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"content": "\u003cp>In an era of constant rebrands, consistency can be refreshing. It’s particularly admirable when an artist who has spent their career carving out a distinct regional sound continues to deliver what fans want without feeling the need to switch it up for a new demographic.\u003c/p>\n\u003cp>One such Bay Area loyalist is\u003ca href=\"https://www.instagram.com/k00lj0hn_/?hl=en\"> Kool John\u003c/a>, the\u003ca href=\"https://www.youtube.com/watch?v=pM_1hpCVlic\"> Heartbreak Gang rap crew\u003c/a> ambassador and self-proclaimed “OG in the game” with “gray hairs, mayne,” who has once again dished out his style of Northern California slaps for local ears.\u003c/p>\n\u003cp>The rapper’s latest effort, \u003ci>Up All Night 3\u003c/i>, is proof of his 10-toes-down approach to “mainey nights” music. As the title suggests, it’s an after-hours soundtrack for neon-pooled outings. With album cover art that pays tribute to strip club addictions, it also conjures notions of\u003ca href=\"https://www.rapmusicguide.com/digital/4990/too-hort-the-up-all-nite-crew-set-up-shop\"> Too $hort’s former label, Up All Nite\u003c/a>, which spotlighted artists such as East Palo Alto’s Dem Hoodstarz and Berkeley’s The Pack for their house party exploits. Kool John is a continuation of that energy.\u003c/p>\n\u003cp>A “real Richmond” representative, Kool John stays true to his compass, never veering off course from the post-Hyphy, Hennessy-drenched flows he’s been delivering since his 2013 debut, \u003ci>Peace, Love, Shmoplife\u003c/i>. Now nine albums deep, he’s capping off his \u003ci>Up All Night\u003c/i> “trilogy” — which he kicked off in 2017 — with his \u003ca href=\"https://shmoplife.com/\">smiley-face-with-sunglasses motif\u003c/a>. Do not press play on this Kool John album expecting to be profoundly mindblown by poetic lyricism or insightful commentary; instead, embrace the wave of restrained coolness, sexual boasting and money-filled conquests typical of an HBK Gang offering.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=42AkZKabfIY&list=OLAK5uy_n3nKb88HUsYWr8jYS3lqtuQVcMF4ZjNsM\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The veteran spitter provides a tracklist filled with Shmophouse bops. The album’s standouts include the opening tracks “Intervention” and “No Announcements” — zappy, bass-heavy blappers that establish the tone of what’s to follow. At its best, this record is a nostalgic romanticization of Richmond’s rap glory, with mentions of the industrial port city’s legacy of producing successful acts like Erk the Jerk (now known as Kevin Allen) and LoveRance. Production from\u003ca href=\"https://www.instagram.com/iamsu/?hl=en\"> Iamsu!\u003c/a>, along with features from longtime collaborators Skipper, Show Banga and St Spitta, and newcomer Dolla$ Up Nero, round out the consistently upbeat project.\u003c/p>\n\u003cp>The 26-minute listen is reminiscent of a drive down Macdonald Avenue — with enough shoutouts, toasts and celebrations to last all night.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Up All Night 3’ is streaming on all platforms as of March 31.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In an era of constant rebrands, consistency can be refreshing. It’s particularly admirable when an artist who has spent their career carving out a distinct regional sound continues to deliver what fans want without feeling the need to switch it up for a new demographic.\u003c/p>\n\u003cp>One such Bay Area loyalist is\u003ca href=\"https://www.instagram.com/k00lj0hn_/?hl=en\"> Kool John\u003c/a>, the\u003ca href=\"https://www.youtube.com/watch?v=pM_1hpCVlic\"> Heartbreak Gang rap crew\u003c/a> ambassador and self-proclaimed “OG in the game” with “gray hairs, mayne,” who has once again dished out his style of Northern California slaps for local ears.\u003c/p>\n\u003cp>The rapper’s latest effort, \u003ci>Up All Night 3\u003c/i>, is proof of his 10-toes-down approach to “mainey nights” music. As the title suggests, it’s an after-hours soundtrack for neon-pooled outings. With album cover art that pays tribute to strip club addictions, it also conjures notions of\u003ca href=\"https://www.rapmusicguide.com/digital/4990/too-hort-the-up-all-nite-crew-set-up-shop\"> Too $hort’s former label, Up All Nite\u003c/a>, which spotlighted artists such as East Palo Alto’s Dem Hoodstarz and Berkeley’s The Pack for their house party exploits. Kool John is a continuation of that energy.\u003c/p>\n\u003cp>A “real Richmond” representative, Kool John stays true to his compass, never veering off course from the post-Hyphy, Hennessy-drenched flows he’s been delivering since his 2013 debut, \u003ci>Peace, Love, Shmoplife\u003c/i>. Now nine albums deep, he’s capping off his \u003ci>Up All Night\u003c/i> “trilogy” — which he kicked off in 2017 — with his \u003ca href=\"https://shmoplife.com/\">smiley-face-with-sunglasses motif\u003c/a>. Do not press play on this Kool John album expecting to be profoundly mindblown by poetic lyricism or insightful commentary; instead, embrace the wave of restrained coolness, sexual boasting and money-filled conquests typical of an HBK Gang offering.\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/42AkZKabfIY'\n title='//www.youtube.com/embed/42AkZKabfIY'\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>The veteran spitter provides a tracklist filled with Shmophouse bops. The album’s standouts include the opening tracks “Intervention” and “No Announcements” — zappy, bass-heavy blappers that establish the tone of what’s to follow. At its best, this record is a nostalgic romanticization of Richmond’s rap glory, with mentions of the industrial port city’s legacy of producing successful acts like Erk the Jerk (now known as Kevin Allen) and LoveRance. Production from\u003ca href=\"https://www.instagram.com/iamsu/?hl=en\"> Iamsu!\u003c/a>, along with features from longtime collaborators Skipper, Show Banga and St Spitta, and newcomer Dolla$ Up Nero, round out the consistently upbeat project.\u003c/p>\n\u003cp>The 26-minute listen is reminiscent of a drive down Macdonald Avenue — with enough shoutouts, toasts and celebrations to last all night.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Up All Night 3’ is streaming on all platforms as of March 31.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>Welcome to Pass the Aux, where KQED Arts & Culture brings you our favorite new tracks by Bay Area artists. \u003ca href=\"https://www.kqed.org/arts/tag/pass-the-aux\" target=\"_blank\" rel=\"noopener noreferrer\">Check out past entries and submit a song for future coverage\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>Of all the music genres associated with the Bay Area, \u003ca href=\"https://pitchfork.com/features/article/the-endless-life-cycle-of-japanese-city-pop/\">Japanese “city pop” might not be one that comes to mind for most. \u003c/a>Yet for Oakland rapper \u003ca href=\"https://www.instagram.com/seijioda/?hl=en\">Seiji Oda\u003c/a>, the internet-influenced style was the driving inspiration for his latest single, “ANRI (city pop 003).”\u003c/p>\n\u003cp>“The reason I started including [the city pop label] in my music was because I got into it and I loved it, and I wanted to share that with others,” he says. “City pop sounds to me like a combination of Bay slaps and tempo with an anime vibe.”\u003c/p>\n\u003cp>The emerging artist released his newest track — which pays homage to Anri, a Japanese vocalist whom he credits with introducing him to the genre — on Lunar New Year. Oda says he chose the day of Asian American celebration because it represents the heritage and traditions that have allowed him to become the artist he is today.\u003c/p>\n\u003cp>“It’s a way for me to show my appreciation for the culture, really,” he says. “Without that, I don’t have shit.”\u003c/p>\n\u003cp>https://youtu.be/v7h_QDXezKM\u003c/p>\n\u003cp>Having grown up reading manga and watching animes like \u003ci>Samurai Champloo\u003c/i> — \u003ca href=\"https://www.youtube.com/watch?v=Eq6EYcpWB_c\">famous for its Nujuabes-produced score\u003c/a> — Oda makes music with a soundscape that is at once familiar and fresh. His exposure to a variety of influences and flavors emerges naturally on the upbeat single, with references that range from Vietnamese sandwiches to Japanese singers from the ’80s: “Yeah I need my bread, baby, bánh mì, sliding through Japantown slappin’ Anri.”\u003c/p>\n\u003cp>Filmed in San Francisco’s Japantown, the video features Oda rocking an A’s dad hat while wandering around clothing shops like \u003ca href=\"https://www.instagram.com/chameleonvtg/?hl=en\">Chameleon Vintage\u003c/a>, dapping up his folks and rap-singing about childhood summers, family and remaining true to his roots: “I always do my own thing I never assimilate… I’m from the soil so you know I gotta innovate.”