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"content": "\u003cp>\u003ci>Welcome to Pass the Aux, where every week we feature new music 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/i>\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/allhailtheqing/\" target=\"_blank\" rel=\"noopener noreferrer\">Qing Qi\u003c/a>, an artist from San Francisco who is now based in Oakland, recently dropped the high-energy track “Big D.” The song is a single from producer \u003ca href=\"https://www.instagram.com/traxamillion/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Traxamillion\u003c/a>’s album \u003cem>Sirens\u003c/em>, which features guest appearances from an all-woman cast of artists.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/3WYkU7XU5MFHasCGOPtHEh\" width=\"300\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>The song “Big D” has a combination of high hats, claps and a stupid bass line that all work together to provide an audio canvas for Qing Qi to lyrically paint a picture of the pleasures of aggressive sex, her disregard for high-end fashion and her ability to simply spit bars. [aside postid='arts_13832451']\u003c/p>\n\u003cp>“Say they want real rap, what the fuck you think my lyrics is?/They don’t want real rap, they just hung up on appearances,” Qing Qi raps on the second verse.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The NSFW \u003ca href=\"https://www.youtube.com/watch?v=rsMhenbNtjE&ab_channel=TraxamillionTV\" target=\"_blank\" rel=\"noopener noreferrer\">video\u003c/a> for the song, also directed by Qing Qi, is just as live as the track itself. As glittery thongs are shaking and nunchucks are swangin’, Qing Qi sits front and center letting the audience know what “Big D” is all about.\u003c/p>\n\n",
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"content": "\u003cp>\u003ci>Welcome to Pass the Aux, where every week we feature new music 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/i>\u003c/p>\n\u003cp>“I’ve seen so many kinds of love,” Sarah Rose Janko croons in “Love Song,” the slow-tempo single from Dawn Riding’s sophomore album, \u003ca href=\"https://dawnriding.bandcamp.com/album/the-light\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>The Light\u003c/i>\u003c/a>, released by Oakland label \u003ca href=\"https://longroadsociety.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The Long Road Society\u003c/a> on June 25. She counts the ways love manifests, by turns rough and sweet, scary and commonplace. Love can be flowers or Christmas dinner, but it can also mean lying to a judge and running through the streets. In its most corrupted, abusive extreme, she notes, it can take the form of verbal and physical threats. “Love Song” culminates in a direct entreaty to Janko’s listener. “Scientists and analysts, they don’t know your heart,” she sings. “Don’t ask them what it is, tell me what you want.”[aside postID='arts_13853114']\u003c/p>\n\u003cp>The Dawn Riding trio is tight and spare on this album. Hall McCann joins Janko’s acoustic guitar with electric guitar and harmony vocals, and Jasmyn Wong’s drums steadily guide each country-folk track. Janko’s lyrics on \u003ci>The Light\u003c/i> are often hyper-specific: “Avondale” references a night spent in a parish women’s jail, another song a funeral in South Missouri. Her words paint pictures of places and people on the edges of American society. Sorrow, yearning and absence are palpable.\u003c/p>\n\u003cp>“Love Song,” like its title suggests, is less about the specifics of a particular romance than the expansive ways we can experience love. A music video by photographer Chris Berntsen illustrates the song with images of queer relationships and youthful rebellion: freight-hopping, swimming holes, groups of gorgeous men at the beach. But despite this connection to often sunny imagery, “Love Song” feels to me like something played late at night in a quietly attentive bar, perfect for a shambling slow dance with whoever makes you feel right, and good enough.\u003c/p>\n\u003cp>https://youtu.be/sIZwk2pfsPQ\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>\u003ci>Welcome to Pass the Aux, where every week we feature new music 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/i>\u003c/p>\n\u003cp>“Dark Spaces,” by Oakland singer Stoney Creation, is a world unto itself that opens the door and says “come on in.” A full minute of billowy synthesizers and lush soprano saxophone opens the track—welcoming, promising, expectant—until the first lines finally draw the image: “I found myself, in the dark, waiting for him.”\u003c/p>\n\u003cp>The song is a highlight of Stoney Creation’s new EP, \u003cem>if it resonates…\u003c/em>, a collection of inviting tracks that reflect on the self, and how to more smoothly align it with a jagged world. Much of that inviting nature comes from the sonic quality itself; take the thumps and finger-snaps of “Dark Spaces,” evoking an old-time street corner doo-wop session, the definition of putting oneself out there in a public space. But, \u003ca href=\"https://youtu.be/uxjQ3M_v7xc?t=20\" target=\"_blank\" rel=\"noopener noreferrer\">like the best hits of the doo-wop era\u003c/a>, its songs’ themes aren’t always so light.\u003c/p>\n\u003cp>Hazy, woozy R&B has been in vogue for \u003ca href=\"https://www.youtube.com/watch?v=sX9DgavXiN4\" target=\"_blank\" rel=\"noopener noreferrer\">nearly a decade now\u003c/a>. But Stoney Creation’s approach is less about pills and fame and centered more on reflection and self-love. (If you’ve ever lost yourself in Tweet’s song “\u003ca href=\"https://www.youtube.com/watch?v=4v-f5sMYido\" target=\"_blank\" rel=\"noopener noreferrer\">Drunk\u003c/a>,” from 2002’s \u003cem>Southern Hummingbird\u003c/em>, you’ll recognize “Dark Spaces” as a spiritual descendant.) By the song’s end, the horns become layered in harmony over an ascending piano glissando, suggesting a resolution, or even a rapture. Close your eyes, and you can feel the ancient wisdom: that even though you sometimes gotta go through turmoil to reach it, peace is attainable.\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=3414665724/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=1731517204/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>\u003ci>Welcome to Pass the Aux, where every week we feature new music 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/i>\u003c/p>\n\u003cp>An early frontrunner for Bay Area anthem of the summer is \u003ca href=\"https://www.instagram.com/mobetta_mochedda/\" target=\"_blank\" rel=\"noopener noreferrer\">Ronski\u003c/a> and \u003ca href=\"https://www.instagram.com/showy4mayor/\" target=\"_blank\" rel=\"noopener noreferrer\">Show Banga’s\u003c/a> “That Filthy.” Produced by Clayton William, the track hits with the simple but lethal combination of heavy bass, a cold kick drum, clear claps and a catchy hook.\u003c/p>\n\u003cp>“Fuck that bag off, and run it up again,” Show Banga says on the chorus, showing both the carefree attitude and the money-making mentality that the City is known for.\u003c/p>\n\u003cp>The video is produced by \u003ca href=\"https://www.instagram.com/melvinas_son/\" target=\"_blank\" rel=\"noopener noreferrer\">Melvina’s Son \u003c/a>and features the Fillmore front and center. In the midst of shots of the neighborhood and the people who make up the community, there are cameos from \u003ca href=\"https://www.instagram.com/gunnagoesglobal/\" target=\"_blank\" rel=\"noopener noreferrer\">Gunna Goes Global\u003c/a>, \u003ca href=\"https://www.instagram.com/big.rich/\" target=\"_blank\" rel=\"noopener noreferrer\">Big Rich\u003c/a> and \u003ca href=\"https://www.instagram.com/industrymomma/\" target=\"_blank\" rel=\"noopener noreferrer\">Danielle Banks\u003c/a>. There’s also a couple shots of boxer, cannabis club owner and Ronski’s brother,\u003ca href=\"https://www.instagram.com/p/CPLvd7hnGRLNnthSLAkUVVtESH-1FnLxCxib0M0/\" target=\"_blank\" rel=\"noopener noreferrer\"> Karim Mayfield\u003c/a>. We also see archival images and recent footage of Mayor London Breed, who was raised in the Fillmore.