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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>Give me a simple kick drum, a snare, and some uplifting words and you’ve got my ear. End the song with cute kids clapping and singing about love and I’m sold.\u003c/p>\n\u003cp>Poo$ie’s 17-track album \u003ca href=\"https://open.spotify.com/album/4CBNoUjrSd1DuOXYgiwhc4?autoplay=true\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Still Ain’t Easy\u003c/em>\u003c/a> contains notable features, uptempo bangers and joints to ride to. But he chose “\u003ca href=\"https://www.youtube.com/watch?v=mOGYyK9r-rg\" target=\"_blank\" rel=\"noopener noreferrer\">Words Don’t Hurt\u003c/a>” (featuring Pimping P & D. Marie, and produced by \u003ca href=\"https://www.instagram.com/ogjarin/\" target=\"_blank\" rel=\"noopener noreferrer\">OG Jarin\u003c/a>) as his lead single because it represents where he is as an artist at this point in life, he says.\u003c/p>\n\u003cp>“This song meant the most to me,” Poo$ie tells me of the a catchy, uplifting track. “It’s my favorite song off the album.”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Poo$ie - Words Don't Hurt feat. Pimping P & D. Marie (prod. OG Jarin)\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/mOGYyK9r-rg?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Poo$ie’s three-year-old son Zavion (or “Yuckaman”) is one of the children featured at the end of the song, as well as the video, shot and edited by \u003ca href=\"https://www.instagram.com/seanietsunami300/\" target=\"_blank\" rel=\"noopener noreferrer\">Sean Muniz\u003c/a>. “The chant at the end, my son came up with that part,” says Poo$ie. “But he didn’t want to be in the video until the other kids came; when his cousins came, it was over.”\u003c/p>\n\u003cp>Poo$ie, originally from New Orleans’ 8th Ward, is as family-oriented as his son. After Hurricane Katrina, he found a second home and extended family in Oakland, particularly through attending McClymonds High School and within hip-hop circles in the Bay Area.\u003c/p>\n\u003cfigure id=\"attachment_13917945\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13917945 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/IMG_0971-800x533.jpeg\" alt=\"Poo$ie performs in front of a live crowd at Cornerstone in Berkeley.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/IMG_0971-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/IMG_0971-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/IMG_0971-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/IMG_0971-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/IMG_0971-1536x1024.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/IMG_0971-2048x1365.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/IMG_0971-1920x1280.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Poo$ie performs in front of a live crowd at Cornerstone in Berkeley. \u003ccite>(Joshua Lee Kennedy / @Sadfiphotoz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>All of that influence comes through on \u003cem>Still Ain’t Easy\u003c/em>, an album sprinkled with references to family and friends and guest appearances from talented people in Poo$ie’s network. 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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>Before performing together in backyards, sheds and basements, the members of San Jose band \u003ca href=\"https://star99.bandcamp.com/album/star-99\" target=\"_blank\" rel=\"noopener noreferrer\">Star 99\u003c/a> spent their younger years exploring the South Bay’s small but sturdy indie punk scene. Saoirse Alesandro, Jeremy Romero, Thomas Romero and Chris Gough attended shows, danced and headbanged together to the loud, energetic songs of their favorite bands Shinobu and Algernon Cadwallader.\u003c/p>\n\u003cp>Now, years later, they make their own music—emerging into the punk archive they grew up admiring. On July 10, they released their latest project \u003cem>STAR 99\u003c/em>, featuring three songs titled “Born to Run,” “Vegas” and “Wyoming.”\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=911153190/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>Upon first listen, Star 99’s songs start and end in a flurry, reading like jumbled diary entries set to blaring instrumentals that swell to satisfying resolutions. “All of the lyrics are from my journal,” Saoirse, the band’s lead vocalist confirms, describing the song making process as an “exorcism.” She pulls from her most personal thoughts and, with her bandmates, tinkers with them to various chord progressions until something clicks.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Like much of the band’s discography, “Vegas” builds on the melodic qualities of ’90s pop punk and indie rock, with fast and hard drums, a deep, hypnotic bassline, cranked-up guitar riffs and angsty lyrics that transport listeners to their teenage years. [aside postid='arts_13916282']\u003c/p>\n\u003cp>“And beautiful as ever, you’re the smell of the air in December / And everything got fucked up but school starts again in September / And no one’s allowed into my room,” Alesandro sings.\u003c/p>\n\u003cp>While this single retains some of the playfulness of Star 99’s 2021 debut EP \u003cem>My Year in Lists\u003c/em>, “Born to Run” experiments with slower melodies that emphasize the wistful tenderness of past relationships: “T-shirts huddled in corners in warehouse rooms / Pick through a pile and find it soon / Reno’s got casinos and I’ve got you / The morning when we’re waking up / The coffee grows cold in the cup.”\u003c/p>\n\u003cp>Alesandro attributes this newfound slowness in their songs to the growing comfort between the bandmates as they learn how to work together musically. While their first EP was about travel, uncertainty and movement, Star 99’s evolving security in playing with each other led to more reflections on stillness and connection.\u003c/p>\n\u003cp>“Now, I feel like we can butt heads and still love each other,” says Saoirse. “And, I think how much we love each other kind of comes through, which is fun.”