\u003c/p>\n\u003cp>The catchy hook, melodic delivery and hints of Japanese pop mixed with sprinkles of Bay Area funk are trademark textures for Oda, whose recent projects include \u003ca href=\"https://www.youtube.com/watch?v=yBJkcxcKYkM\">\u003ci>lofi // HYPHY\u003c/i>\u003c/a>. Oda credits local influences like P-Lo, HBK’s \u003ca href=\"https://www.instagram.com/azuresworld/?hl=en\">Azure\u003c/a>, \u003ca href=\"https://www.instagram.com/hokagesimon/?hl=en\">Hokage Simon\u003c/a> and \u003ca href=\"https://www.instagram.com/_futurejames/?hl=en\">Future James as multi-talented artists who are shaping the scene.\u003c/a>\u003c/p>\n\u003cp>“Asian Americans aren’t always seen as creative people. But it’s important for us to see we are setting that example and being outside the box and just doing what we want to do,” he says. “I’m also not trying to be anything other than myself. I’m just showing the regular-ness of my life.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.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>Seiji Oda’s EP ‘wading in shallow water’ is\u003c/em> \u003ca href=\"https://seijioda.bandcamp.com/album/wading-in-shallow-water\">\u003ci>available now\u003c/i>\u003c/a>\u003ci>. You can also catch him giving \u003c/i>\u003ca href=\"https://www.youtube.com/watch?v=sPkgBf6Mk8Y\">\u003ci>ramen tutorials on YouTube\u003c/i>\u003c/a>\u003ci>. For information about upcoming Lunar New Year events and resources for addressing anti-Asian hate, visit the \u003c/i>\u003ca href=\"https://ccsjsf.org/\">\u003ci>Coalition for Community Safety and Justice\u003c/i>\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Welcome to Pass the Aux, where KQED Arts & Culture brings you our favorite new tracks by Bay Area artists. \u003ca href=\"https://www.kqed.org/arts/tag/pass-the-aux\" target=\"_blank\" rel=\"noopener noreferrer\">Check out past entries and submit a song for future coverage\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>Of all the music genres associated with the Bay Area, \u003ca href=\"https://pitchfork.com/features/article/the-endless-life-cycle-of-japanese-city-pop/\">Japanese “city pop” might not be one that comes to mind for most. \u003c/a>Yet for Oakland rapper \u003ca href=\"https://www.instagram.com/seijioda/?hl=en\">Seiji Oda\u003c/a>, the internet-influenced style was the driving inspiration for his latest single, “ANRI (city pop 003).”\u003c/p>\n\u003cp>“The reason I started including [the city pop label] in my music was because I got into it and I loved it, and I wanted to share that with others,” he says. “City pop sounds to me like a combination of Bay slaps and tempo with an anime vibe.”\u003c/p>\n\u003cp>The emerging artist released his newest track — which pays homage to Anri, a Japanese vocalist whom he credits with introducing him to the genre — on Lunar New Year. Oda says he chose the day of Asian American celebration because it represents the heritage and traditions that have allowed him to become the artist he is today.\u003c/p>\n\u003cp>“It’s a way for me to show my appreciation for the culture, really,” he says. “Without that, I don’t have shit.”\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/v7h_QDXezKM'\n title='//www.youtube.com/embed/v7h_QDXezKM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Having grown up reading manga and watching animes like \u003ci>Samurai Champloo\u003c/i> — \u003ca href=\"https://www.youtube.com/watch?v=Eq6EYcpWB_c\">famous for its Nujuabes-produced score\u003c/a> — Oda makes music with a soundscape that is at once familiar and fresh. His exposure to a variety of influences and flavors emerges naturally on the upbeat single, with references that range from Vietnamese sandwiches to Japanese singers from the ’80s: “Yeah I need my bread, baby, bánh mì, sliding through Japantown slappin’ Anri.”\u003c/p>\n\u003cp>Filmed in San Francisco’s Japantown, the video features Oda rocking an A’s dad hat while wandering around clothing shops like \u003ca href=\"https://www.instagram.com/chameleonvtg/?hl=en\">Chameleon Vintage\u003c/a>, dapping up his folks and rap-singing about childhood summers, family and remaining true to his roots: “I always do my own thing I never assimilate… I’m from the soil so you know I gotta innovate.”\u003c/p>\n\u003cp>The catchy hook, melodic delivery and hints of Japanese pop mixed with sprinkles of Bay Area funk are trademark textures for Oda, whose recent projects include \u003ca href=\"https://www.youtube.com/watch?v=yBJkcxcKYkM\">\u003ci>lofi // HYPHY\u003c/i>\u003c/a>. Oda credits local influences like P-Lo, HBK’s \u003ca href=\"https://www.instagram.com/azuresworld/?hl=en\">Azure\u003c/a>, \u003ca href=\"https://www.instagram.com/hokagesimon/?hl=en\">Hokage Simon\u003c/a> and \u003ca href=\"https://www.instagram.com/_futurejames/?hl=en\">Future James as multi-talented artists who are shaping the scene.\u003c/a>\u003c/p>\n\u003cp>“Asian Americans aren’t always seen as creative people. But it’s important for us to see we are setting that example and being outside the box and just doing what we want to do,” he says. “I’m also not trying to be anything other than myself. I’m just showing the regular-ness of my life.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.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>Seiji Oda’s EP ‘wading in shallow water’ is\u003c/em> \u003ca href=\"https://seijioda.bandcamp.com/album/wading-in-shallow-water\">\u003ci>available now\u003c/i>\u003c/a>\u003ci>. You can also catch him giving \u003c/i>\u003ca href=\"https://www.youtube.com/watch?v=sPkgBf6Mk8Y\">\u003ci>ramen tutorials on YouTube\u003c/i>\u003c/a>\u003ci>. For information about upcoming Lunar New Year events and resources for addressing anti-Asian hate, visit the \u003c/i>\u003ca href=\"https://ccsjsf.org/\">\u003ci>Coalition for Community Safety and Justice\u003c/i>\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cem>Welcome to Pass the Aux, where KQED Arts & Culture brings you our favorite new tracks by Bay Area artists. \u003ca href=\"https://www.kqed.org/arts/tag/pass-the-aux\" target=\"_blank\" rel=\"noopener noreferrer\">Check out past entries and submit a song for future coverage\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>This one had me from the get-go, powerless before the combination of a groovy bass line and stop-motion animation. The jittery handmade charm that opens abracadabra’s music video for “in a photo” — the first single off their upcoming album \u003ci>shapes & colors\u003c/i> — belies the song’s bright and steady beat. There’s nothing rushed or slapdash about the way the Oakland duo of Hannah Skelton and Chris Niles work their way through this song, a reflection on the difference between idealized images and lived reality.\u003c/p>\n\u003cp>[aside postID='arts_13911741']Decked out in coveralls and ski goggles, Skelton and Niles climb into a giant pencil and its accompanying eraser (real \u003ca href=\"https://www.kqed.org/arts/13911741/soapbox-derby-photos-mclaren-park-san-francisco\">artist-designed soapbox derby cars\u003c/a> that took a star turn at last year’s SFMOMA event in McLaren Park) as Skelton sings a delightful pun in her bell-like voice: “Time flies / on a tiny plane.”\u003c/p>\n\u003cp>\u003ci>Magic School Bus\u003c/i>-style, the musicians ride their vehicles into a bowl of blue Jell-o, emerging with a full band in a kind of underwater prom-themed venue. Alternating between spoken and sung deliveries (and a nice call-and-response I’ll attribute to Niles), the song channels the Tom Tom Club and ESG in all the best ways.\u003c/p>\n\u003cp>abracadabra’s sweetness on “in a photo” is tempered by a cascading minor-key chorus, and the recurring (quite existential!) question of “Will you really ever be the photo?” It’s clear from Skelton’s delivery that you — we — shouldn’t \u003ci>want\u003c/i> to be the photo. The photo is too perfect and no fun at all.\u003c/p>\n\u003cp>Instead, “in a photo” is refreshingly tangible, with a plinky cowbell punctuating Skelton’s lyrics and grins all around. The simple, unadulterated pleasure everyone involved seems to be having is decidedly un-digital, un-smooth and unmediated.\u003c/p>\n\u003cp>If this is an anti-Instagram song, I’m here for it.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=OTmVEFfxRwM&ab_channel=abracadabra\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.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>abracadabra’s ‘shapes & colors’ is \u003ca href=\"https://abracadabraoakland.bandcamp.com/album/shapes-colors\">out Jan. 20\u003c/a>\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cp>Songs that straight-up tell you they’re about America are tricky. They can veer so easily into grandstanding or cliché. The ones that don’t — the songs that say something \u003ca href=\"https://www.youtube.com/watch?v=VYOjWnS4cMY\" target=\"_blank\" rel=\"noopener noreferrer\">real and honest\u003c/a> about the United States — are often sad and conflicted. Then we as listeners \u003ca href=\"https://www.youtube.com/watch?v=EPhWR4d3FJQ\">overlook those darker aspects\u003c/a> in our collective memory in order to make said songs more easily enjoyable at 4th of July barbecues. This irony isn’t new.