\u003c/p>\n\u003cp>Ronski himself is shown swangin’ tight ones in a blue Corvette. And at the end of the video there’s a clip of JT The Bigga Figga chanting “Fillmoe,” as he’s accompanied by a bunch of children; it was filmed in East Africa, or “\u003ca href=\"https://www.instagram.com/p/CMg-NCisFCd/?utm_source=ig_web_copy_link\" target=\"_blank\" rel=\"noopener noreferrer\">Fillmoe Africa\u003c/a>,” as JT calls it.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>You can’t have a true anthem about the Moe without incorporating the the dance that JT, founder of Get Low Recordz, played a major part in popularizing three decades ago, The Get Low.\u003c/p>\n\u003cp>In the video for “That Filthy” there’s a short clip of Ronski teaching the dance to comedian Lil Duval. And all throughout the video there are young folks bending their knees to get into a semi-squat position, and bouncing to the beat like the players of the past.\u003c/p>\n\u003cp>It’s all a sign that even with all of the changes the City has experienced, the culture is alive and well.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=g2J_xGPGHjI&t=194s\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>Welcome to Pass the Aux, where every week we feature new music 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/i>\u003c/p>\n\u003cp>An early frontrunner for Bay Area anthem of the summer is \u003ca href=\"https://www.instagram.com/mobetta_mochedda/\" target=\"_blank\" rel=\"noopener noreferrer\">Ronski\u003c/a> and \u003ca href=\"https://www.instagram.com/showy4mayor/\" target=\"_blank\" rel=\"noopener noreferrer\">Show Banga’s\u003c/a> “That Filthy.” Produced by Clayton William, the track hits with the simple but lethal combination of heavy bass, a cold kick drum, clear claps and a catchy hook.\u003c/p>\n\u003cp>“Fuck that bag off, and run it up again,” Show Banga says on the chorus, showing both the carefree attitude and the money-making mentality that the City is known for.\u003c/p>\n\u003cp>The video is produced by \u003ca href=\"https://www.instagram.com/melvinas_son/\" target=\"_blank\" rel=\"noopener noreferrer\">Melvina’s Son \u003c/a>and features the Fillmore front and center. In the midst of shots of the neighborhood and the people who make up the community, there are cameos from \u003ca href=\"https://www.instagram.com/gunnagoesglobal/\" target=\"_blank\" rel=\"noopener noreferrer\">Gunna Goes Global\u003c/a>, \u003ca href=\"https://www.instagram.com/big.rich/\" target=\"_blank\" rel=\"noopener noreferrer\">Big Rich\u003c/a> and \u003ca href=\"https://www.instagram.com/industrymomma/\" target=\"_blank\" rel=\"noopener noreferrer\">Danielle Banks\u003c/a>. There’s also a couple shots of boxer, cannabis club owner and Ronski’s brother,\u003ca href=\"https://www.instagram.com/p/CPLvd7hnGRLNnthSLAkUVVtESH-1FnLxCxib0M0/\" target=\"_blank\" rel=\"noopener noreferrer\"> Karim Mayfield\u003c/a>. We also see archival images and recent footage of Mayor London Breed, who was raised in the Fillmore.\u003c/p>\n\u003cp>Ronski himself is shown swangin’ tight ones in a blue Corvette. And at the end of the video there’s a clip of JT The Bigga Figga chanting “Fillmoe,” as he’s accompanied by a bunch of children; it was filmed in East Africa, or “\u003ca href=\"https://www.instagram.com/p/CMg-NCisFCd/?utm_source=ig_web_copy_link\" target=\"_blank\" rel=\"noopener noreferrer\">Fillmoe Africa\u003c/a>,” as JT calls it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Pass the Aux: New Tracks from Caleborate, Bachelor, Miko Marks, Ruby Mountain and More",
"headTitle": "Pass the Aux: New Tracks from Caleborate, Bachelor, Miko Marks, Ruby Mountain and More | KQED",
"content": "\u003cp>\u003cem>Do you miss packing your friends into the car, playing your favorite tracks and dancing in your seat? Us too. Welcome to \u003ca href=\"https://www.kqed.org/arts/tag/pass-the-aux\" target=\"_blank\" rel=\"noopener noreferrer\">Pass the Aux\u003c/a>, where every other week the KQED Arts & Culture team introduces you to new(ish) releases from Bay Area artists. Here’s what we have on deck.\u003c/em>\u003c/p>\n\u003cp>https://youtu.be/atq3PzImnWw\u003c/p>\n\u003ch2>Caleborate, “Homecoming”\u003c/h2>\n\u003cp>Four albums into his career, Berkeley rapper \u003ca href=\"https://www.caleborate.co/\" target=\"_blank\" rel=\"noopener noreferrer\">Caleborate\u003c/a> has never sounded so accessible as on “Homecoming,” an expansive collaboration with Duckwrth, from his latest release \u003ci data-stringify-type=\"italic\">Light Hit My Skin\u003c/i>. Pushing beyond the J. Cole-Kanye West inspiration of \u003ca href=\"https://www.kqed.org/arts/12064915/meet-23-year-old-caleborate-the-east-bays-next-rap-titan\" target=\"_blank\" rel=\"noopener noreferrer\">earlier efforts like \u003ci>1993\u003c/i>\u003c/a>, the track skitters over a pulsing, sci-fi beat as Caleborate plays the advocate for himself and others like him: “Shout out to the little homies always getting picked on, ’cause he talk a little different with a dark skin tone / Let me tell you where you belong: two feet strong on the White House lawn.” Throw in a philosophical verse and a chorus of liberation from Duckwrth, and you’ve got an obvious first song for DJs to play once we all get back to the club. \u003ci>—Gabe Meline\u003c/i>\u003c/p>\n\u003cp>https://youtu.be/kQihAil8-s0\u003c/p>\n\u003ch2>Bachelor, “Stay in the Car”\u003c/h2>\n\u003cp>In the video for “Stay in the Car,” Ellen Kempner (of Palehound) and Melina Duterte (of the East Bay’s \u003ca href=\"https://www.kqed.org/arts/11856250/jay-som-and-the-transformation-of-turn-into\" target=\"_blank\" rel=\"noopener noreferrer\">Jay Som\u003c/a>), newly collaborating as \u003ca href=\"https://www.instagram.com/bachelor_band/\" target=\"_blank\" rel=\"noopener noreferrer\">Bachelor\u003c/a>, are dressed in thick layers and fluorescent green beanies; their breath condenses in front of them. And yet their song—the second single off \u003ci>Doomin’ Sun\u003c/i>, due out May 28—is golden and summery, with Pixies-like riffs that make the whole ride an incredibly joyful one.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Perhaps that’s because the song was inspired by a chance encounter with a glamorous woman in a Florida parking lot. “I wanted to be a part of her life, her best friend, her driver, whatever she wanted me to be,” Kempner says. “I was completely mesmerized.”\u003c/p>\n\u003cp>“Stay in the Car” transports us into that stunned feeling, and the video by Haoyan of America builds a whole imagined world inside—of course—a car. Kempner and Duterte describe Bachelor as not a band, but a friendship, and with this song, it’s clear \u003ci>we’re\u003c/i> now the ones outside, hoping to join in. \u003cem>—Sarah Hotchkiss\u003c/em>\u003c/p>\n\u003cp>https://youtu.be/XT3Xz8gbVdY\u003c/p>\n\u003ch2>Miko Marks, “Travel Light”\u003c/h2>\n\u003cp>Last week Oakland-based country artist \u003ca href=\"https://www.mikomarks.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Miko Marks\u003c/a> dropped her first full album in over a dozen years, \u003cem>Our Country\u003c/em>. It features the song “Travel Light,” a slow, somber track that makes you want to find a sun setting into the horizon and walk into it.