\u003c/p>\n\u003cp>The band’s love for punk extends to the greater local scene, as they hope to continue playing shows accessible to all ages. Once free-spirited teen punks themselves, they aim to nurture newer generations of people with love for the music that raised them.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.instagram.com/p/CgQhIoDLqoc/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Star 99 begins touring this August\u003c/a>, with shows in Corvallis, Seattle, Portland, Fresno and Los Angeles. \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>Before performing together in backyards, sheds and basements, the members of San Jose band \u003ca href=\"https://star99.bandcamp.com/album/star-99\" target=\"_blank\" rel=\"noopener noreferrer\">Star 99\u003c/a> spent their younger years exploring the South Bay’s small but sturdy indie punk scene. Saoirse Alesandro, Jeremy Romero, Thomas Romero and Chris Gough attended shows, danced and headbanged together to the loud, energetic songs of their favorite bands Shinobu and Algernon Cadwallader.\u003c/p>\n\u003cp>Now, years later, they make their own music—emerging into the punk archive they grew up admiring. On July 10, they released their latest project \u003cem>STAR 99\u003c/em>, featuring three songs titled “Born to Run,” “Vegas” and “Wyoming.”\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=911153190/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>Upon first listen, Star 99’s songs start and end in a flurry, reading like jumbled diary entries set to blaring instrumentals that swell to satisfying resolutions. “All of the lyrics are from my journal,” Saoirse, the band’s lead vocalist confirms, describing the song making process as an “exorcism.” She pulls from her most personal thoughts and, with her bandmates, tinkers with them to various chord progressions until something clicks.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“And beautiful as ever, you’re the smell of the air in December / And everything got fucked up but school starts again in September / And no one’s allowed into my room,” Alesandro sings.\u003c/p>\n\u003cp>While this single retains some of the playfulness of Star 99’s 2021 debut EP \u003cem>My Year in Lists\u003c/em>, “Born to Run” experiments with slower melodies that emphasize the wistful tenderness of past relationships: “T-shirts huddled in corners in warehouse rooms / Pick through a pile and find it soon / Reno’s got casinos and I’ve got you / The morning when we’re waking up / The coffee grows cold in the cup.”\u003c/p>\n\u003cp>Alesandro attributes this newfound slowness in their songs to the growing comfort between the bandmates as they learn how to work together musically. While their first EP was about travel, uncertainty and movement, Star 99’s evolving security in playing with each other led to more reflections on stillness and connection.\u003c/p>\n\u003cp>“Now, I feel like we can butt heads and still love each other,” says Saoirse. “And, I think how much we love each other kind of comes through, which is fun.”\u003c/p>\n\u003cp>The band’s love for punk extends to the greater local scene, as they hope to continue playing shows accessible to all ages. Once free-spirited teen punks themselves, they aim to nurture newer generations of people with love for the music that raised them.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.instagram.com/p/CgQhIoDLqoc/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Star 99 begins touring this August\u003c/a>, with shows in Corvallis, Seattle, Portland, Fresno and Los Angeles. \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>The summer I turned 20, I entered a tumultuous period of transition: rejoicing in new freedoms one moment and mourning the loss of my childhood the next. In the years that followed, I fumbled in the dark, trying to figure out what it meant to be a real adult. It’s an ongoing, confusing process I saw mirrored in \u003ca href=\"https://www.youtube.com/channel/UCjik5GHHJ0khtx4pidBIx4g/videos\" target=\"_blank\" rel=\"noopener noreferrer\">2Chang\u003c/a>’s \u003ca href=\"https://www.theweatherinside.org/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Weather Inside\u003c/em>\u003c/a>, a new EP and five-part music video series the Berkeley-raised duo released in May.\u003c/p>\n\u003cp>2Chang, composed of brothers Jonny and Solomon Chang, experiment with dreamy, hypnotic visuals and melodic rap to explore themes of mental health, race, identity and the pressures of growing up.\u003c/p>\n\u003cp>https://youtu.be/tvZvniBa-y8\u003c/p>\n\u003cp>Their music video “Normal” opens with a close-up shot of Jonny’s hands bound by thick, green rope as a quick, rhythmic tapping plays. As he unfurls the rope bit by bit, the tapping continues relentlessly, like the thump of an anxious heart. Soon after, he releases himself and bolts from a pair of masked captors, fleeing through liminal landscapes drenched in muted shades of green and purple.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Not new, not normal, no news / I be in my brain, no clue,” Jonny raps in a voice as subdued as his surroundings. The song is slow and syrupy, delivered as if in a daze.\u003c/p>\n\u003cp>In contrast to “Normal,” the third episode, “Plant,” features upbeat instrumentals reminiscent of a Pokémon game with a highly saturated color palette of yellows, oranges and greens. Jonny’s voice is nostalgic as he longs for the past—for summers filled with heat, play and innocence. [aside postid='arts_13916130']\u003c/p>\n\u003cp>“No clocking hours / No vacays / Let me fall into something else that ain’t payday.”\u003c/p>\n\u003cp>Then, as a collage of videos and photos of the brothers as children flit across the screen, Jonny raps:\u003c/p>\n\u003cp>“Remind myself I am a body / Remind myself I am somebody.”\u003c/p>\n\u003cp>The deeply personal and reflective project is a culmination of years of writing, introspection and collaboration. For the brothers, looking backward is their way of moving forward—and their art is a means to navigate the uncertainty of this journey.