\u003c/p>\n\u003cp>What’s fresh about \u003ca href=\"https://www.kqed.org/news/11638481/rainbow-girls-turn-up-their-political-message-by-turning-off-their-amps\">Rainbow Girls\u003c/a>’ “American Dream” is how poignantly the North Bay trio captures the changing shape of this country’s broken promises — without soapboxing. This song knocks the wind out of me. Vulnerability, stubborn hope and deep, overwhelming grief all leak through the spaces between the words and the harmonies and the fingerpicked guitar.[aside label= postID=\"news_11638481\"]\u003c/p>\n\u003cp>The band wrote “American Dream” \u003ca href=\"https://www.popmatters.com/rainbow-girls-american-dream-2507655759.html\">five years ago\u003c/a>; it’s the title track from an album they released November 8, 2017. When I first heard it — a year after the election that, fittingly, knocked the wind out of so many of us — it made me cry. It tapped so perfectly into that feeling of being \u003cem>robbed\u003c/em>.\u003c/p>\n\u003cp>But of course I had also spent much of 2017 feeling stupid, and privileged, for thinking anything had ever been guaranteed. To those of us who graduated high school around 9/11 (kicking off decades of war) and entered the job market during a historic recession (all while basic costs of living continued to skyrocket), adult life had been one instance after another of the bottom dropping out. Why should we expect anything different?\u003c/p>\n\u003cp>Five years later, now with a live version and warm, intimate video recorded at the band’s Bodega home, this song still makes me cry — for all the same reasons and also some new ones.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>It’s nice to have a plan for growing old\u003cbr>\nUnfathomable luxury, a plan for growing old\u003cbr>\nIt hits you all at once, then you wish that you’d been told\u003cbr>\nBut circumstances change and then you’re kicked out in the cold\u003cbr>\nBut everyone’s worth something and it’s not their weight in gold\u003c/em>\u003c/p>\n\u003cp>A lot of people have downsized their dreams over the last few years. Forget a white picket fence and 2.5 children; try staying sober one more day, keeping your loved ones healthy or affording that next grocery run. In 2022, so many of us are trying to stay afloat on an increasingly flimsy life raft of sure things: Will it be safe to have a family holiday party next month? Will I be able to afford health care when I’m 65? Will it not matter, because the entirety of California will be on fire or under the sea or somehow both?\u003c/p>\n\u003cp>“American Dream” is a sad and conflicted song, to be sure. But it also now plays, to me, as quietly triumphant. Because against a backdrop of economic desperation and uncertainty, it becomes fundamentally beautiful to \u003cem>have\u003c/em> dreams — to not only admit to them, but to nurture and share them.\u003c/p>\n\u003cp>The institutions have failed us. Home ownership is increasingly out of reach. This song reminds me that how we treat one another, and the small ways we bear witness to each others’ humanity and desire and grief — finding ways to say \u003cem>yes, you were here, your hopes meant something, you mean something\u003c/em> — all of that is still very much up to us.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=rqV852TP8gA\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Songs that straight-up tell you they’re about America are tricky. They can veer so easily into grandstanding or cliché. The ones that don’t — the songs that say something \u003ca href=\"https://www.youtube.com/watch?v=VYOjWnS4cMY\" target=\"_blank\" rel=\"noopener noreferrer\">real and honest\u003c/a> about the United States — are often sad and conflicted. Then we as listeners \u003ca href=\"https://www.youtube.com/watch?v=EPhWR4d3FJQ\">overlook those darker aspects\u003c/a> in our collective memory in order to make said songs more easily enjoyable at 4th of July barbecues. This irony isn’t new.\u003c/p>\n\u003cp>What’s fresh about \u003ca href=\"https://www.kqed.org/news/11638481/rainbow-girls-turn-up-their-political-message-by-turning-off-their-amps\">Rainbow Girls\u003c/a>’ “American Dream” is how poignantly the North Bay trio captures the changing shape of this country’s broken promises — without soapboxing. This song knocks the wind out of me. Vulnerability, stubborn hope and deep, overwhelming grief all leak through the spaces between the words and the harmonies and the fingerpicked guitar.\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cem>Welcome to \u003ca href=\"http://kqed.org/passtheaux\">Pass the Aux\u003c/a>, where KQED Arts & Culture brings you our favorite new tracks by Bay Area artists.\u003c/em>\u003c/p>\n\u003cp>When jazz musicians \u003ca href=\"https://jackiegage.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Jackie Gage\u003c/a> and \u003ca href=\"https://www.kevin-goldberg.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Kevin Goldberg\u003c/a> wrote “Green,” they weren’t sure they would release it. But whenever they played the track live, they found their fans singing along by the end, even though they’d never heard it before. Maybe listeners were captivated by the steady strum of Goldberg’s tango-style guitar, or the intriguing way Gage sings “Tell me what you mean by green,” as if challenging the listener.\u003c/p>\n\u003cp>Or maybe their audiences were just as pissed off about climate change and corporate greed as Gage and Goldberg were.\u003c/p>\n\u003cp>“It felt like there was a community where I didn’t feel like we were alone in this anger,” says Gage. “[I realized] like, ‘OK, music is powerful, and this is another way that people can kind of discover the power they have in themselves, too.’”\u003c/p>\n\u003cp>https://youtu.be/SwWO7-1hYWY\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Gage, an \u003ca href=\"https://www.kqed.org/arts/13910742/jc-smith-jackie-gage-san-jose-musicians-russia-war-ukraine\" target=\"_blank\" rel=\"noopener noreferrer\">internationally touring singer\u003c/a>, began writing the lyrics for “Green” earlier this year after witnessing the devastation of yet another California wildfire season, flooding in her family’s home state of Louisiana and a deadly hurricane in Florida. Meanwhile, as Americans continue to struggle with high gas prices, \u003ca href=\"https://www.pbs.org/newshour/show/oil-companies-post-massive-profits-as-consumers-feel-squeeze-from-high-gas-prices\" target=\"_blank\" rel=\"noopener noreferrer\">oil companies posted record profits\u003c/a> in the most recent quarter.\u003c/p>\n\u003cp>“It doesn’t make sense. It feels very predatory,” Gage says.\u003c/p>\n\u003cp>A sense of sadness drifted in after the indignation. “I think that I’ve experienced, at least in these last few years, a huge amount of grief,” says Goldberg. “Now our kids might not get the chance to experience this amazing redwood forest that we have in California because, you know, who knows what the future of the climate holds these next five, ten years?”\u003c/p>\n\u003cp>In the new music video for “Green,” out today, Gage, Goldberg and accordion player Imanuel Junaedy perform in Bay Area landmarks, contrasting oases of nature with the impacts of industrialization. Shots of the stunning Pacific coast cut to the trio playing in polluted areas like the former Mare Island military base and West Oakland underpasses.\u003c/p>\n\u003cp>With the e\u003ca href=\"https://www.kqed.org/voterguide\" target=\"_blank\" rel=\"noopener noreferrer\">lection approaching on Nov. 8\u003c/a>, Gage and Goldberg decided it was the perfect time to put climate on people’s minds.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I think for me it just feels it feels like an opportunity to make a little bit of a difference,” says Goldberg. “I think a lot of times it’s really easy to get to a feeling of powerlessness around climate change and around these forces that are spinning so wildly out of control.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Welcome to \u003ca href=\"http://kqed.org/passtheaux\">Pass the Aux\u003c/a>, where KQED Arts & Culture brings you our favorite new tracks by Bay Area artists.\u003c/em>\u003c/p>\n\u003cp>When jazz musicians \u003ca href=\"https://jackiegage.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Jackie Gage\u003c/a> and \u003ca href=\"https://www.kevin-goldberg.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Kevin Goldberg\u003c/a> wrote “Green,” they weren’t sure they would release it. But whenever they played the track live, they found their fans singing along by the end, even though they’d never heard it before. Maybe listeners were captivated by the steady strum of Goldberg’s tango-style guitar, or the intriguing way Gage sings “Tell me what you mean by green,” as if challenging the listener.\u003c/p>\n\u003cp>Or maybe their audiences were just as pissed off about climate change and corporate greed as Gage and Goldberg were.\u003c/p>\n\u003cp>“It felt like there was a community where I didn’t feel like we were alone in this anger,” says Gage. “[I realized] like, ‘OK, music is powerful, and this is another way that people can kind of discover the power they have in themselves, too.’”