hip-hop.",
"title": "Kamaiyah Proves She’s Oakland's Reigning Rap Queen at the Fox Theater | KQED",
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"headline": "Kamaiyah Proves She’s Oakland's Reigning Rap Queen at the Fox Theater",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Considering her astronomical rise over the past six months, it’s hard to imagine that Kamaiyah was actually working night shifts as a security guard this time last year. \u003c/p>\n\u003cp>But off the strength of her March mixtape, \u003cem>A Good Night in the Ghetto\u003c/em>, the Oakland native landed a deal with Interscope Records and became close collaborators with some of hip-hop’s brightest talents. Kamaiyah not only co-wrote YG’s infectious player anthem “\u003ca href=\"https://www.youtube.com/watch?v=n1CLmap_CVU\" target=\"_blank\" rel=\"noopener\">Why You Always Hatin’\u003c/a>” — which, with its Oakland slang and a guest spot by Drake, rose to No. 62 on the Billboard chart — but she also steals the spotlight from her more famous co-stars in the video, rapping the hook in a silk robe as two men give her a foot rub. \u003c/p>\n\u003cp>Now, she’s become part of one of the most transgressive things to happen to hip-hop in 2016: YG’s “F–k Donald Trump” tour. \u003c/p>\n\u003cfigure id=\"attachment_12409049\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/Kamaiyah.3.jpg\" alt=\"Kamaiyah performs at the Fox Theater in Oakland, Nov. 25, 2016.\" width=\"800\" height=\"775\" class=\"size-full wp-image-12409049\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Kamaiyah.3.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Kamaiyah.3-160x155.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Kamaiyah.3-768x744.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Kamaiyah.3-240x233.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Kamaiyah.3-375x363.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Kamaiyah.3-520x504.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Kamaiyah.3-32x32.jpg 32w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kamaiyah performs at the Fox Theater in Oakland, Nov. 25, 2016. \u003ccite>(Nailah Howze (\u003ca href=\"http://www.cloudnaiii.com/\">Cloudnaiii.com\u003c/a>))\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>YG became an unexpected leader of Trump resistance in hip-hop after dropping his single “FDT” during the primaries. The Compton native doesn’t exactly fit the stereotypical “conscious rapper” mold, but he, Kamaiyah, and the other rappers on the tour — RJ and Sad Boy — are using their platform and street credibility to mobilize hip-hop fans to get politically active.\u003c/p>\n\u003cp>As for Kamaiyah, the 24-year-old is ascending to a unique position in the hip-hop industry, both as a female artist and one from Oakland. Unlike New York, Chicago, or Memphis, the Bay Area doesn’t have a strong legacy of established female rappers. Nineties pioneers, such as the Conscious Daughters (whom Kamaiyah considers role models) and Suga T of E-40’s group The Click, never rose to the same level of recognition as their male peers. And the Bay Area’s regional style of street rap, mob music, has revolved so much around pimp culture that it’s easy to see why women might feel discouraged from rapping in the first place. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Add to those challenges the stringent expectations the recording industry places on its female stars — and the fact that major labels have historically overlooked Northern Californian rap talent — and Kamaiyah’s success feels like a win for Oaklanders and women everywhere. \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/eGBVA42kmlg'\n title='//www.youtube.com/embed/eGBVA42kmlg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>As Kamaiyah told me in \u003ca href=\"http://www.eastbayexpress.com/oakland/kamaiyah-makes-rap-for-the-99-percent/Content?oid=4705683\" target=\"_blank\" rel=\"noopener\">an interview for the \u003cem>East Bay Express\u003c/em>\u003c/a> in March, she’s not interested in becoming a sexpot like Nicki Minaj, and could care less about presenting an image of unattainable wealth. And yet tickets sold out for the tour’s Oakland stop Friday night at the Fox Theater (tonight’s encore is also sold out), with audience members just as eager to root for their hometown hero as they were to see YG and publicly bash the president-elect. \u003c/p>\n\u003cp>A gleeful Kamaiyah looked triumphant on stage in her Rugrats-themed vintage bomber jacket, big T-shirt, and khakis. Members of Big Money Gang, her crew of childhood friends, endearingly cheered her on as she spat bars celebrating sexual freedom, friendship, and financial success over the funky bass lines of her debut release. And after performing “How Does It Feel,” the banger that vindicated broke twenty-somethings and gave her her rise, she even previewed some material from her yet-to-be-announced 2017 project.\u003c/p>\n\u003cp>Kamaiyah wasted little time on stage banter, but when she did speak, her messaging was clear: “I’m the first lady of the F–k Donald Trump tour,” she declared, inspiring cheers for female empowerment and left-wing camaraderie.\u003c/p>\n\u003cfigure id=\"attachment_12409050\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/Kamaiyah.2.jpg\" alt=\"Kamaiyah performs at the Fox Theater in Oakland, Nov. 25, 2016. \" width=\"800\" height=\"740\" class=\"size-full wp-image-12409050\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Kamaiyah.2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Kamaiyah.2-160x148.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Kamaiyah.2-768x710.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Kamaiyah.2-240x222.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Kamaiyah.2-375x347.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Kamaiyah.2-520x481.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kamaiyah performs at the Fox Theater in Oakland, Nov. 25, 2016. \u003ccite>(Nailah Howze (\u003ca href=\"http://www.cloudnaiii.com/\">Cloudnaiii.com\u003c/a>))\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of the most energized points of the night was when YG and Kamaiyah performed “Why You Always Hatin’” (no surprise Drizzy appearance, though) and “F–k It Up” together. The two artists made clear their undeniable creative synergy, as both are torchbearers of West Coast street rap tradition, writing lyrics that celebrate a good time while acknowledging the dark realities of where they come from. (It was refreshing, too, to see YG praise Kamaiyah as his equal when many blogs and radio stations neglected to credit her for her feature on “Why You Always Hatin’” upon its release.)\u003c/p>\n\u003cp>“I wanna get political. I didn’t think I had it in me,” YG said after running through “Bicken Back Being Bool,” “Toot It and Boot It,” and other party songs and street anthems. He brought out Sad Boy to perform “Blacks & Browns,” a pensive track about solidarity among black and Latino people that speaks out against inner-city violence and systemic racism; the stage lit up green, white, and red as a flag bearer waved the Mexican flag behind them. \u003c/p>\n\u003cp>The night concluded with YG bringing out a Trump piñata and inviting four volunteers from the audience — one black, one white, one Latino, and one Asian — up to the stage. The four young people channeled their political rage into destroying the effigy, leading YG into his final and perhaps most powerful song of the night: “FDT.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But for many in the hometown crowd, the night was all about Kamaiyah — defying expectations of what a female rapper should look and sound like, and becoming an ambassador of Oakland culture to the mainstream while doing it.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"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.",
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"mindshift": {
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"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>",
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"order": 12
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"politicalbreakdown": {
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
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"possible": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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"link": "/radio/program/reveal",
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"rss": "http://feeds.revealradio.org/revealpodcast"
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
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