\u003c/p>\n\u003cp>The acoustic guitar riff leads listeners into the lyrics, “Sorry I did not make it building castles made of sand / in the end I could not take it, and I hoped you’d understand / Cause I can’t find the fire to stay here and fight / All that’s left is to run, so I travel light.” And then the heavy drum kicks.\u003c/p>\n\u003cp>The album, a collaboration with The Resurrectors, also features the protest song “Goodnight America,” the hymn “Not Be Moved” and a song that’ll make you feel like you’re in a juke joint, “Water to Wine.”\u003cbr>\nIt’s a true country album, with notes of blues and soul; a little something to listen to as the sun sets. \u003cem>—Pendarvis Harshaw\u003c/em>\u003c/p>\n\u003cp>https://youtu.be/ADsE_PrdKxQ\u003c/p>\n\u003ch2>Caroline Chung and Citizens Jazz, “Vitamin D”\u003c/h2>\n\u003cp>Sometimes a simple walk in the sunshine can help shake feelings of malaise, and \u003ca href=\"https://carolinechung.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Caroline Chung\u003c/a> and her collective Citizens Jazz remind us of just that on their new track “Vitamin D.” Chung, a bassist who was a prolific live performer pre-pandemic, has taken the past year to level up as a producer. For “Vitamin D,” the lead single of her new album \u003cem>Sounds of Haejin\u003c/em>, Danny Brown’s breezy saxophone licks float like iridescent soap bubbles above Chung’s steady bass, Andre Mateo’s sun-soaked guitar and Brandon’s charged-up drumming.\u003c/p>\n\u003cp>In her honeyed voice, singer Taqwa lulls us with the upbeat mantra, “Take a deep breath, slow down your thoughts / Follow the signs, connect the dots / Open your eyes, got off your bed / Let the sun shine / get out of your head.” It’s hard not to sing along after a few repeats.\u003c/p>\n\u003cp>But, in the most surprising artistic choice of the track, a poem by \u003ca href=\"https://www.kqed.org/arts/13891380/tongo-eisen-martin-selected-as-san-franciscos-poet-laureate\" target=\"_blank\" rel=\"noopener noreferrer\">Tongo Eisen-Martin\u003c/a> cuts through the easy-listening atmosphere. In his trademark stream-of-consciousness delivery, Martin—who is San Francisco’s new poet laureate—rattles off a stark poem about survival in an unforgiving world. “There were hammers in my cradle, which made some people scared to check on me,” he begins. Tuning into the poem while grooving to this dreamy tune can be jarring, but it works. Ultimately, the track reminds us that it’s possible to find joy even amid the harshness of life. \u003cem>—Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cp>https://youtu.be/1obPFsukLLQ\u003c/p>\n\u003ch2>Kai the Universe, “All Natural*” feat. Lil Mumba\u003c/h2>\n\u003cp>Oakland native and Howard University freshman \u003ca href=\"https://www.instagram.com/kai_the_universe/\" target=\"_blank\" rel=\"noopener noreferrer\">Kai the Universe\u003c/a> dropped the music video for his new track “All Natural*” featuring Jax the Band’s Lil Mumba last Saturday. Skating over the beat with his trademark breathy vocals, the video follows Kai as he weaves his way through a party and butterflies float across the screen. Editor Arya Damany creates a visual experience to match the song, with psychedelic effects and Kai the Universe’s signature pink and purple tones.\u003c/p>\n\u003cp>“I was on another level” sings Lil Mumba, opening his verse as the screen flashes and fireworks go off behind Kai. The effects remain until the last 30 seconds, when the music stops and the camera cuts between well-lit shots of seven women of color laughing and smiling. Telling its own story in tandem with the music, the video features cameos by Lil Mumba’s Jax the Band bandmates and friends of the two artists. \u003cem>—Samuel Getachew\u003c/em>\u003c/p>\n\u003cp>https://youtu.be/lrBFwP99a6E\u003c/p>\n\u003ch2>Ruby Mountain, “Seeker”\u003c/h2>\n\u003cp>\u003ca href=\"https://www.rubymountainmusic.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Ruby Mountain\u003c/a> is the divine feminine embodied in her new music video for “Seeker,” a sensual track that shows off the rich timbre of her big, soulful voice. Dancing alone as the tides of the ocean lap at her skin, singing into a fire and grazing her body against 100-year-old redwoods, the singer belts over a slow clap and moody keys about the discovery process of falling in love. In the context of the visual, it’s as if the Earth itself is the lover she has in mind. With a mystical vibe suited for a candlelit evening, “Seeker” sets the mood to introspect. \u003cem>—N.V.\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=umsClQ6jeAU\u003c/p>\n\u003ch2>Shanté, “I’d Rather Go Blind” (Etta James cover)\u003c/h2>\n\u003cp>When Oakland’s \u003ca href=\"https://smarturl.it/ShanteProtectionEP\" target=\"_blank\" rel=\"noopener noreferrer\">Shanté\u003c/a> stepped out of the booth after recording her version of “I’d Rather Go Blind,” the people in the studio knew she had something special. You can hear them praising her talents at the end of the track.\u003c/p>\n\u003cp>The video was posted on social media a few days ago, and has since been shared thousands of times, most notably by Mistah F.A.B., Kehlani and Snoop Dogg. That’s a pretty big deal for an 18-year-old artist who just dropped her debut solo project.\u003c/p>\n\u003cp>Her seven-song album, \u003cem>Protection\u003c/em>, features the vocals that set the internet ablaze, but this time singing her own tunes. From the sultry opening track “Deep End” to the uptempo groove “Party On Mars,” the young artist is carving her own path.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>But before you jump into the album, you gotta—you just gotta—listen to her rendition of Etta James’ classic. Actually, do yourself a favor and watch the video. \u003cem>—P.H.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Do you miss packing your friends into the car, playing your favorite tracks and dancing in your seat? Us too. Welcome to \u003ca href=\"https://www.kqed.org/arts/tag/pass-the-aux\" target=\"_blank\" rel=\"noopener noreferrer\">Pass the Aux\u003c/a>, where every other week the KQED Arts & Culture team introduces you to new(ish) releases from Bay Area artists. Here’s what we have on deck.\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/atq3PzImnWw'\n title='//www.youtube.com/embed/atq3PzImnWw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>Caleborate, “Homecoming”\u003c/h2>\n\u003cp>Four albums into his career, Berkeley rapper \u003ca href=\"https://www.caleborate.co/\" target=\"_blank\" rel=\"noopener noreferrer\">Caleborate\u003c/a> has never sounded so accessible as on “Homecoming,” an expansive collaboration with Duckwrth, from his latest release \u003ci data-stringify-type=\"italic\">Light Hit My Skin\u003c/i>. Pushing beyond the J. Cole-Kanye West inspiration of \u003ca href=\"https://www.kqed.org/arts/12064915/meet-23-year-old-caleborate-the-east-bays-next-rap-titan\" target=\"_blank\" rel=\"noopener noreferrer\">earlier efforts like \u003ci>1993\u003c/i>\u003c/a>, the track skitters over a pulsing, sci-fi beat as Caleborate plays the advocate for himself and others like him: “Shout out to the little homies always getting picked on, ’cause he talk a little different with a dark skin tone / Let me tell you where you belong: two feet strong on the White House lawn.” Throw in a philosophical verse and a chorus of liberation from Duckwrth, and you’ve got an obvious first song for DJs to play once we all get back to the club. \u003ci>—Gabe Meline\u003c/i>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/kQihAil8-s0'\n title='//www.youtube.com/embed/kQihAil8-s0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>Bachelor, “Stay in the Car”\u003c/h2>\n\u003cp>In the video for “Stay in the Car,” Ellen Kempner (of Palehound) and Melina Duterte (of the East Bay’s \u003ca href=\"https://www.kqed.org/arts/11856250/jay-som-and-the-transformation-of-turn-into\" target=\"_blank\" rel=\"noopener noreferrer\">Jay Som\u003c/a>), newly collaborating as \u003ca href=\"https://www.instagram.com/bachelor_band/\" target=\"_blank\" rel=\"noopener noreferrer\">Bachelor\u003c/a>, are dressed in thick layers and fluorescent green beanies; their breath condenses in front of them. And yet their song—the second single off \u003ci>Doomin’ Sun\u003c/i>, due out May 28—is golden and summery, with Pixies-like riffs that make the whole ride an incredibly joyful one.