\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/SwWO7-1hYWY'\n title='//www.youtube.com/embed/SwWO7-1hYWY'\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>Gage, an \u003ca href=\"https://www.kqed.org/arts/13910742/jc-smith-jackie-gage-san-jose-musicians-russia-war-ukraine\" target=\"_blank\" rel=\"noopener noreferrer\">internationally touring singer\u003c/a>, began writing the lyrics for “Green” earlier this year after witnessing the devastation of yet another California wildfire season, flooding in her family’s home state of Louisiana and a deadly hurricane in Florida. Meanwhile, as Americans continue to struggle with high gas prices, \u003ca href=\"https://www.pbs.org/newshour/show/oil-companies-post-massive-profits-as-consumers-feel-squeeze-from-high-gas-prices\" target=\"_blank\" rel=\"noopener noreferrer\">oil companies posted record profits\u003c/a> in the most recent quarter.\u003c/p>\n\u003cp>“It doesn’t make sense. It feels very predatory,” Gage says.\u003c/p>\n\u003cp>A sense of sadness drifted in after the indignation. “I think that I’ve experienced, at least in these last few years, a huge amount of grief,” says Goldberg. “Now our kids might not get the chance to experience this amazing redwood forest that we have in California because, you know, who knows what the future of the climate holds these next five, ten years?”\u003c/p>\n\u003cp>In the new music video for “Green,” out today, Gage, Goldberg and accordion player Imanuel Junaedy perform in Bay Area landmarks, contrasting oases of nature with the impacts of industrialization. Shots of the stunning Pacific coast cut to the trio playing in polluted areas like the former Mare Island military base and West Oakland underpasses.\u003c/p>\n\u003cp>With the e\u003ca href=\"https://www.kqed.org/voterguide\" target=\"_blank\" rel=\"noopener noreferrer\">lection approaching on Nov. 8\u003c/a>, Gage and Goldberg decided it was the perfect time to put climate on people’s minds.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I think for me it just feels it feels like an opportunity to make a little bit of a difference,” says Goldberg. “I think a lot of times it’s really easy to get to a feeling of powerlessness around climate change and around these forces that are spinning so wildly out of control.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "A Hip-Hop Anthem for Sinatra Fans — Really — in Richie Cunning's 'All the Gold in the World'",
"headTitle": "A Hip-Hop Anthem for Sinatra Fans — Really — in Richie Cunning’s ‘All the Gold in the World’ | KQED",
"content": "\u003cp>\u003cem>Welcome to Pass the Aux, where KQED Arts & Culture brings you our favorite new tracks by Bay Area artists. \u003ca href=\"https://www.kqed.org/arts/tag/pass-the-aux\" target=\"_blank\" rel=\"noopener noreferrer\">Check out past entries and submit a song for future coverage\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>I don’t know Richie Cunning. We’ve never met, or crossed paths online. But the San Francisco rapper’s new album, \u003cem>Big Deal\u003c/em>, feels like an algorithm directly wired to my brain, a late-night project made for diehard listeners who obsess over Tony Bennett and Pimp C in equal measure.\u003c/p>\n\u003cp>Yes, jazz and hip-hop have intersected before, but \u003cem>Big Deal\u003c/em> isn’t so much an outgrowth of bebop as the easy-listening $1 bargain bin. Cunning paces the album like a mid-century supper club appearance, Mantovani-esque orchestral strings swell and fall. The spoken-word voices of Frank Sinatra and Bobby Darin weave in and out of the mix. Cunning even covers “More,” the theme to \u003cem>Mondo Cane\u003c/em>, recorded by easy-listening singers from Johnny Mathis to Steve & Eydie and Tom Jones.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=HFWH4OubXYQ\u003c/p>\n\u003cp>This isn’t entirely a rat-pack throwback, though, evident on the rebuke to that swingin’ scene’s casual misogyny, “All the Gold in the World.” With an instantly addictive hook over a church-like pipe organ, the track pays tribute to mothers, sisters, aunts and the women in Cunning’s circle of friends and acquaintances who’ve taught him to be a better man through “teaching me love, grace, humility / Your strength in the face of ugliness and hostility.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>You’ll hear Maya Angelou, who has \u003ca href=\"https://www.youtube.com/watch?v=HRDb-xpd1BQ\" target=\"_blank\" rel=\"noopener noreferrer\">her own curious entry in the easy listening bins\u003c/a>, closing out the track. And in another nod to mommas? I haven’t noticed one swear word on the entire album.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Richie Cunning’s ‘Big Deal’ is \u003ca href=\"https://www.richiecunning.com/\" target=\"_blank\" rel=\"noopener noreferrer\">out now\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Welcome to Pass the Aux, where KQED Arts & Culture brings you our favorite new tracks by Bay Area artists. \u003ca href=\"https://www.kqed.org/arts/tag/pass-the-aux\" target=\"_blank\" rel=\"noopener noreferrer\">Check out past entries and submit a song for future coverage\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>I don’t know Richie Cunning. We’ve never met, or crossed paths online. But the San Francisco rapper’s new album, \u003cem>Big Deal\u003c/em>, feels like an algorithm directly wired to my brain, a late-night project made for diehard listeners who obsess over Tony Bennett and Pimp C in equal measure.\u003c/p>\n\u003cp>Yes, jazz and hip-hop have intersected before, but \u003cem>Big Deal\u003c/em> isn’t so much an outgrowth of bebop as the easy-listening $1 bargain bin. Cunning paces the album like a mid-century supper club appearance, Mantovani-esque orchestral strings swell and fall. The spoken-word voices of Frank Sinatra and Bobby Darin weave in and out of the mix. Cunning even covers “More,” the theme to \u003cem>Mondo Cane\u003c/em>, recorded by easy-listening singers from Johnny Mathis to Steve & Eydie and Tom Jones.\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/HFWH4OubXYQ'\n title='//www.youtube.com/embed/HFWH4OubXYQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>This isn’t entirely a rat-pack throwback, though, evident on the rebuke to that swingin’ scene’s casual misogyny, “All the Gold in the World.” With an instantly addictive hook over a church-like pipe organ, the track pays tribute to mothers, sisters, aunts and the women in Cunning’s circle of friends and acquaintances who’ve taught him to be a better man through “teaching me love, grace, humility / Your strength in the face of ugliness and hostility.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>You’ll hear Maya Angelou, who has \u003ca href=\"https://www.youtube.com/watch?v=HRDb-xpd1BQ\" target=\"_blank\" rel=\"noopener noreferrer\">her own curious entry in the easy listening bins\u003c/a>, closing out the track. And in another nod to mommas? I haven’t noticed one swear word on the entire album.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Richie Cunning’s ‘Big Deal’ is \u003ca href=\"https://www.richiecunning.com/\" target=\"_blank\" rel=\"noopener noreferrer\">out now\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"headTitle": "Love and Magic Abound on Mystic’s ‘Dreaming in Cursive: The Girl Who Loved Sparklers’ | KQED",
"content": "\u003cp>\u003cem>Welcome to Pass the Aux, where KQED Arts & Culture brings you our favorite new tracks by Bay Area artists. \u003ca href=\"https://www.kqed.org/arts/tag/pass-the-aux\" target=\"_blank\" rel=\"noopener noreferrer\">Check out past entries and submit a song for future coverage\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>There’s a feeling of magic in \u003ca href=\"https://mysticworldwide.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Mystic\u003c/a>’s \u003ci>Dreaming in Cursive: The Girl Who Loved Sparklers\u003c/i>. The Oakland hip-hop artist, originally a member of Digital Underground in the ’90s, recently released her first solo album in eight years. After \u003ca href=\"https://www.kqed.org/arts/13906176/in-hip-hop-and-academia-mystic-defines-her-own-success-story\" target=\"_blank\" rel=\"noopener noreferrer\">leaving a record deal and pursuing a second career as an educator\u003c/a>, Mystic is on her own timeline, making what she calls “healed Black woman music” outside the constraints of the industry. And \u003ci>Dreaming in Cursive\u003c/i> was well worth the wait. [aside postid='arts_13906176']\u003c/p>\n\u003cp>In a world full of suffering, Mystic finds an antidote by inviting her inner child out to play. While she acknowledges hard truths about violence and abuses of power, her activist message is also about nurturing feelings of love, hope and wonder. Those two themes are often intertwined in her work and life: Last month, to honor her late friend and collaborator Shock G, she and her Digital Underground family partnered with the community group \u003ca href=\"https://www.eastoaklandcollective.com/\" target=\"_blank\" rel=\"noopener noreferrer\">East Oakland Collective\u003c/a> to distribute over 2,000 meals to Oakland residents in need. On \u003ci>Dreaming in Cursive\u003c/i>, the personal and collective are also linked, and the 14 tracks and poetic interludes present Mystic’s healing and the world’s healing as two parts of the same process.