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://youtu.be/LfYLKv0K640\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>The summer I turned 20, I entered a tumultuous period of transition: rejoicing in new freedoms one moment and mourning the loss of my childhood the next. In the years that followed, I fumbled in the dark, trying to figure out what it meant to be a real adult. It’s an ongoing, confusing process I saw mirrored in \u003ca href=\"https://www.youtube.com/channel/UCjik5GHHJ0khtx4pidBIx4g/videos\" target=\"_blank\" rel=\"noopener noreferrer\">2Chang\u003c/a>’s \u003ca href=\"https://www.theweatherinside.org/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Weather Inside\u003c/em>\u003c/a>, a new EP and five-part music video series the Berkeley-raised duo released in May.\u003c/p>\n\u003cp>2Chang, composed of brothers Jonny and Solomon Chang, experiment with dreamy, hypnotic visuals and melodic rap to explore themes of mental health, race, identity and the pressures of growing up.\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/tvZvniBa-y8'\n title='//www.youtube.com/embed/tvZvniBa-y8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Their music video “Normal” opens with a close-up shot of Jonny’s hands bound by thick, green rope as a quick, rhythmic tapping plays. As he unfurls the rope bit by bit, the tapping continues relentlessly, like the thump of an anxious heart. Soon after, he releases himself and bolts from a pair of masked captors, fleeing through liminal landscapes drenched in muted shades of green and purple.\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>The pandemic untethered many people from their routines and inspired them to adventure outdoors. San Francisco musician Lilly Blakeslee traversed secluded nature spots where she developed a newfound relationship with music alongside her bandmate and guitarist, Sam Jones. Their folk music project, \u003ca href=\"https://singsingsoundsystem.bandcamp.com/album/enter-the-green-beyond\" target=\"_blank\" rel=\"noopener noreferrer\">Lillipond\u003c/a>, was organically born out of the artists’ need to escape and create.\u003c/p>\n\u003cp>Blakeslee grew up playing classical violin but grew disenchanted with its rigidity. So, as the quarantine continued, she and Jones improvised new and classic folk songs in their rooms and outside. “Everything at that time felt very unknown, so we turned to music and art as an escapism,” says Blakeslee. “Those first two weeks were very creatively fruitful.”\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=3294730585/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>Lillipond’s debut EP \u003ci>Enter the Green Beyond\u003c/i> is ripe with escapist undertones. The intro track, “When the rain comes down,” features Blakeslee’s voice harmonizing into a shy choir. A slow, slapping folk percussion builds to an up-tempo enchantment of psychedelic strings and wind-swept cymbals.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Throughout the EP, there’s a quiet yet urgent longing to find solace in nature. “I wanna go where the wind goes. I wanna go where the flowers grow,” Blakeslee croons in “Where the flowers grow,” conjuring images of the singer running through a meadow.\u003c/p>\n\u003cp>“Stuck Inside” is an optimistic indie dance ballad where Blakeslee repeats “I wanna go outside with you” amidst waxing, psychedelic synths. “Its playful simplicity is a tongue-in-cheek contrast to the darkness looming at the time,” she explains. “Though it is also a genuine expression of the creative burst we were feeling, and our attempt to write a more lighthearted pop song.” [aside postid='arts_13915823']\u003c/p>\n\u003cp>The collaboration took Blakeslee and Jones to Prague in the summer of 2021, where they met a community of artists under the label \u003ca href=\"https://singsingsoundsystem.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Sing Sing Soundsystem\u003c/a> who helped them master and release the \u003ci>Enter the Green Beyond\u003c/i> EP.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Sing Sing Soundsystem is a collective that highlights young artists, and we feel honored to be included amongst such talented folks,” Blakeslee says. “It all happened very spontaneously, which felt true to the way the songs were created.”\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>The pandemic untethered many people from their routines and inspired them to adventure outdoors. San Francisco musician Lilly Blakeslee traversed secluded nature spots where she developed a newfound relationship with music alongside her bandmate and guitarist, Sam Jones. Their folk music project, \u003ca href=\"https://singsingsoundsystem.bandcamp.com/album/enter-the-green-beyond\" target=\"_blank\" rel=\"noopener noreferrer\">Lillipond\u003c/a>, was organically born out of the artists’ need to escape and create.\u003c/p>\n\u003cp>Blakeslee grew up playing classical violin but grew disenchanted with its rigidity. So, as the quarantine continued, she and Jones improvised new and classic folk songs in their rooms and outside. “Everything at that time felt very unknown, so we turned to music and art as an escapism,” says Blakeslee. “Those first two weeks were very creatively fruitful.”\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=3294730585/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>Lillipond’s debut EP \u003ci>Enter the Green Beyond\u003c/i> is ripe with escapist undertones. The intro track, “When the rain comes down,” features Blakeslee’s voice harmonizing into a shy choir. A slow, slapping folk percussion builds to an up-tempo enchantment of psychedelic strings and wind-swept cymbals.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The collaboration took Blakeslee and Jones to Prague in the summer of 2021, where they met a community of artists under the label \u003ca href=\"https://singsingsoundsystem.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Sing Sing Soundsystem\u003c/a> who helped them master and release the \u003ci>Enter the Green Beyond\u003c/i> EP.