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Perhaps that’s because the song was inspired by a chance encounter with a glamorous woman in a Florida parking lot. “I wanted to be a part of her life, her best friend, her driver, whatever she wanted me to be,” Kempner says. “I was completely mesmerized.”\u003c/p>\n\u003cp>“Stay in the Car” transports us into that stunned feeling, and the video by Haoyan of America builds a whole imagined world inside—of course—a car. Kempner and Duterte describe Bachelor as not a band, but a friendship, and with this song, it’s clear \u003ci>we’re\u003c/i> now the ones outside, hoping to join in. \u003cem>—Sarah Hotchkiss\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/XT3Xz8gbVdY'\n title='//www.youtube.com/embed/XT3Xz8gbVdY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>Miko Marks, “Travel Light”\u003c/h2>\n\u003cp>Last week Oakland-based country artist \u003ca href=\"https://www.mikomarks.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Miko Marks\u003c/a> dropped her first full album in over a dozen years, \u003cem>Our Country\u003c/em>. It features the song “Travel Light,” a slow, somber track that makes you want to find a sun setting into the horizon and walk into it.\u003c/p>\n\u003cp>The acoustic guitar riff leads listeners into the lyrics, “Sorry I did not make it building castles made of sand / in the end I could not take it, and I hoped you’d understand / Cause I can’t find the fire to stay here and fight / All that’s left is to run, so I travel light.” And then the heavy drum kicks.\u003c/p>\n\u003cp>The album, a collaboration with The Resurrectors, also features the protest song “Goodnight America,” the hymn “Not Be Moved” and a song that’ll make you feel like you’re in a juke joint, “Water to Wine.”\u003cbr>\nIt’s a true country album, with notes of blues and soul; a little something to listen to as the sun sets. \u003cem>—Pendarvis Harshaw\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/ADsE_PrdKxQ'\n title='//www.youtube.com/embed/ADsE_PrdKxQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>Caroline Chung and Citizens Jazz, “Vitamin D”\u003c/h2>\n\u003cp>Sometimes a simple walk in the sunshine can help shake feelings of malaise, and \u003ca href=\"https://carolinechung.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Caroline Chung\u003c/a> and her collective Citizens Jazz remind us of just that on their new track “Vitamin D.” Chung, a bassist who was a prolific live performer pre-pandemic, has taken the past year to level up as a producer. For “Vitamin D,” the lead single of her new album \u003cem>Sounds of Haejin\u003c/em>, Danny Brown’s breezy saxophone licks float like iridescent soap bubbles above Chung’s steady bass, Andre Mateo’s sun-soaked guitar and Brandon’s charged-up drumming.\u003c/p>\n\u003cp>In her honeyed voice, singer Taqwa lulls us with the upbeat mantra, “Take a deep breath, slow down your thoughts / Follow the signs, connect the dots / Open your eyes, got off your bed / Let the sun shine / get out of your head.” It’s hard not to sing along after a few repeats.\u003c/p>\n\u003cp>But, in the most surprising artistic choice of the track, a poem by \u003ca href=\"https://www.kqed.org/arts/13891380/tongo-eisen-martin-selected-as-san-franciscos-poet-laureate\" target=\"_blank\" rel=\"noopener noreferrer\">Tongo Eisen-Martin\u003c/a> cuts through the easy-listening atmosphere. In his trademark stream-of-consciousness delivery, Martin—who is San Francisco’s new poet laureate—rattles off a stark poem about survival in an unforgiving world. “There were hammers in my cradle, which made some people scared to check on me,” he begins. Tuning into the poem while grooving to this dreamy tune can be jarring, but it works. Ultimately, the track reminds us that it’s possible to find joy even amid the harshness of life. \u003cem>—Nastia Voynovskaya\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/1obPFsukLLQ'\n title='//www.youtube.com/embed/1obPFsukLLQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>Kai the Universe, “All Natural*” feat. Lil Mumba\u003c/h2>\n\u003cp>Oakland native and Howard University freshman \u003ca href=\"https://www.instagram.com/kai_the_universe/\" target=\"_blank\" rel=\"noopener noreferrer\">Kai the Universe\u003c/a> dropped the music video for his new track “All Natural*” featuring Jax the Band’s Lil Mumba last Saturday. Skating over the beat with his trademark breathy vocals, the video follows Kai as he weaves his way through a party and butterflies float across the screen. Editor Arya Damany creates a visual experience to match the song, with psychedelic effects and Kai the Universe’s signature pink and purple tones.\u003c/p>\n\u003cp>“I was on another level” sings Lil Mumba, opening his verse as the screen flashes and fireworks go off behind Kai. The effects remain until the last 30 seconds, when the music stops and the camera cuts between well-lit shots of seven women of color laughing and smiling. Telling its own story in tandem with the music, the video features cameos by Lil Mumba’s Jax the Band bandmates and friends of the two artists. \u003cem>—Samuel Getachew\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/lrBFwP99a6E'\n title='//www.youtube.com/embed/lrBFwP99a6E'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>Ruby Mountain, “Seeker”\u003c/h2>\n\u003cp>\u003ca href=\"https://www.rubymountainmusic.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Ruby Mountain\u003c/a> is the divine feminine embodied in her new music video for “Seeker,” a sensual track that shows off the rich timbre of her big, soulful voice. Dancing alone as the tides of the ocean lap at her skin, singing into a fire and grazing her body against 100-year-old redwoods, the singer belts over a slow clap and moody keys about the discovery process of falling in love. In the context of the visual, it’s as if the Earth itself is the lover she has in mind. With a mystical vibe suited for a candlelit evening, “Seeker” sets the mood to introspect. \u003cem>—N.V.\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/umsClQ6jeAU'\n title='//www.youtube.com/embed/umsClQ6jeAU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>Shanté, “I’d Rather Go Blind” (Etta James cover)\u003c/h2>\n\u003cp>When Oakland’s \u003ca href=\"https://smarturl.it/ShanteProtectionEP\" target=\"_blank\" rel=\"noopener noreferrer\">Shanté\u003c/a> stepped out of the booth after recording her version of “I’d Rather Go Blind,” the people in the studio knew she had something special. You can hear them praising her talents at the end of the track.\u003c/p>\n\u003cp>The video was posted on social media a few days ago, and has since been shared thousands of times, most notably by Mistah F.A.B., Kehlani and Snoop Dogg. That’s a pretty big deal for an 18-year-old artist who just dropped her debut solo project.\u003c/p>\n\u003cp>Her seven-song album, \u003cem>Protection\u003c/em>, features the vocals that set the internet ablaze, but this time singing her own tunes. From the sultry opening track “Deep End” to the uptempo groove “Party On Mars,” the young artist is carving her own path.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But before you jump into the album, you gotta—you just gotta—listen to her rendition of Etta James’ classic. Actually, do yourself a favor and watch the video. \u003cem>—P.H.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Pass the Aux: New Tracks by Kiyomi, Beeda Weeda, Tyler Holmes, Kelly McFarling and More",