\u003c/p>\n\u003cp>“As somebody who has experienced trauma, it’s only through part of the healing process that I could return to that playfulness, that I could return to that imagination,” says Mystic, who intentionally incorporated children’s voices on the record to underscore the uplifting mood.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1909652176/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ci>Dreaming in Cursive\u003c/i> celebrates the love of self, family, friends and community, and there’s a heavy emphasis on sensuality and romance as well. “Every song is actually a love song, but in a different context,” she says.\u003c/p>\n\u003cp>A standout track is “Butter (Green Light),” where Mystic raps over an uptempo, classic hip-hop beat with a warm guitar, as flirtatious giggles ring out in the background. “It’s a good thing, I’m in your sweet thing / The green light goes both ways / When I’m in your arms as the sun sets / It’s been a marvelous day,” she repeats before the chorus. The feel-good track captures a magical spark of mutual admiration, the kind of connection that makes you feel completely present in your loved one’s company.\u003c/p>\n\u003cp>“When I was younger, I could just think that you’re the one, right? I wasn’t too concerned whether it went both ways—I wanted it to go both ways. And I think part of the wisdom that I’ve gotten is when it doesn’t go both ways, that’s not where you’re supposed to be,” she says. “We each deserve to be loved passionately, to be celebrated, to be listened to and held and inspired.”\u003c/p>\n\u003cp>The interludes between tracks give insight into this evolution as Mystic has learned over the years to love and trust herself. On “Alive and Free (Interlude),” which precedes another charmingly sincere love song called “Magic (Let Yourself Go),” Mystic and her friend Angela chat about breaking free from expectations imposed onto women and leaving a scarcity mindset behind.\u003c/p>\n\u003cfigure id=\"attachment_13918702\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918702\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Mystic-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mystic-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mystic-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mystic-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mystic-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mystic-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mystic-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mystic performs at Hiero Day on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We can be so caught in our struggle that it can feel like it’s enough to be here and alive,” she says. “But like, don’t you want to thrive?” When the two friends laugh together, it’s the sound of two people who’ve been through some things and risen above.\u003c/p>\n\u003cp>“Angela is one of my forever-and-a-day sisters,” Mystic says. They met over 20 years ago when Angela booked Digital Underground for a show in San Jose; they went on to be roommates and even toured together. On Mystic’s acclaimed 2001 debut album \u003ci>Cuts for Luck and Scars for Freedom\u003c/i>, Angela appears in an interlude just before the lead single “The Life,” an ode to people surviving oppression in America’s inner cities.\u003c/p>\n\u003cp>“We’ve been riding together ever since,” Mystic says. “And she has been through with me in my life as a support and as a sister from when I was still broken right to where I am now.” [aside postid='arts_13919270']\u003c/p>\n\u003cp>Now that the album is out, Mystic is working on her next endeavor: a short film she co-wrote, co-directed and stars in called \u003ci>A Black Love Trilogy\u003c/i>, which incorporates the forthcoming music videos for “Butter (Green Light),” “Still (Love)” and “Love (Always),” but is a standalone narrative. The project is in post-production, and she has plans to enter it into film festivals when it comes out in 2023.\u003c/p>\n\u003cp>“A lot of what we’re seeing [in pop culture] is love being transactional and toxic,” says Mystic. The film focuses on a couple finding their way back to each other after a rough time.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“[It’s about] the redemption in Black love and the power of Black love to survive those challenges and to place it in the collective context, because our love doesn’t exist outside of our communities,” Mystic says. “I really just want to uplift healthy, loving, joyful love.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Welcome to Pass the Aux, where KQED Arts & Culture brings you our favorite new tracks by Bay Area artists. \u003ca href=\"https://www.kqed.org/arts/tag/pass-the-aux\" target=\"_blank\" rel=\"noopener noreferrer\">Check out past entries and submit a song for future coverage\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>There’s a feeling of magic in \u003ca href=\"https://mysticworldwide.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Mystic\u003c/a>’s \u003ci>Dreaming in Cursive: The Girl Who Loved Sparklers\u003c/i>. The Oakland hip-hop artist, originally a member of Digital Underground in the ’90s, recently released her first solo album in eight years. After \u003ca href=\"https://www.kqed.org/arts/13906176/in-hip-hop-and-academia-mystic-defines-her-own-success-story\" target=\"_blank\" rel=\"noopener noreferrer\">leaving a record deal and pursuing a second career as an educator\u003c/a>, Mystic is on her own timeline, making what she calls “healed Black woman music” outside the constraints of the industry. And \u003ci>Dreaming in Cursive\u003c/i> was well worth the wait. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In a world full of suffering, Mystic finds an antidote by inviting her inner child out to play. While she acknowledges hard truths about violence and abuses of power, her activist message is also about nurturing feelings of love, hope and wonder. Those two themes are often intertwined in her work and life: Last month, to honor her late friend and collaborator Shock G, she and her Digital Underground family partnered with the community group \u003ca href=\"https://www.eastoaklandcollective.com/\" target=\"_blank\" rel=\"noopener noreferrer\">East Oakland Collective\u003c/a> to distribute over 2,000 meals to Oakland residents in need. On \u003ci>Dreaming in Cursive\u003c/i>, the personal and collective are also linked, and the 14 tracks and poetic interludes present Mystic’s healing and the world’s healing as two parts of the same process.\u003c/p>\n\u003cp>“As somebody who has experienced trauma, it’s only through part of the healing process that I could return to that playfulness, that I could return to that imagination,” says Mystic, who intentionally incorporated children’s voices on the record to underscore the uplifting mood.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1909652176/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>Dreaming in Cursive\u003c/i> celebrates the love of self, family, friends and community, and there’s a heavy emphasis on sensuality and romance as well. “Every song is actually a love song, but in a different context,” she says.\u003c/p>\n\u003cp>A standout track is “Butter (Green Light),” where Mystic raps over an uptempo, classic hip-hop beat with a warm guitar, as flirtatious giggles ring out in the background. “It’s a good thing, I’m in your sweet thing / The green light goes both ways / When I’m in your arms as the sun sets / It’s been a marvelous day,” she repeats before the chorus. The feel-good track captures a magical spark of mutual admiration, the kind of connection that makes you feel completely present in your loved one’s company.\u003c/p>\n\u003cp>“When I was younger, I could just think that you’re the one, right? I wasn’t too concerned whether it went both ways—I wanted it to go both ways. And I think part of the wisdom that I’ve gotten is when it doesn’t go both ways, that’s not where you’re supposed to be,” she says. “We each deserve to be loved passionately, to be celebrated, to be listened to and held and inspired.”\u003c/p>\n\u003cp>The interludes between tracks give insight into this evolution as Mystic has learned over the years to love and trust herself. On “Alive and Free (Interlude),” which precedes another charmingly sincere love song called “Magic (Let Yourself Go),” Mystic and her friend Angela chat about breaking free from expectations imposed onto women and leaving a scarcity mindset behind.\u003c/p>\n\u003cfigure id=\"attachment_13918702\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13918702\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Mystic-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mystic-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mystic-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mystic-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mystic-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mystic-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Mystic-performs-at-Hiero-Day-on-Monday-Sept.