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Sing Sing Soundsystem is a collective that highlights young artists, and we feel honored to be included amongst such talented folks,” Blakeslee says. “It all happened very spontaneously, which felt true to the way the songs were created.”\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>There are plenty of songs about romantic breakups, but what about the loss of friendship or family, which can be just as painful, if not more so? A new track from the band \u003ca href=\"https://brijean.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Brijean\u003c/a>, “Caldwell’s Way,” conjures that feeling of platonic longing.\u003c/p>\n\u003cp>https://youtu.be/QEQ4DrBo2OY\u003c/p>\n\u003cp>“Caldwell’s Way” is a much more downcast track than what we’re used to hearing from this duo. Typically, Brijean make upbeat, house and disco-inspired dance tracks with a retro sound. They’re powered by lead singer Brijean Murphy’s incredibly dexterous conga playing, which she first learned from her dad Patrick Murphy, who once played with greats like Tito Puente.\u003c/p>\n\u003cp>Brijean Murphy came up as a touring percussionist with Toro y Moi and Poolside before joining her partner Doug Stuart on the project Brijean. Stuart—a bassist, keyboard player, producer and composer—has credits in lots of different projects, including Oakland indie rock band Bells Atlas. [aside postid='arts_13893303']\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Caldwell’s Way” is the latest track off Brijean’s forthcoming EP \u003cem>Angelo\u003c/em>, which comes out on Aug. 5. Played on a movie soundtrack, the song could accompany a main character gazing out a train window and contemplating life. The duo wrote it after facing the loss of both of Stuart’s parents and Murphy’s dad, and the loss of community they felt after moving away from the Bay Area, where they spent the past 10 years.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Many of us are dealing with a lot of loss and change as well, and this is the kind of song you can lean your head on.\u003c/p>\n\n",
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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>As the first song on \u003cem>\u003ca href=\"https://oona.bandcamp.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Ruin\u003c/a>\u003c/em>, the latest EP from Oakland singer \u003ca href=\"https://www.instagram.com/oonaruin/\" rel=\"noopener noreferrer\" target=\"_blank\">Oona\u003c/a>, “\u003ca href=\"https://www.youtube.com/watch?v=BvlaCQtRobY\" rel=\"noopener noreferrer\" target=\"_blank\">Don’t Look Down\u003c/a>” had already gotten a few plays around my house before this past Tuesday, effectively working as nice background music. \u003c/p>\n\u003cp>Then came Wednesday morning, after the second-deadliest school shooting in America. The world should be stopping after the violent deaths of 19 children, but instead I was driving into work. I decided to play the song again, listening close this time. \u003c/p>\n\u003cp>I know that moments of despair can open one’s heart wide to any possible beauty, and magnify it, even exaggerate it. But Oona’s distant, cracking voice filled the car, and her words about broken hearts and lost innocence and fallen tears hit me right in the gut, the way only the perfect song at the perfect time can do.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=BvlaCQtRobY\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>When my elementary school-aged daughter is with me in the car for moments like this, she makes fun of my “leaky eyeball.” On Wednesday, as I kept replaying “Don’t Look Down” while my daughter sat miles away in a classroom, the tears came from imagining what these children in Texas, age 7 to 10, saw and felt and thought in their last five horrific minutes alive.\u003c/p>\n\u003cp>[aside postID='arts_13913938']In one instant, “Don’t Look Down” had gone from a nice background song to a cutting lament for lost innocence, and for the way adulthood wraps us in protective naïveté. We grow older, we grow higher, and we cannot look down at our past selves, those idealized dreamers of yesterday. No—we are grown-ups, a nation of Icaruses flying too close to the sun, horse blinders blocking out tragedy, don’t look down, don’t look down, keep flying, keep doing the “right thing,” keep making money, keep voting for the approved candidates, with our head so high, full of foolish pride, keep buying new cars, keep up, keep up, keep up, higher, higher…\u003c/p>\n\u003cp>Until suddenly, one day, 19 children are dead, bodies ripped apart by bullets, never to go home again. And we have to face facts, fall back to reality, lose our hearts, and finally, look down at what’s happened—while we’d flown higher and higher, ceaselessly against common sense, willfully ignoring the American reality of sanctioned death.\u003c/p>\n\u003cp>Was “Don’t Look Down” written about mass shootings? I could contact Oona and ask—but sometimes songs mean what they mean to the listener, and after this week, that’s how I’ll always hear it. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\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>As the first song on \u003cem>\u003ca href=\"https://oona.bandcamp.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Ruin\u003c/a>\u003c/em>, the latest EP from Oakland singer \u003ca href=\"https://www.instagram.com/oonaruin/\" rel=\"noopener noreferrer\" target=\"_blank\">Oona\u003c/a>, “\u003ca href=\"https://www.youtube.com/watch?v=BvlaCQtRobY\" rel=\"noopener noreferrer\" target=\"_blank\">Don’t Look Down\u003c/a>” had already gotten a few plays around my house before this past Tuesday, effectively working as nice background music. \u003c/p>\n\u003cp>Then came Wednesday morning, after the second-deadliest school shooting in America. The world should be stopping after the violent deaths of 19 children, but instead I was driving into work. I decided to play the song again, listening close this time. \u003c/p>\n\u003cp>I know that moments of despair can open one’s heart wide to any possible beauty, and magnify it, even exaggerate it. But Oona’s distant, cracking voice filled the car, and her words about broken hearts and lost innocence and fallen tears hit me right in the gut, the way only the perfect song at the perfect time can do.