"headTitle": "Pass the Aux: New Tracks by Kiyomi, Beeda Weeda, Tyler Holmes, Kelly McFarling and More | KQED",
"content": "\u003cp>\u003cem>Do you miss packing your friends into the car, playing your favorite tracks and dancing in your seat? Us too. Welcome to \u003ca href=\"https://www.kqed.org/arts/tag/pass-the-aux\" target=\"_blank\" rel=\"noopener noreferrer\">Pass the Aux\u003c/a>, where every other week the KQED Arts & Culture team introduces you to new(ish) releases from Bay Area artists. Here’s what we have on deck.\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=VW12P46SyZI\u003c/p>\n\u003ch2>Kiyomi, “Vintage”\u003c/h2>\n\u003cp>\u003ca href=\"https://soundcloud.com/officialkiyomi\" target=\"_blank\" rel=\"noopener noreferrer\">Kiyomi\u003c/a>, an R&B vocalist from Union City who turned heads when she started uploading covers of popular songs as a teenager, is back with a new single. Just this week she dropped the video to “Vintage,” a follow up to her Valentines Day release, “\u003ca href=\"https://www.youtube.com/watch?v=vJnDmaPVvuY\" target=\"_blank\" rel=\"noopener noreferrer\">You Got It\u003c/a>.”\u003c/p>\n\u003cp>After taking a bit of a pandemic-influenced hiatus from music, the James Logan High School graduate provided some background vocals for Rexx Life Raj’s “\u003ca href=\"https://youtu.be/ggJ-dONAqvo\" target=\"_blank\" rel=\"noopener noreferrer\">Tesla in a Pandemic\u003c/a>.” In \u003ca href=\"https://xpressmagazine.org/17603/music/rising-star-kiyomi-steps-into-the-bay-area-music-scene/\" target=\"_blank\" rel=\"noopener noreferrer\">an interview\u003c/a> that was published last year, around the same time as that song, Kiyomi mentioned plans to drop a new project in 2021. While fans who enjoyed her debut EP \u003cem>Solara Sunsets\u003c/em> wait for more music they can watch her latest video and enjoy her brilliant voice, some old school cars and the upbeat energy encapsulated in the visuals.\u003cem>—Pendarvis Harshaw\u003c/em>\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=3550343080/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\u003ch2>Tyler Holmes, “BIPP” (SOPHIE cover)\u003c/h2>\n\u003cp>\u003ca href=\"https://www.nytimes.com/2021/01/30/arts/music/sophie-dead.html\" target=\"_blank\" rel=\"noopener noreferrer\">SOPHIE\u003c/a>’s sharp, exquisitely textured anti-pop made the artist a luminary in the electronic music world. And in the queer community, fans saw her as a beloved trans icon in a mostly cis and hetero industry. Sadly, SOPHIE died in late January after an accidental fall in Greece. As an homage to the groundbreaking Scottish artist, Oakland singer and producer \u003ca href=\"https://tylerholmes.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Tyler Holmes\u003c/a> recently released a cover of Sophie’s “BIPP.” Where SOPHIE’s original is a disorienting, staccato club track that never quite finds its resolution, Holmes brings out the earnest and pleading qualities of its lyrics (“However you’re feeling / I can make you feel better”) with their smoother, bare-bones bedroom pop take.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Much like SOPHIE, Holmes is an artist who defies labels: \u003ca href=\"https://www.kqed.org/arts/13814982/tyler-holmes-is-here-for-your-inner-freak\" target=\"_blank\" rel=\"noopener noreferrer\">they first came onto the Bay Area music scene\u003c/a> with a glitchy, industrial sound and phantasmagoric aesthetic forged in the local avant-garde drag scene. But their abrasive musical approach belied their traditionally beautiful R&B singing abilities (think Blood Orange and Sade), which come into clearer focus among cellos and woodwinds on their upcoming album \u003cem>Nightmare in Paradise\u003c/em>, out on \u003ca href=\"https://ratskinrecords.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Ratskin Records\u003c/a> on March 26.\u003cem>—Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" allow=\"autoplay\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/975976852&color=%23ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Young Shorty Doowop, “In My Reeboks”\u003c/h2>\n\u003cp>\u003ca href=\"https://soundcloud.com/young-shorty-doowop\" target=\"_blank\" rel=\"noopener noreferrer\">Young Shorty Doowop\u003c/a>’s song “In My Reeboks” samples the beat of the ultra-explicit classic track from Three 6 Mafia and Tear da Club Up Thugs, “Slob on My Knob,” and combines it with a snippet from a viral recording of a voicemail of an enraged employee, bringing it all together for a good cause.\u003c/p>\n\u003cp>Young Shorty Doowop, or Y.S.D., a youth coordination for the Oakland LGBTQ Community Center, says she appreciates seeing people do the #YSDReebokChallenge (created by Yung Phil of the Turffeinz), but her real goal is to give pairs of shoes to people in need. So far she’s given away a handful, and she just launched a \u003ca href=\"https://gofund.me/31b2de39\" target=\"_blank\" rel=\"noopener noreferrer\">GoFundMe\u003c/a>.\u003c/p>\n\u003cp>She’s banking on the song’s popularity to spread the word; as of now, it has nearly two million views on \u003ca href=\"https://www.tiktok.com/@iloveallmyfans2?_d=secCgYIASAHKAESMgowj3aeresYhr146O97XgiHeVMKUIqAb9ptYgCOzRqqULaqVEv4ikiWd53OfObvtSI4GgA%3D&language=en&sec_uid=MS4wLjABAAAAabHgOXNJADN5ortxsjCR1iZ9ozLNRAxi6rVdRpy-dW9YoiurC_KY66Ig8mb3j8tO&sec_user_id=MS4wLjABAAAAabHgOXNJADN5ortxsjCR1iZ9ozLNRAxi6rVdRpy-dW9YoiurC_KY66Ig8mb3j8tO&share_author_id=6758123774229595141&share_link_id=F94471BE-2B5B-485B-9545-2DC56FA34DDE&tt_from=copy&u_code=d98j5b01931a73&user_id=6758123774229595141&utm_campaign=client_share&utm_medium=ios&utm_source=copy&source=h5_m\" target=\"_blank\" rel=\"noopener noreferrer\">TikTok\u003c/a>. Despite the pandemic, the track has been played in front of some pretty large crowds of people, including at a Super Bowl event in Atlanta. Just yesterday Shorty, whose other song “\u003ca href=\"https://soundcloud.com/young-shorty-doowop/for-me-feat-brittany-nicole\" target=\"_blank\" rel=\"noopener noreferrer\">For Me\u003c/a>” was recently featured on \u003cem>Real Housewives of Atlanta\u003c/em>, announced an upcoming “In My Reeboks” tour, with shows scheduled in Pennsylvania, Miami and Dallas.\u003cem>—P.H.\u003c/em>\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=4263620943/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=4074977592/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Kelly McFarling, “Birds”\u003c/h2>\n\u003cp>My best mornings come when I can stay in bed for a while and turn my mind off of the little things. As the late-sunrise birds outside chirp like they have for thousands of years, I think instead about the big things, like the passing of time, both before and after our blip of a life on this planet. So imagine my joy at finding \u003ca href=\"https://kellymcfarling.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Kelly McFarling\u003c/a>’s “Birds,” an ode to that very fleeting moment, when all seems right—or at least manageable—with the world.