-6-2022.-001-Estefany-Gonzalez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mystic performs at Hiero Day on Monday, Sept. 5, 2022. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We can be so caught in our struggle that it can feel like it’s enough to be here and alive,” she says. “But like, don’t you want to thrive?” When the two friends laugh together, it’s the sound of two people who’ve been through some things and risen above.\u003c/p>\n\u003cp>“Angela is one of my forever-and-a-day sisters,” Mystic says. They met over 20 years ago when Angela booked Digital Underground for a show in San Jose; they went on to be roommates and even toured together. On Mystic’s acclaimed 2001 debut album \u003ci>Cuts for Luck and Scars for Freedom\u003c/i>, Angela appears in an interlude just before the lead single “The Life,” an ode to people surviving oppression in America’s inner cities.\u003c/p>\n\u003cp>“We’ve been riding together ever since,” Mystic says. “And she has been through with me in my life as a support and as a sister from when I was still broken right to where I am now.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Now that the album is out, Mystic is working on her next endeavor: a short film she co-wrote, co-directed and stars in called \u003ci>A Black Love Trilogy\u003c/i>, which incorporates the forthcoming music videos for “Butter (Green Light),” “Still (Love)” and “Love (Always),” but is a standalone narrative. The project is in post-production, and she has plans to enter it into film festivals when it comes out in 2023.\u003c/p>\n\u003cp>“A lot of what we’re seeing [in pop culture] is love being transactional and toxic,” says Mystic. The film focuses on a couple finding their way back to each other after a rough time.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“[It’s about] the redemption in Black love and the power of Black love to survive those challenges and to place it in the collective context, because our love doesn’t exist outside of our communities,” Mystic says. “I really just want to uplift healthy, loving, joyful love.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>Welcome to Pass the Aux, where KQED Arts & Culture brings you our favorite new tracks by Bay Area artists. \u003ca href=\"https://www.kqed.org/arts/tag/pass-the-aux\" rel=\"noopener noreferrer\" target=\"_blank\">Check out past entries and submit a song for future coverage\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>Now that Labor Day’s heinous heatwave has (mostly) passed over Northern California, we’re entering the third stage of Bay Area summer: when those sorbet-colored sunsets last longer than your grandma’s container of VapoRub, and we hang out with our friends, soaking it all in.\u003c/p>\n\u003cp>Need a soundtrack for those moments? Check out \u003ca href=\"https://www.instagram.com/jlately/\" target=\"_blank\" rel=\"noopener noreferrer\">J. Lately\u003c/a>‘s “\u003ca href=\"https://www.youtube.com/watch?v=neXjB7Y1ThM\" target=\"_blank\" rel=\"noopener noreferrer\">Good Lasts\u003c/a>,” featuring \u003ca href=\"https://www.instagram.com/loe.gino/\" target=\"_blank\" rel=\"noopener noreferrer\">Loe Gino\u003c/a>, \u003ca href=\"https://www.instagram.com/firstnameian/\" target=\"_blank\" rel=\"noopener noreferrer\">Ian Kelly\u003c/a> & \u003ca href=\"https://www.instagram.com/khyenci/\" target=\"_blank\" rel=\"noopener noreferrer\">Khyenci\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13918848\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/S-m-rmD0-800x533.jpg\" alt='Khyenci, J.Lately, Loe Gino and Ian Kelly on the set of the \"Good Lasts\" video shoot.' width=\"800\" height=\"533\" class=\"size-medium wp-image-13918848\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/S-m-rmD0-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/S-m-rmD0-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/S-m-rmD0-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/S-m-rmD0-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/S-m-rmD0-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/S-m-rmD0-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/S-m-rmD0-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Khyenci, J.Lately, Loe Gino and Ian Kelly on the ‘Good Lasts’ video set. \u003ccite>(Kayla de Guzman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The track is the lead single off J. Lately’s latest album, \u003ca href=\"https://open.spotify.com/album/6isHanbhN2lp0AEHKzI5jq\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Breakfast\u003c/em>\u003c/a>, titled in tribute to his sacred ritual of waking up early, eating a quality breakfast burrito and harnessing the potential of the day.\u003c/p>\n\u003cp>But “Good Lasts” is arguably a sunset song; it has that “stay outside ’til after the street lights come on” vibe. It’s a combination of the smooth production by \u003ca href=\"https://www.instagram.com/westcoasttrey/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">West Coast Trey\u003c/a>, the melodic hook sung by Bay Area-born Khyenci, and the laid-back flows of Sebastopol-raised J.Latey, Berkeley’s Loe Gino and East Oakland’s Ian Kelly.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"J.Lately - Good Lasts ft. Loe Gino, Ian Kelly & Khyenci (Official Music Video)\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/neXjB7Y1ThM?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>That late-summer vibe runs throughout the video for “Good Lasts,” directed by \u003ca href=\"https://www.instagram.com/quentinventura/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Quentin Ventura\u003c/a> and J.Lately, which shows the four artists on bike, bending corners on Alameda’s Naval Air Station.\u003c/p>\n\u003cp>“Honestly, it was one of the most fun music videos I’ve ever shot,” J. Lately tells me, joking that it brought back nostalgic feelings of middle school. “It’s me and my friends, riding around on bikes… letting our natural emotions show. There wasn’t any acting going on, it was just us riding around having a good time, and trying to capture that.”\u003c/p>\n\u003cp>With aerial views at twilight, glimpses of the City in the background and big smiles in the foreground, it all makes for music to usher in a smooth ending to a successful summer.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>J. Lately, Loe Gino and Ian Kelly perform with \u003ca href=\"https://www.kqed.org/arts/13917938/pass-the-aux-pooie-words-dont-hurt\" target=\"_blank\" rel=\"noopener noreferrer\">Poo$ie\u003c/a> on Friday, Sept. 9, at Cornerstone in Berkeley. \u003ca href=\"https://wl.seetickets.us/event/Loe-Gino-JLately-Ian-Kelly-and-Pooie/498333?afflky=CornerstoneBerkeley\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Welcome to Pass the Aux, where KQED Arts & Culture brings you our favorite new tracks by Bay Area artists. \u003ca href=\"https://www.kqed.org/arts/tag/pass-the-aux\" rel=\"noopener noreferrer\" target=\"_blank\">Check out past entries and submit a song for future coverage\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>Now that Labor Day’s heinous heatwave has (mostly) passed over Northern California, we’re entering the third stage of Bay Area summer: when those sorbet-colored sunsets last longer than your grandma’s container of VapoRub, and we hang out with our friends, soaking it all in.\u003c/p>\n\u003cp>Need a soundtrack for those moments? Check out \u003ca href=\"https://www.instagram.com/jlately/\" target=\"_blank\" rel=\"noopener noreferrer\">J. Lately\u003c/a>‘s “\u003ca href=\"https://www.youtube.com/watch?v=neXjB7Y1ThM\" target=\"_blank\" rel=\"noopener noreferrer\">Good Lasts\u003c/a>,” featuring \u003ca href=\"https://www.instagram.com/loe.gino/\" target=\"_blank\" rel=\"noopener noreferrer\">Loe Gino\u003c/a>, \u003ca href=\"https://www.instagram.com/firstnameian/\" target=\"_blank\" rel=\"noopener noreferrer\">Ian Kelly\u003c/a> & \u003ca href=\"https://www.instagram.com/khyenci/\" target=\"_blank\" rel=\"noopener noreferrer\">Khyenci\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13918848\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/S-m-rmD0-800x533.jpg\" alt='Khyenci, J.Lately, Loe Gino and Ian Kelly on the set of the \"Good Lasts\" video shoot.' width=\"800\" height=\"533\" class=\"size-medium wp-image-13918848\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/S-m-rmD0-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/S-m-rmD0-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/S-m-rmD0-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/S-m-rmD0-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/S-m-rmD0-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/S-m-rmD0-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/S-m-rmD0-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Khyenci, J.Lately, Loe Gino and Ian Kelly on the ‘Good Lasts’ video set. \u003ccite>(Kayla de Guzman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The track is the lead single off J. Lately’s latest album, \u003ca href=\"https://open.spotify.com/album/6isHanbhN2lp0AEHKzI5jq\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Breakfast\u003c/em>\u003c/a>, titled in tribute to his sacred ritual of waking up early, eating a quality breakfast burrito and harnessing the potential of the day.