\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/BvlaCQtRobY'\n title='//www.youtube.com/embed/BvlaCQtRobY'\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>When my elementary school-aged daughter is with me in the car for moments like this, she makes fun of my “leaky eyeball.” On Wednesday, as I kept replaying “Don’t Look Down” while my daughter sat miles away in a classroom, the tears came from imagining what these children in Texas, age 7 to 10, saw and felt and thought in their last five horrific minutes alive.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In one instant, “Don’t Look Down” had gone from a nice background song to a cutting lament for lost innocence, and for the way adulthood wraps us in protective naïveté. We grow older, we grow higher, and we cannot look down at our past selves, those idealized dreamers of yesterday. No—we are grown-ups, a nation of Icaruses flying too close to the sun, horse blinders blocking out tragedy, don’t look down, don’t look down, keep flying, keep doing the “right thing,” keep making money, keep voting for the approved candidates, with our head so high, full of foolish pride, keep buying new cars, keep up, keep up, keep up, higher, higher…\u003c/p>\n\u003cp>Until suddenly, one day, 19 children are dead, bodies ripped apart by bullets, never to go home again. And we have to face facts, fall back to reality, lose our hearts, and finally, look down at what’s happened—while we’d flown higher and higher, ceaselessly against common sense, willfully ignoring the American reality of sanctioned death.\u003c/p>\n\u003cp>Was “Don’t Look Down” written about mass shootings? I could contact Oona and ask—but sometimes songs mean what they mean to the listener, and after this week, that’s how I’ll always hear it. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>Welcome to Pass the Aux, where KQED Arts & Culture brings you our favorite new tracks by Bay Area artists. Check out past entries and submit a song for future coverage \u003ca href=\"https://www.kqed.org/arts/tag/pass-the-aux\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>The last two years have been colored by loss and grief for so many—whether the literal loss of loved ones, or the profound reckoning the pandemic has forced on so many people’s careers, health, living spaces or social communities.\u003c/p>\n\u003cp>Bean Tupou, guitarist and vocalist of the Bay Area indie punk outfit \u003ca href=\"https://trythepie.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Try the Pie\u003c/a>, is no different. “I lost some family members and friends in 2020, so connecting with my family was a big part of my life during the pandemic,” says Tupou, who grew up in San Jose and moved to San Francisco in 2016. “Those losses took me a while to work through.”\u003c/p>\n\u003cp>“New Dust,” Try the Pie’s first new release since their excellent 2015 full-length \u003cem>Domestication\u003c/em>, approaches the topic with a deceptive sweetness. An uptempo, melodic grunge track with heavy guitars, harmonies and an earworm of a hook, it culminates in a cacophony of reverb before Tupou delivers the final refrain: “And it scares me to know that I’m like dust / and it scares me to know that I’m exactly what you want.” It all calls to mind the sweet-salty pull of ’90s indie titans like Juliana Hatfield or the Breeders.\u003c/p>\n\u003cp>“It’s based on fleeting thoughts someone might have specifically after a loved one dies,” says Tupou. “I think it’s more of a reflection of how beautiful it can be to be close to someone and how finite that is.”\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/track=2970449998/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>Recorded with \u003ca href=\"https://www.kqed.org/arts/13900577/interns-turned-engineers-take-the-reins-at-sfs-historic-different-fur-studios\" target=\"_blank\" rel=\"noopener noreferrer\">Different Fur’s Grace Coleman\u003c/a> at El Studio in San Francisco, the track shows off the new full-band sound after a few years as mostly a solo act: Bailey Lupo joined the band on bass in 2015, and second guitarist Laine Barriga joined in 2018; drummer Nick Lopez and Tupou are original members.\u003c/p>\n\u003cp>“New Dust” is also Try the Pie’s first release since signing to the Philadelphia-based, queer-run label \u003ca href=\"https://getbetterrecords.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Get Better Records\u003c/a>, a move that Tupou says has opened up new possibilities for the group, adding that they have plans to release more music within the year. So no, fans won’t have to wait until 2029 for the next record. [aside postid='arts_11884077']\u003c/p>\n\u003cp>“The last seven years, personally, were a huge period of both growth and change for me, and I was definitely focused on other aspects of my life (aside from music), and I honestly felt out of practice and out of touch in some ways,” says Tupou. “Signing with them has helped me get back on the horse.”\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. Check out past entries and submit a song for future coverage \u003ca href=\"https://www.kqed.org/arts/tag/pass-the-aux\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>The last two years have been colored by loss and grief for so many—whether the literal loss of loved ones, or the profound reckoning the pandemic has forced on so many people’s careers, health, living spaces or social communities.\u003c/p>\n\u003cp>Bean Tupou, guitarist and vocalist of the Bay Area indie punk outfit \u003ca href=\"https://trythepie.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Try the Pie\u003c/a>, is no different. “I lost some family members and friends in 2020, so connecting with my family was a big part of my life during the pandemic,” says Tupou, who grew up in San Jose and moved to San Francisco in 2016. “Those losses took me a while to work through.”