\u003c/p>\n\u003cp>McFarling flips Leonard Cohen’s morose lyrical imagery into a bouyant, immediately catchy chorus—“Birds out on the wire / Like a bracelet on the blue”—and if you get a tinge of Fleetwood Mac’s “Dreams” from the chord progression, you’re not off the mark. While McFarling came to San Francisco by way or Georgia, “Birds” doesn’t shovel as much southern soil as the other songs on her new album, \u003cem>Deep the Habit\u003c/em>, which marks a new, sometimes even Dire Straits-y direction (as on “Delicate”), with bluesy guitar, mandolin and pedal steel. But she can still sing a plaintive sad song (like “North Decatur,” a perfect fit aside Phoebe Bridgers on any playlist), and in “Birds,” when the slow, dreamy bridge veers into Cocteau Twins territory and transports me from my daily routine, I find myself thinking: is there any transient feeling Kelly McFarling can’t bring to life?\u003cem>—Gabe Meline\u003c/em>\u003c/p>\n\u003cp>https://youtu.be/UKRyw2RMdrM\u003c/p>\n\u003ch2>Beeda Weeda, “My Section”\u003c/h2>\n\u003cp>\u003ca href=\"https://www.beedaweeda.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Beeda Weeda\u003c/a> is on a mission to bring back a certain era in rap music. Over the past year, the rapper from East Oakland has dropped multiple tracks featuring OGs in the game: C-Bo, Spice One, Yukmouth, Keak Da Sneak, E-40 and B-Legit. Just yesterday, he released “\u003ca href=\"https://www.youtube.com/watch?v=Cw8IIOug_Ds&ab_channel=BeedaWeeda\" target=\"_blank\" rel=\"noopener noreferrer\">Back Against The Wall\u003c/a>” featuring Richie Rich.\u003c/p>\n\u003cp>His latest album \u003cem>Hot Boy Top Boy \u003c/em>is an ode to that special time in life, when Cash Money Records took over for the ’99 and the 2000. With multiple songs that remix classic beats and lyrics from the legendary Hot Boys, Beeda was intentional when he titled the album. The track “My Section,” (featuring Kye Kaszett) is a remix of Birdman’s 2005 hit “Out The Ghetto,” and is full of lyrics that honor the neighborhood where Beeda Weeda was raised. “Gentrification ain’t did shit, we still here / get high on the 8, and then go shop down on Fruitvale,” he raps over a beat that’s made for driving on a sunny day in whatever part of Northern California you call your section.\u003cem>—P.H.\u003c/em>\u003c/p>\n\u003cp>https://youtu.be/8pzseoj19MM\u003c/p>\n\u003ch2>Mac J, “SKOOP”\u003c/h2>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Death of a loved one can have unexpected effects on one’s creative mindset. After the fatal shooting last June of his close friend and fellow Sacramento rapper Bris, \u003ca href=\"https://www.instagram.com/truestory_macj/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Mac J\u003c/a> could have retreated into his pain, or dutifully copied-as-homage the style of his 24-year-old cuddie taken too soon. Instead, he’s just dropped “SKOOP,” an atmospheric, whispery track of determination and reinvention. “You might get my nickname, but not my government” he softly intones, over a galactic beat produced by True the Plug. While outer-space \u003cem>whirrs\u003c/em> trace spirals over thick, rumbling bass tones deeper than the Marianas Trench, Mac J ultimately finds his joy—and when he repeats “tricky dance moves, that’s my cousin shit.” Anyone with a heart can imagine Bris dancing in heaven.\u003cem>—G.M.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Do you miss packing your friends into the car, playing your favorite tracks and dancing in your seat? Us too. Welcome to \u003ca href=\"https://www.kqed.org/arts/tag/pass-the-aux\" target=\"_blank\" rel=\"noopener noreferrer\">Pass the Aux\u003c/a>, where every other week the KQED Arts & Culture team introduces you to new(ish) releases from Bay Area artists. Here’s what we have on deck.\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/VW12P46SyZI'\n title='//www.youtube.com/embed/VW12P46SyZI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>Kiyomi, “Vintage”\u003c/h2>\n\u003cp>\u003ca href=\"https://soundcloud.com/officialkiyomi\" target=\"_blank\" rel=\"noopener noreferrer\">Kiyomi\u003c/a>, an R&B vocalist from Union City who turned heads when she started uploading covers of popular songs as a teenager, is back with a new single. Just this week she dropped the video to “Vintage,” a follow up to her Valentines Day release, “\u003ca href=\"https://www.youtube.com/watch?v=vJnDmaPVvuY\" target=\"_blank\" rel=\"noopener noreferrer\">You Got It\u003c/a>.”\u003c/p>\n\u003cp>After taking a bit of a pandemic-influenced hiatus from music, the James Logan High School graduate provided some background vocals for Rexx Life Raj’s “\u003ca href=\"https://youtu.be/ggJ-dONAqvo\" target=\"_blank\" rel=\"noopener noreferrer\">Tesla in a Pandemic\u003c/a>.” In \u003ca href=\"https://xpressmagazine.org/17603/music/rising-star-kiyomi-steps-into-the-bay-area-music-scene/\" target=\"_blank\" rel=\"noopener noreferrer\">an interview\u003c/a> that was published last year, around the same time as that song, Kiyomi mentioned plans to drop a new project in 2021. While fans who enjoyed her debut EP \u003cem>Solara Sunsets\u003c/em> wait for more music they can watch her latest video and enjoy her brilliant voice, some old school cars and the upbeat energy encapsulated in the visuals.\u003cem>—Pendarvis Harshaw\u003c/em>\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=3550343080/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\u003ch2>Tyler Holmes, “BIPP” (SOPHIE cover)\u003c/h2>\n\u003cp>\u003ca href=\"https://www.nytimes.com/2021/01/30/arts/music/sophie-dead.html\" target=\"_blank\" rel=\"noopener noreferrer\">SOPHIE\u003c/a>’s sharp, exquisitely textured anti-pop made the artist a luminary in the electronic music world. And in the queer community, fans saw her as a beloved trans icon in a mostly cis and hetero industry. Sadly, SOPHIE died in late January after an accidental fall in Greece. As an homage to the groundbreaking Scottish artist, Oakland singer and producer \u003ca href=\"https://tylerholmes.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Tyler Holmes\u003c/a> recently released a cover of Sophie’s “BIPP.” Where SOPHIE’s original is a disorienting, staccato club track that never quite finds its resolution, Holmes brings out the earnest and pleading qualities of its lyrics (“However you’re feeling / I can make you feel better”) with their smoother, bare-bones bedroom pop take.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Much like SOPHIE, Holmes is an artist who defies labels: \u003ca href=\"https://www.kqed.org/arts/13814982/tyler-holmes-is-here-for-your-inner-freak\" target=\"_blank\" rel=\"noopener noreferrer\">they first came onto the Bay Area music scene\u003c/a> with a glitchy, industrial sound and phantasmagoric aesthetic forged in the local avant-garde drag scene. But their abrasive musical approach belied their traditionally beautiful R&B singing abilities (think Blood Orange and Sade), which come into clearer focus among cellos and woodwinds on their upcoming album \u003cem>Nightmare in Paradise\u003c/em>, out on \u003ca href=\"https://ratskinrecords.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Ratskin Records\u003c/a> on March 26.\u003cem>—Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" allow=\"autoplay\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/975976852&color=%23ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Young Shorty Doowop, “In My Reeboks”\u003c/h2>\n\u003cp>\u003ca href=\"https://soundcloud.com/young-shorty-doowop\" target=\"_blank\" rel=\"noopener noreferrer\">Young Shorty Doowop\u003c/a>’s song “In My Reeboks” samples the beat of the ultra-explicit classic track from Three 6 Mafia and Tear da Club Up Thugs, “Slob on My Knob,” and combines it with a snippet from a viral recording of a voicemail of an enraged employee, bringing it all together for a good cause.