\u003c/p>\n\u003cp>But “Good Lasts” is arguably a sunset song; it has that “stay outside ’til after the street lights come on” vibe. It’s a combination of the smooth production by \u003ca href=\"https://www.instagram.com/westcoasttrey/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">West Coast Trey\u003c/a>, the melodic hook sung by Bay Area-born Khyenci, and the laid-back flows of Sebastopol-raised J.Latey, Berkeley’s Loe Gino and East Oakland’s Ian Kelly.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"J.Lately - Good Lasts ft. Loe Gino, Ian Kelly & Khyenci (Official Music Video)\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/neXjB7Y1ThM?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>That late-summer vibe runs throughout the video for “Good Lasts,” directed by \u003ca href=\"https://www.instagram.com/quentinventura/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Quentin Ventura\u003c/a> and J.Lately, which shows the four artists on bike, bending corners on Alameda’s Naval Air Station.\u003c/p>\n\u003cp>“Honestly, it was one of the most fun music videos I’ve ever shot,” J. Lately tells me, joking that it brought back nostalgic feelings of middle school. “It’s me and my friends, riding around on bikes… letting our natural emotions show. There wasn’t any acting going on, it was just us riding around having a good time, and trying to capture that.”\u003c/p>\n\u003cp>With aerial views at twilight, glimpses of the City in the background and big smiles in the foreground, it all makes for music to usher in a smooth ending to a successful summer.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>J. Lately, Loe Gino and Ian Kelly perform with \u003ca href=\"https://www.kqed.org/arts/13917938/pass-the-aux-pooie-words-dont-hurt\" target=\"_blank\" rel=\"noopener noreferrer\">Poo$ie\u003c/a> on Friday, Sept. 9, at Cornerstone in Berkeley. \u003ca href=\"https://wl.seetickets.us/event/Loe-Gino-JLately-Ian-Kelly-and-Pooie/498333?afflky=CornerstoneBerkeley\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Megan Slankard's 'California' Is a Breakup Anthem for the Whole State",
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"content": "\u003cp>\u003cem>Welcome to Pass the Aux, where KQED Arts & Culture brings you our favorite new tracks by Bay Area artists. \u003ca href=\"https://www.kqed.org/arts/tag/pass-the-aux\" target=\"_blank\" rel=\"noopener noreferrer\">Check out past entries and submit a song for future coverage\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>There are three ingredients necessary to make a perfect breakup anthem.\u003c/p>\n\u003col>\n\u003cli>Bitterness with a soupçon of rage\u003c/li>\n\u003cli>Sharp jabs directed at the ex, and\u003c/li>\n\u003cli>A catchy goddamn chorus.\u003c/li>\n\u003c/ol>\n\u003cp>When the sufficiently pissed off songwriter brews these three together correctly, a special alchemy takes place and lightning strikes. (See: “You Outta Know” by Alanis Morissette, “F–k You” by CeeLo Green, Fleetwood Mac’s “Go Your Own Way,” etc.)\u003c/p>\n\u003cp>Enter San Francisco’s own \u003ca href=\"https://www.meganslankard.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Megan Slankard\u003c/a> and her new single “California”—a soaring breakup track that Slankard says should act as a “gentle reminder of why it might not be the best idea to date a songwriter.” It’s a song that checks all the breakup anthem boxes, sneaks up on you, then gets stuck in your head for days.\u003c/p>\n\u003cp>Within the first verse, Slankard is berating her ex for being a mama’s boy and running away from his issues. A single drumbeat runs underneath it all, hitting sporadically like closed fist punches. Then comes a dismissal—”\u003cem>You do what you’ve gotta, you take what you wanna\u003c/em>“—followed by a firm demand. “\u003cem>You’d better leave me with California\u003c/em>,” Slankard seethes. The whole thing takes off in Tom Petty-esque guitar flourishes, soulful excoriations and even some “\u003cem>na-na-na\u003c/em>“s to yell along with in a live setting.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The video is a love letter to San Francisco, with all its (literal) ups and downs.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=GfjI_Orb4Ks\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“California” is the first new music Slankard has released since the pandemic. The single is available on all platforms now and will also be on Slankard’s upcoming album\u003cem> California and Other Stories, \u003c/em>dropping Oct. 28. In the meantime, you can catch Slankard at \u003ca href=\"https://dice.fm/event/9dqe7-glen-phillips-of-toad-the-wet-sprocket-16th-sep-the-guild-theatre-menlo-park-tickets\">Menlo Park’s Guild Theater on Sept. 16\u003c/a> if you’d like do some cathartic singing along in person.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Welcome to Pass the Aux, where KQED Arts & Culture brings you our favorite new tracks by Bay Area artists. \u003ca href=\"https://www.kqed.org/arts/tag/pass-the-aux\" target=\"_blank\" rel=\"noopener noreferrer\">Check out past entries and submit a song for future coverage\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>There are three ingredients necessary to make a perfect breakup anthem.\u003c/p>\n\u003col>\n\u003cli>Bitterness with a soupçon of rage\u003c/li>\n\u003cli>Sharp jabs directed at the ex, and\u003c/li>\n\u003cli>A catchy goddamn chorus.\u003c/li>\n\u003c/ol>\n\u003cp>When the sufficiently pissed off songwriter brews these three together correctly, a special alchemy takes place and lightning strikes. (See: “You Outta Know” by Alanis Morissette, “F–k You” by CeeLo Green, Fleetwood Mac’s “Go Your Own Way,” etc.)\u003c/p>\n\u003cp>Enter San Francisco’s own \u003ca href=\"https://www.meganslankard.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Megan Slankard\u003c/a> and her new single “California”—a soaring breakup track that Slankard says should act as a “gentle reminder of why it might not be the best idea to date a songwriter.” It’s a song that checks all the breakup anthem boxes, sneaks up on you, then gets stuck in your head for days.\u003c/p>\n\u003cp>Within the first verse, Slankard is berating her ex for being a mama’s boy and running away from his issues. A single drumbeat runs underneath it all, hitting sporadically like closed fist punches. Then comes a dismissal—”\u003cem>You do what you’ve gotta, you take what you wanna\u003c/em>“—followed by a firm demand. “\u003cem>You’d better leave me with California\u003c/em>,” Slankard seethes. The whole thing takes off in Tom Petty-esque guitar flourishes, soulful excoriations and even some “\u003cem>na-na-na\u003c/em>“s to yell along with in a live setting.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The video is a love letter to San Francisco, with all its (literal) ups and downs.\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/GfjI_Orb4Ks'\n title='//www.youtube.com/embed/GfjI_Orb4Ks'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>“California” is the first new music Slankard has released since the pandemic. The single is available on all platforms now and will also be on Slankard’s upcoming album\u003cem> California and Other Stories, \u003c/em>dropping Oct. 28. In the meantime, you can catch Slankard at \u003ca href=\"https://dice.fm/event/9dqe7-glen-phillips-of-toad-the-wet-sprocket-16th-sep-the-guild-theatre-menlo-park-tickets\">Menlo Park’s Guild Theater on Sept. 16\u003c/a> if you’d like do some cathartic singing along in person.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Jada Imani’s ‘Rosa Parks’ is History with a Jazzy R&B Finish",