\u003c/p>\n\u003cp>“New Dust,” Try the Pie’s first new release since their excellent 2015 full-length \u003cem>Domestication\u003c/em>, approaches the topic with a deceptive sweetness. An uptempo, melodic grunge track with heavy guitars, harmonies and an earworm of a hook, it culminates in a cacophony of reverb before Tupou delivers the final refrain: “And it scares me to know that I’m like dust / and it scares me to know that I’m exactly what you want.” It all calls to mind the sweet-salty pull of ’90s indie titans like Juliana Hatfield or the Breeders.\u003c/p>\n\u003cp>“It’s based on fleeting thoughts someone might have specifically after a loved one dies,” says Tupou. “I think it’s more of a reflection of how beautiful it can be to be close to someone and how finite that is.”\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/track=2970449998/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>Recorded with \u003ca href=\"https://www.kqed.org/arts/13900577/interns-turned-engineers-take-the-reins-at-sfs-historic-different-fur-studios\" target=\"_blank\" rel=\"noopener noreferrer\">Different Fur’s Grace Coleman\u003c/a> at El Studio in San Francisco, the track shows off the new full-band sound after a few years as mostly a solo act: Bailey Lupo joined the band on bass in 2015, and second guitarist Laine Barriga joined in 2018; drummer Nick Lopez and Tupou are original members.\u003c/p>\n\u003cp>“New Dust” is also Try the Pie’s first release since signing to the Philadelphia-based, queer-run label \u003ca href=\"https://getbetterrecords.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Get Better Records\u003c/a>, a move that Tupou says has opened up new possibilities for the group, adding that they have plans to release more music within the year. So no, fans won’t have to wait until 2029 for the next record. \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 class=\"title style-scope ytd-video-primary-info-renderer\">With high-reaching, elegant vocals and ghostly runs, East Bay-raised, L.A.-based artist Kadhja Bonet is back with her latest single “\u003ca href=\"https://www.youtube.com/watch?v=6nEvNpeV8RI\" target=\"_blank\" rel=\"noopener noreferrer\">Dear Gina.\u003c/a>” To fully understand this track you have to listen to its companion piece, “\u003ca href=\"https://www.youtube.com/watch?v=uM5zJ9cyrL8\" target=\"_blank\" rel=\"noopener noreferrer\">Delphine\u003c/a>,” off of Bonet’s 2018 album, \u003cem>\u003ca href=\"https://www.npr.org/2018/05/31/614967412/first-listen-kadhja-bonet-childqueen\" target=\"_blank\" rel=\"noopener noreferrer\">Childqueen\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>The older song is about person who leaves a mysterious letter behind while exiting a relationship. Bonet says that she wanted to “capture the feeling of your stomach dropping out when you learn something you aren’t prepared for, and the swirl of the void that follows.” On her latest track, Bonet delves deeper into the content of the letter.\u003c/p>\n\u003cp>“Dear Gina, you have a spark / You’ll keep it bright through the dark / And I will be so happy to see you light / Wherever you’re headed though it’s not for me,” sings Bonet, who says the song centers on an overly gentle break up—drawn from a personal experience.\u003c/p>\n\u003cp>A Berkeley High School graduate who was raised in San Pablo, Bonet sings in a way that sounds like sunlight glimmering off of an expensive chandelier. The video that accompanies “Dear Gina” includes an interpretive dance done by a duo in front of cloth backdrops illuminated in hues of blue, indigo and violet.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Bonet, who released another single titled “\u003ca href=\"https://www.youtube.com/watch?v=HeCDLAFAAIE\" target=\"_blank\" rel=\"noopener noreferrer\">For You\u003c/a>” in the fall of last year (and a \u003ca href=\"https://www.youtube.com/watch?app=desktop&v=CPJysLNfEm0\" target=\"_blank\" rel=\"noopener noreferrer\">video earlier this year\u003c/a>), says these individual songs are separate from the full project she’s working on, which will be released at a later date.\u003c/p>\n\u003cp>After the success of her previous work, and noted collaborations with the likes of \u003ca href=\"https://www.youtube.com/watch?v=oEQlFNF8bQs\" target=\"_blank\" rel=\"noopener noreferrer\">Anderson .Paak\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=1TgkE-PPG-w\" target=\"_blank\" rel=\"noopener noreferrer\">SiR\u003c/a>, there’s growing anticipation for Bonet’s next album.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=6nEvNpeV8RI\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \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 class=\"title style-scope ytd-video-primary-info-renderer\">With high-reaching, elegant vocals and ghostly runs, East Bay-raised, L.A.-based artist Kadhja Bonet is back with her latest single “\u003ca href=\"https://www.youtube.com/watch?v=6nEvNpeV8RI\" target=\"_blank\" rel=\"noopener noreferrer\">Dear Gina.\u003c/a>” To fully understand this track you have to listen to its companion piece, “\u003ca href=\"https://www.youtube.com/watch?v=uM5zJ9cyrL8\" target=\"_blank\" rel=\"noopener noreferrer\">Delphine\u003c/a>,” off of Bonet’s 2018 album, \u003cem>\u003ca href=\"https://www.npr.org/2018/05/31/614967412/first-listen-kadhja-bonet-childqueen\" target=\"_blank\" rel=\"noopener noreferrer\">Childqueen\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>The older song is about person who leaves a mysterious letter behind while exiting a relationship. Bonet says that she wanted to “capture the feeling of your stomach dropping out when you learn something you aren’t prepared for, and the swirl of the void that follows.” On her latest track, Bonet delves deeper into the content of the letter.