\u003c/p>\n\u003cp>Young Shorty Doowop, or Y.S.D., a youth coordination for the Oakland LGBTQ Community Center, says she appreciates seeing people do the #YSDReebokChallenge (created by Yung Phil of the Turffeinz), but her real goal is to give pairs of shoes to people in need. So far she’s given away a handful, and she just launched a \u003ca href=\"https://gofund.me/31b2de39\" target=\"_blank\" rel=\"noopener noreferrer\">GoFundMe\u003c/a>.\u003c/p>\n\u003cp>She’s banking on the song’s popularity to spread the word; as of now, it has nearly two million views on \u003ca href=\"https://www.tiktok.com/@iloveallmyfans2?_d=secCgYIASAHKAESMgowj3aeresYhr146O97XgiHeVMKUIqAb9ptYgCOzRqqULaqVEv4ikiWd53OfObvtSI4GgA%3D&language=en&sec_uid=MS4wLjABAAAAabHgOXNJADN5ortxsjCR1iZ9ozLNRAxi6rVdRpy-dW9YoiurC_KY66Ig8mb3j8tO&sec_user_id=MS4wLjABAAAAabHgOXNJADN5ortxsjCR1iZ9ozLNRAxi6rVdRpy-dW9YoiurC_KY66Ig8mb3j8tO&share_author_id=6758123774229595141&share_link_id=F94471BE-2B5B-485B-9545-2DC56FA34DDE&tt_from=copy&u_code=d98j5b01931a73&user_id=6758123774229595141&utm_campaign=client_share&utm_medium=ios&utm_source=copy&source=h5_m\" target=\"_blank\" rel=\"noopener noreferrer\">TikTok\u003c/a>. Despite the pandemic, the track has been played in front of some pretty large crowds of people, including at a Super Bowl event in Atlanta. Just yesterday Shorty, whose other song “\u003ca href=\"https://soundcloud.com/young-shorty-doowop/for-me-feat-brittany-nicole\" target=\"_blank\" rel=\"noopener noreferrer\">For Me\u003c/a>” was recently featured on \u003cem>Real Housewives of Atlanta\u003c/em>, announced an upcoming “In My Reeboks” tour, with shows scheduled in Pennsylvania, Miami and Dallas.\u003cem>—P.H.\u003c/em>\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=4263620943/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=4074977592/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Kelly McFarling, “Birds”\u003c/h2>\n\u003cp>My best mornings come when I can stay in bed for a while and turn my mind off of the little things. As the late-sunrise birds outside chirp like they have for thousands of years, I think instead about the big things, like the passing of time, both before and after our blip of a life on this planet. So imagine my joy at finding \u003ca href=\"https://kellymcfarling.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Kelly McFarling\u003c/a>’s “Birds,” an ode to that very fleeting moment, when all seems right—or at least manageable—with the world.\u003c/p>\n\u003cp>McFarling flips Leonard Cohen’s morose lyrical imagery into a bouyant, immediately catchy chorus—“Birds out on the wire / Like a bracelet on the blue”—and if you get a tinge of Fleetwood Mac’s “Dreams” from the chord progression, you’re not off the mark. While McFarling came to San Francisco by way or Georgia, “Birds” doesn’t shovel as much southern soil as the other songs on her new album, \u003cem>Deep the Habit\u003c/em>, which marks a new, sometimes even Dire Straits-y direction (as on “Delicate”), with bluesy guitar, mandolin and pedal steel. But she can still sing a plaintive sad song (like “North Decatur,” a perfect fit aside Phoebe Bridgers on any playlist), and in “Birds,” when the slow, dreamy bridge veers into Cocteau Twins territory and transports me from my daily routine, I find myself thinking: is there any transient feeling Kelly McFarling can’t bring to life?\u003cem>—Gabe Meline\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/UKRyw2RMdrM'\n title='//www.youtube.com/embed/UKRyw2RMdrM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>Beeda Weeda, “My Section”\u003c/h2>\n\u003cp>\u003ca href=\"https://www.beedaweeda.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Beeda Weeda\u003c/a> is on a mission to bring back a certain era in rap music. Over the past year, the rapper from East Oakland has dropped multiple tracks featuring OGs in the game: C-Bo, Spice One, Yukmouth, Keak Da Sneak, E-40 and B-Legit. Just yesterday, he released “\u003ca href=\"https://www.youtube.com/watch?v=Cw8IIOug_Ds&ab_channel=BeedaWeeda\" target=\"_blank\" rel=\"noopener noreferrer\">Back Against The Wall\u003c/a>” featuring Richie Rich.\u003c/p>\n\u003cp>His latest album \u003cem>Hot Boy Top Boy \u003c/em>is an ode to that special time in life, when Cash Money Records took over for the ’99 and the 2000. With multiple songs that remix classic beats and lyrics from the legendary Hot Boys, Beeda was intentional when he titled the album. The track “My Section,” (featuring Kye Kaszett) is a remix of Birdman’s 2005 hit “Out The Ghetto,” and is full of lyrics that honor the neighborhood where Beeda Weeda was raised. “Gentrification ain’t did shit, we still here / get high on the 8, and then go shop down on Fruitvale,” he raps over a beat that’s made for driving on a sunny day in whatever part of Northern California you call your section.\u003cem>—P.H.\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/8pzseoj19MM'\n title='//www.youtube.com/embed/8pzseoj19MM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>Mac J, “SKOOP”\u003c/h2>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Death of a loved one can have unexpected effects on one’s creative mindset. After the fatal shooting last June of his close friend and fellow Sacramento rapper Bris, \u003ca href=\"https://www.instagram.com/truestory_macj/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Mac J\u003c/a> could have retreated into his pain, or dutifully copied-as-homage the style of his 24-year-old cuddie taken too soon. Instead, he’s just dropped “SKOOP,” an atmospheric, whispery track of determination and reinvention. “You might get my nickname, but not my government” he softly intones, over a galactic beat produced by True the Plug. While outer-space \u003cem>whirrs\u003c/em> trace spirals over thick, rumbling bass tones deeper than the Marianas Trench, Mac J ultimately finds his joy—and when he repeats “tricky dance moves, that’s my cousin shit.” Anyone with a heart can imagine Bris dancing in heaven.\u003cem>—G.M.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Pass the Aux: New Tracks by Black London, Lowstar Rodeo, Dom Jones and Lil Bean",
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"content": "\u003cp>\u003cem>Do you miss packing your friends into the car, playing your favorite tracks and dancing in your seat? Us too. Welcome to \u003ca href=\"https://www.kqed.org/arts/tag/pass-the-aux\" target=\"_blank\" rel=\"noopener noreferrer\">Pass the Aux\u003c/a>, where every other week the KQED Arts & Culture team introduces you to new(ish) releases from Bay Area artists. Here’s what we have on deck.\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" allow=\"autoplay\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/987479899&color=%23ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Black London feat. Viveca Hawkins, “Devil’s Pie” (D’Angelo cover)\u003c/h2>\n\u003cp>D’Angelo’s regal \u003ca href=\"https://pitchfork.com/news/watch-dangelos-verzuz-battle-live-at-the-apollo-theater/\" target=\"_blank\" rel=\"noopener noreferrer\">Verzuz\u003c/a> appearance last week was a reminder of the quiet power of his discography—not only has he produced some genre-defining neo-soul gems, but his music has always been infused with an insightful political consciousness. While fans await new music from him, Oakland’s \u003ca href=\"https://www.instagram.com/blacklondonmusic/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Black London\u003c/a> music collective is embarking on a project to pay homage to his seminal 2000 album, \u003cem>Voodoo\u003c/em>. Over the next several weeks, they’ll be releasing jazz interpretations of some of D’Angelo’s best-known tracks.