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"content": "\u003cp>The video for Jada Imani\u003cspan style=\"font-weight: 400\">’\u003c/span>s “\u003ca href=\"https://www.youtube.com/watch?v=EUXGDLZ5hF4\" target=\"_blank\" rel=\"noopener noreferrer\">Rosa Parks\u003c/a>” features black-and-white footage of civil rights-era marches spliced with modern-day shots of Imani sitting at a bus stop in West Oakland. At times she\u003cspan style=\"font-weight: 400\">’\u003c/span>s joyously dancing. In another instance Imani stares deadpan into the camera, a look that conveys more emotion than words.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Rosa Parks Official Music Video\" width=\"500\" height=\"375\" src=\"https://www.youtube.com/embed/EUXGDLZ5hF4?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“It’s very confrontational,” \u003ca href=\"https://www.instagram.com/jadaimani510/\" target=\"_blank\" rel=\"noopener noreferrer\">Jada Imani\u003c/a> tells me, noting the intended target of the glare are the folks who uphold the construct of white supremacy. Imani, who is originally from East St. Louis and raised in Oakland, says, “Black folks have been leading cultural and systemic revolutions for so long, and we’re still here and there’s still something to say. We’re not done.”\u003c/span>\u003c/p>\n\u003cp>The video, directed by \u003ca href=\"https://www.instagram.com/zoemountain/\" target=\"_blank\" rel=\"noopener noreferrer\">Zoe Mountain\u003c/a> and shot by \u003ca href=\"https://www.instagram.com/doreanraye/\" target=\"_blank\" rel=\"noopener noreferrer\">Dorean Raye,\u003c/a> combines the piercing gaze with Imani\u003cspan style=\"font-weight: 400\">’\u003c/span>s dancing jubilation, as well as archival footage of Black women smiling and putting their feet in the pool on the Washington Mall. It\u003cspan style=\"font-weight: 400\">’\u003c/span>s a complementary aesthetic for a track that has a classy, swing-jazz vibe with a modern, glossy R&B finish.\u003c/p>\n\u003cp>The song, which originally started off as a freestyle, features the guitar of \u003ca href=\"https://www.instagram.com/themisajames/\" target=\"_blank\" rel=\"noopener noreferrer\">Misa James \u003c/a>and was produced by \u003ca href=\"https://www.instagram.com/willrandolphv/\" target=\"_blank\" rel=\"noopener noreferrer\">Will Randolph V\u003c/a>. It\u003cspan style=\"font-weight: 400\">’\u003c/span>s featured on Imani\u003cspan style=\"font-weight: 400\">’\u003c/span>s latest EP\u003cem> \u003ca href=\"https://open.spotify.com/album/5cBKigC7xi5eqW8ME6ChFK\" target=\"_blank\" rel=\"noopener noreferrer\">JUBILEE II\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The entire project is both celebration and a call to action. This song in particular honors Rosa Parks by name, but Jada Imani says it\u003cspan style=\"font-weight: 400\">’\u003c/span>s an homage to numerous freedom fighters who came before us, including \u003ca href=\"https://www.npr.org/2009/03/15/101719889/before-rosa-parks-there-was-claudette-colvin\" target=\"_blank\" rel=\"noopener noreferrer\">Claudette Colvin\u003c/a>. [aside postid='arts_13917938']\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I think it’s really implant that we know about her because she sacrificed the same way Rosa Parks did, and a lot of people just don’t know her name,” says Imani, who made it a point to highlight Colvin’s story in \u003ca href=\"https://www.instagram.com/reel/ChSjWoPJsRp/?utm_source=ig_web_copy_link\" target=\"_blank\" rel=\"noopener noreferrer\">a recent Instagram post\u003c/a>. \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>On September 15, ten days after Colvin\u003cspan style=\"font-weight: 400\">’\u003c/span>s birthday and ten days before her own, Imani will bring her solemn stare, her joyful dancing and her catchy tunes into KQED\u003cspan style=\"font-weight: 400\">’\u003c/span>s headquarters for a performance alongside \u003ca href=\"https://www.instagram.com/salamirosejoelouis/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Salami Rose Joe Louis\u003c/a> and Imani\u003cspan style=\"font-weight: 400\">’\u003c/span>s \u003ca href=\"https://smartbomboakland.bandcamp.com/music\" target=\"_blank\" rel=\"noopener noreferrer\">SMARTBOMB \u003c/a>comrade \u003ca href=\"https://www.instagram.com/spotebreeze/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Spote Breeze\u003c/a>. \u003ca href=\"https://www.kqed.org/event/2387\" target=\"_blank\" rel=\"noopener noreferrer\">More info here\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The video for Jada Imani\u003cspan style=\"font-weight: 400\">’\u003c/span>s “\u003ca href=\"https://www.youtube.com/watch?v=EUXGDLZ5hF4\" target=\"_blank\" rel=\"noopener noreferrer\">Rosa Parks\u003c/a>” features black-and-white footage of civil rights-era marches spliced with modern-day shots of Imani sitting at a bus stop in West Oakland. At times she\u003cspan style=\"font-weight: 400\">’\u003c/span>s joyously dancing. In another instance Imani stares deadpan into the camera, a look that conveys more emotion than words.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Rosa Parks Official Music Video\" width=\"500\" height=\"375\" src=\"https://www.youtube.com/embed/EUXGDLZ5hF4?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“It’s very confrontational,” \u003ca href=\"https://www.instagram.com/jadaimani510/\" target=\"_blank\" rel=\"noopener noreferrer\">Jada Imani\u003c/a> tells me, noting the intended target of the glare are the folks who uphold the construct of white supremacy. Imani, who is originally from East St. Louis and raised in Oakland, says, “Black folks have been leading cultural and systemic revolutions for so long, and we’re still here and there’s still something to say. We’re not done.”\u003c/span>\u003c/p>\n\u003cp>The video, directed by \u003ca href=\"https://www.instagram.com/zoemountain/\" target=\"_blank\" rel=\"noopener noreferrer\">Zoe Mountain\u003c/a> and shot by \u003ca href=\"https://www.instagram.com/doreanraye/\" target=\"_blank\" rel=\"noopener noreferrer\">Dorean Raye,\u003c/a> combines the piercing gaze with Imani\u003cspan style=\"font-weight: 400\">’\u003c/span>s dancing jubilation, as well as archival footage of Black women smiling and putting their feet in the pool on the Washington Mall. It\u003cspan style=\"font-weight: 400\">’\u003c/span>s a complementary aesthetic for a track that has a classy, swing-jazz vibe with a modern, glossy R&B finish.\u003c/p>\n\u003cp>The song, which originally started off as a freestyle, features the guitar of \u003ca href=\"https://www.instagram.com/themisajames/\" target=\"_blank\" rel=\"noopener noreferrer\">Misa James \u003c/a>and was produced by \u003ca href=\"https://www.instagram.com/willrandolphv/\" target=\"_blank\" rel=\"noopener noreferrer\">Will Randolph V\u003c/a>. It\u003cspan style=\"font-weight: 400\">’\u003c/span>s featured on Imani\u003cspan style=\"font-weight: 400\">’\u003c/span>s latest EP\u003cem> \u003ca href=\"https://open.spotify.com/album/5cBKigC7xi5eqW8ME6ChFK\" target=\"_blank\" rel=\"noopener noreferrer\">JUBILEE II\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I think it’s really implant that we know about her because she sacrificed the same way Rosa Parks did, and a lot of people just don’t know her name,” says Imani, who made it a point to highlight Colvin’s story in \u003ca href=\"https://www.instagram.com/reel/ChSjWoPJsRp/?utm_source=ig_web_copy_link\" target=\"_blank\" rel=\"noopener noreferrer\">a recent Instagram post\u003c/a>. \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>On September 15, ten days after Colvin\u003cspan style=\"font-weight: 400\">’\u003c/span>s birthday and ten days before her own, Imani will bring her solemn stare, her joyful dancing and her catchy tunes into KQED\u003cspan style=\"font-weight: 400\">’\u003c/span>s headquarters for a performance alongside \u003ca href=\"https://www.instagram.com/salamirosejoelouis/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Salami Rose Joe Louis\u003c/a> and Imani\u003cspan style=\"font-weight: 400\">’\u003c/span>s \u003ca href=\"https://smartbomboakland.bandcamp.com/music\" target=\"_blank\" rel=\"noopener noreferrer\">SMARTBOMB \u003c/a>comrade \u003ca href=\"https://www.instagram.com/spotebreeze/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Spote Breeze\u003c/a>. \u003ca href=\"https://www.kqed.org/event/2387\" target=\"_blank\" rel=\"noopener noreferrer\">More info here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"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",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"meta": {
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"source": "Commonwealth Club of California"
},
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"title": "Forum",
"tagline": "The conversation starts here",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"officialWebsiteLink": "http://freakonomics.com/",
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"meta": {
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"source": "WNYC"
},
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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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},
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"id": "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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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"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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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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"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": {
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
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"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
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"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
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"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
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"officialWebsiteLink": "/perspectives/",
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
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