\u003c/p>\n\u003cp>“Dear Gina, you have a spark / You’ll keep it bright through the dark / And I will be so happy to see you light / Wherever you’re headed though it’s not for me,” sings Bonet, who says the song centers on an overly gentle break up—drawn from a personal experience.\u003c/p>\n\u003cp>A Berkeley High School graduate who was raised in San Pablo, Bonet sings in a way that sounds like sunlight glimmering off of an expensive chandelier. The video that accompanies “Dear Gina” includes an interpretive dance done by a duo in front of cloth backdrops illuminated in hues of blue, indigo and violet.\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. Check out past entries and submit a song for future coverage \u003ca href=\"https://www.kqed.org/arts/tag/pass-the-aux\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"https://www.fantasticnegrito.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Fantastic Negrito\u003c/a>’s rise has been fascinating to watch. And now that it’s been several years since he ascended from street busker to Grammy winner, the Oakland blues musician isn’t resting on his laurels. On the contrary, he’s coming out with some of the most compelling work of his career—songs that chew on some of the heaviest issues of our time, and move both body and mind.\u003c/p>\n\u003cp>Late last year, Fantastic Negrito and Oakland country singer Miko Marks teamed up for “\u003ca href=\"https://www.kqed.org/news/11888465/happiest-climate-change-song-ever-fantastic-negrito-and-rolling-through-california\" target=\"_blank\" rel=\"noopener noreferrer\">Rollin’ Through California\u003c/a>,” a foot-stomping, organ-driven track that takes stock of the damage from our state’s rampant wildfires. (Watch him and his band \u003ca href=\"https://www.youtube.com/watch?v=TjlIQOhiGlw\" target=\"_blank\" rel=\"noopener noreferrer\">perform it live at KQED’s headquarters\u003c/a>.)\u003c/p>\n\u003cp>And today, Fantastic Negrito dropped his new single and video for “Highest Bidder,” which—with lyrics in the vein of D’Angelo’s classic “\u003ca href=\"https://www.youtube.com/watch?v=nbG4QYKzRZE\" target=\"_blank\" rel=\"noopener noreferrer\">Devil’s Pie\u003c/a>”—remarks at the corruption of America’s unbridled capitalism. “Ohhh that bank is a serial killer / Trying to build more prisons for your children,” Fantastic Negrito sings in a falsetto to an African drum pattern and funk guitar.\u003c/p>\n\u003cp>https://youtu.be/QYtQO_rErxY\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Along with the music video release, Fantastic Negrito announced his new visual album, \u003cem>White Jesus Black Problems\u003c/em>, which comes out June 3. It’s a historical concept album and film that reimagines a love story between Fantastic Negrito’s seven-times-great-grandparents, a Scottish indentured servant and an enslaved man from Africa. Fantastic Negrito often references how he gets his courage from his ancestors.\u003c/p>\n\u003cp>“We have to rise to the challenge. I believe that, and I come from a long line of people who have done that,” \u003ca href=\"https://www.kqed.org/arts/13893043/how-rexx-life-raj-fantastic-negrito-and-salami-rose-joe-louis-pivoted-from-touring\" target=\"_blank\" rel=\"noopener noreferrer\">he told me a year ago\u003c/a> when I asked how he was faring in the pandemic. This should be one of the artist’s most revealing projects yet.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://youtu.be/Y37a91WvLwY\u003c/p>\n\n",
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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. Check out past entries and submit a song for future coverage \u003ca href=\"https://www.kqed.org/arts/tag/pass-the-aux\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>Oakland is more than Lake Merritt and sideshows; there are plenty of other gems in the ’hood. The music video to\u003ca class=\"c-link\" href=\"https://www.instagram.com/brycesavoy510/\" target=\"_blank\" rel=\"noopener noreferrer\" data-stringify-link=\"https://www.instagram.com/brycesavoy510/\" data-sk=\"tooltip_parent\" data-remove-tab-index=\"true\"> Bryce Savoy\u003c/a>’s “\u003ca class=\"c-link\" href=\"https://www.youtube.com/watch?v=1vQ7t3Fm6Ic\" target=\"_blank\" rel=\"noopener noreferrer\" data-stringify-link=\"https://www.youtube.com/watch?v=1vQ7t3Fm6Ic\" data-sk=\"tooltip_parent\" data-remove-tab-index=\"true\">Alotta That\u003c/a>,” (directed by\u003ca class=\"c-link\" href=\"https://www.instagram.com/3bmaly/\" target=\"_blank\" rel=\"noopener noreferrer\" data-stringify-link=\"https://www.instagram.com/3bmaly/\" data-sk=\"tooltip_parent\" data-remove-tab-index=\"true\"> G Maly\u003c/a>) takes viewers to the landmark locations of Skyline High School’s gymnasium, Montclair Park’s tennis courts and the Lake Chabot Golf Course. These places play host as East Oakland’s Bryce Savoy and North Oakland’s \u003ca class=\"c-link\" href=\"https://www.instagram.com/legendvry1/\" target=\"_blank\" rel=\"noopener noreferrer\" data-stringify-link=\"https://www.instagram.com/legendvry1/\" data-sk=\"tooltip_parent\" data-remove-tab-index=\"true\">Legendvry\u003c/a> trade bars on the uptempo track, with heavy drums and smooth synths produced by\u003ca class=\"c-link\" href=\"https://www.instagram.com/drewwwbanga/\" target=\"_blank\" rel=\"noopener noreferrer\" data-stringify-link=\"https://www.instagram.com/drewwwbanga/\" data-sk=\"tooltip_parent\" data-remove-tab-index=\"true\"> Drew Banga\u003c/a>. (Banga, an ever-active producer extraordinaire, is known for his work with G-Eazy, Kamaiyah and, most recently, \u003ca href=\"https://www.youtube.com/watch?v=6f98EpVr8FQ\" target=\"_blank\" rel=\"noopener noreferrer\">Ne-Yo\u003c/a>.)\u003c/p>\n\u003cp>“If I win that’s a win for the block, for the city, and the whole region / If I stop then I’m not breathing,” says Savoy in the second verse. There’s a lot of truth to those bars, as Savoy is a vocal community advocate and member of \u003ca class=\"c-link\" href=\"https://www.instagram.com/theblackneighborhood/\" target=\"_blank\" rel=\"noopener noreferrer\" data-stringify-link=\"https://www.instagram.com/theblackneighborhood/\" data-sk=\"tooltip_parent\" data-remove-tab-index=\"true\">The Black Neighborhood\u003c/a> community service collective. [aside postid='arts_13908331']\u003c/p>\n\u003cp>“Alotta That” is a single off Savoy’s \u003ca href=\"https://open.spotify.com/album/4w7SuxOBJNIOrS1znf4cSd\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci data-stringify-type=\"italic\">King Diamond\u003c/i>\u003c/a> project, which dropped in December and also features the well-written tracks “Granny Said” and “Selfish” featuring Mai Nicole. The project is a follow-up to Savoy’s 2020 project, \u003ci data-stringify-type=\"italic\">Neighborhood Diamonds\u003c/i>, and is a continuation of his appreciation of the hidden gems that reside in our community.\u003c/p>\n\u003cp>https://youtu.be/1vQ7t3Fm6Ic\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\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. Check out past entries and submit a song for future coverage \u003ca href=\"https://www.kqed.org/arts/tag/pass-the-aux\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>Oakland is more than Lake Merritt and sideshows; there are plenty of other gems in the ’hood. The music video to\u003ca class=\"c-link\" href=\"https://www.instagram.com/brycesavoy510/\" target=\"_blank\" rel=\"noopener noreferrer\" data-stringify-link=\"https://www.instagram.com/brycesavoy510/\" data-sk=\"tooltip_parent\" data-remove-tab-index=\"true\"> Bryce Savoy\u003c/a>’s “\u003ca class=\"c-link\" href=\"https://www.youtube.com/watch?v=1vQ7t3Fm6Ic\" target=\"_blank\" rel=\"noopener noreferrer\" data-stringify-link=\"https://www.youtube.com/watch?v=1vQ7t3Fm6Ic\" data-sk=\"tooltip_parent\" data-remove-tab-index=\"true\">Alotta That\u003c/a>,” (directed by\u003ca class=\"c-link\" href=\"https://www.instagram.com/3bmaly/\" target=\"_blank\" rel=\"noopener noreferrer\" data-stringify-link=\"https://www.instagram.com/3bmaly/\" data-sk=\"tooltip_parent\" data-remove-tab-index=\"true\"> G Maly\u003c/a>) takes viewers to the landmark locations of Skyline High School’s gymnasium, Montclair Park’s tennis courts and the Lake Chabot Golf Course. These places play host as East Oakland’s Bryce Savoy and North Oakland’s \u003ca class=\"c-link\" href=\"https://www.instagram.com/legendvry1/\" target=\"_blank\" rel=\"noopener noreferrer\" data-stringify-link=\"https://www.instagram.com/legendvry1/\" data-sk=\"tooltip_parent\" data-remove-tab-index=\"true\">Legendvry\u003c/a> trade bars on the uptempo track, with heavy drums and smooth synths produced by\u003ca class=\"c-link\" href=\"https://www.instagram.com/drewwwbanga/\" target=\"_blank\" rel=\"noopener noreferrer\" data-stringify-link=\"https://www.instagram.com/drewwwbanga/\" data-sk=\"tooltip_parent\" data-remove-tab-index=\"true\"> Drew Banga\u003c/a>. (Banga, an ever-active producer extraordinaire, is known for his work with G-Eazy, Kamaiyah and, most recently, \u003ca href=\"https://www.youtube.com/watch?v=6f98EpVr8FQ\" target=\"_blank\" rel=\"noopener noreferrer\">Ne-Yo\u003c/a>.)\u003c/p>\n\u003cp>“If I win that’s a win for the block, for the city, and the whole region / If I stop then I’m not breathing,” says Savoy in the second verse. There’s a lot of truth to those bars, as Savoy is a vocal community advocate and member of \u003ca class=\"c-link\" href=\"https://www.instagram.com/theblackneighborhood/\" target=\"_blank\" rel=\"noopener noreferrer\" data-stringify-link=\"https://www.instagram.com/theblackneighborhood/\" data-sk=\"tooltip_parent\" data-remove-tab-index=\"true\">The Black Neighborhood\u003c/a> community service collective. \u003c/p>\u003c/div>",
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"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
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},
"californiareport": {
"id": "californiareport",
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"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"officialWebsiteLink": "/californiareport",
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"order": 8
},
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},
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"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"order": 1
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"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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"source": "Commonwealth Club of California"
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"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
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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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"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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"id": "fresh-air",
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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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"meta": {
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"source": "NPR"
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"how-i-built-this": {
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"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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"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. ",
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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. ",
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"order": 18
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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/",
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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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},
"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": {
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"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"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",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
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