\u003c/p>\n\u003cp>First up is their cover of “Devil’s Pie,” featuring singer Viveca Hawkins. While D’Angelo’s original juxtaposes the organic feel of his bluesy vocals with a stripped-down hip-hop beat, Black London brings in lush, new textures with Hawkins’ honeyed voice, Kev Choice and Mike Blankenship’s celestial keys and Howard Wiley’s soulful saxophone. The collective finds pockets for improvisation, breaking free from the structure of a straightforward pop song. It’s an unorthodox approach that reflects D’Angelo’s own creative thinking in his lyrics about how capitalism compromises people’s values: “Who am I to justify / All the evil in our eye / When I myself feel the high / From all that I despise.”\u003cem>—Nastia Voynovskaya\u003c/em>\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=1254587643/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\u003ch2>Dom Jones, “One More Night”\u003c/h2>\n\u003cp>Poet and R&B vocalist \u003ca href=\"https://iamdomjones.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Dom Jones\u003c/a> recently debuted her single “One More Night” off of her new EP, \u003cem>CHASM\u003c/em>. The jazzy song is an uplifting and melodic musical approach to that bad habit of reaching out to a former lover for one more night of romance. “I only think of you when my body is hot, the night is cold, that’s when that old love crosses my mind,” sings Jones in the opening seconds of the uptempo track.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Jones, an Oakland-raised artist who graduated from the Berkelee School of Music in 2014, says both the five-track EP and newly released poetry book with the same title are dedicated to the decision to leave a lukewarm relationship and pursue her dreams of making music. [aside postid='arts_13893637']\u003c/p>\n\u003cp>“Crazytown,” the EP’s first single, starts with a voicemail from an ex full of mixed messages about not wanting a relationship but extending an invitation to meet up. The song “Rather Be a River” exemplifies the feeling of trying to fit yourself into confining spaces in order to make a relationship work. And the song “HeartSlave” is simply a song of liberation from an unfulfilling love.\u003c/p>\n\u003cp>“One More Night” stands out not only because of Jones’ lyrics and voice. The guitar solo at the end of the track by Jeremy Flegel is simply cold, and it drives the message home as Jones repeats “lay me down one more night.”\u003cem>—Pendarvis Harshaw\u003c/em>\u003c/p>\n\u003cp>https://youtu.be/STz6blVeCj0\u003c/p>\n\u003ch2>Lowstar Rodeo, “Yesterdeja Vu”\u003c/h2>\n\u003cp>As a member of the country duo the Easy Leaves, Kevin Carducci has seen his share of nightclubs and honky-tonks all up and down the West Coast. But for the last year, he’s mostly seen the same four walls during shelter-in-place, over and over, just like the rest of us. That \u003cem>Groundhog Day\u003c/em>-esque existence is the subject of “Yesterdeja Vu,” from Carducci’s side project \u003ca href=\"https://lowstarrodeo.bandcamp.com/releases\" target=\"_blank\" rel=\"noopener noreferrer\">Lowstar Rodeo\u003c/a>. Over a plaintive acoustic accompaniment, Carducci sings of the mental effects of cabin fever in the months since “time came apart at the seams.” An accompanying video chronicles the progression in our pandemic lives, from novelty to boredom to mania, as \u003cem>Tiger King\u003c/em> and sourdough bread give way to imaginary friends and morning drinking. Between the recognizable scenes and feelings of familiarity, I keep reminding myself that with vaccinations underway, it’ll be over soon.\u003cem>—Gabe Meline\u003c/em>\u003c/p>\n\u003cp>https://youtu.be/vEakFpr5MB8\u003c/p>\n\u003ch2>Lil Bean feat. Lil Yee, “War Ready”\u003c/h2>\n\u003cp>As of late, San Francisco’s \u003ca href=\"https://www.instagram.com/lilbean/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Lil Bean\u003c/a> hasn’t missed. This week he dropped a banger of a single, “\u003ca href=\"https://www.youtube.com/watch?v=kYW3Pw3Jr9w\" target=\"_blank\" rel=\"noopener noreferrer\">Vital\u003c/a>.” Last month he put out a high-powered cross-Bay collaboration with Oakland’s Offset Jim, “\u003ca href=\"https://www.youtube.com/watch?v=X1SMzBKaG9c\" target=\"_blank\" rel=\"noopener noreferrer\">Who Wit Me\u003c/a>.” Around that same time he debuted the visual for “\u003ca href=\"https://www.youtube.com/watch?v=uuUnbSLs5jA\" target=\"_blank\" rel=\"noopener noreferrer\">Jeff Hardy,\u003c/a>” which features his Northern Californian comrade Sacramento’s ShooterGang Kony. [aside postid='arts_13893303']\u003c/p>\n\u003cp>Given all that Lil Bean’s got cooking, it’s hard to boil it down to one song to spotlight. But his December 2020 EP \u003cem>4TheCulture\u003c/em> starts with a track by the name of “War Ready,” which features San Francisco’s Lil Yee. It’s a song that screams “you can’t hold me back,” coupled with percussion and a bass line that’ll motivate anyone to overcome whatever they’re facing. “They gave my cousin 17, I got a couple years / I’m trynna give my mom a G for every single tear,” Lil Bean raps vulnerably.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The visual to the song, which dropped earlier this year, is directed by Mota Media and depicts a day in a trauma-filled life of a man going through relationship issues and festering neighborhood beef. Despite dealing with paranoia and close calls, the young man ultimately makes it through the day and night, because as the title says: he was war ready.\u003cem>—P.H.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Do you miss packing your friends into the car, playing your favorite tracks and dancing in your seat? Us too. Welcome to \u003ca href=\"https://www.kqed.org/arts/tag/pass-the-aux\" target=\"_blank\" rel=\"noopener noreferrer\">Pass the Aux\u003c/a>, where every other week the KQED Arts & Culture team introduces you to new(ish) releases from Bay Area artists. Here’s what we have on deck.\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" allow=\"autoplay\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/987479899&color=%23ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Black London feat. Viveca Hawkins, “Devil’s Pie” (D’Angelo cover)\u003c/h2>\n\u003cp>D’Angelo’s regal \u003ca href=\"https://pitchfork.com/news/watch-dangelos-verzuz-battle-live-at-the-apollo-theater/\" target=\"_blank\" rel=\"noopener noreferrer\">Verzuz\u003c/a> appearance last week was a reminder of the quiet power of his discography—not only has he produced some genre-defining neo-soul gems, but his music has always been infused with an insightful political consciousness. While fans await new music from him, Oakland’s \u003ca href=\"https://www.instagram.com/blacklondonmusic/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Black London\u003c/a> music collective is embarking on a project to pay homage to his seminal 2000 album, \u003cem>Voodoo\u003c/em>. Over the next several weeks, they’ll be releasing jazz interpretations of some of D’Angelo’s best-known tracks.\u003c/p>\n\u003cp>First up is their cover of “Devil’s Pie,” featuring singer Viveca Hawkins. While D’Angelo’s original juxtaposes the organic feel of his bluesy vocals with a stripped-down hip-hop beat, Black London brings in lush, new textures with Hawkins’ honeyed voice, Kev Choice and Mike Blankenship’s celestial keys and Howard Wiley’s soulful saxophone. The collective finds pockets for improvisation, breaking free from the structure of a straightforward pop song. It’s an unorthodox approach that reflects D’Angelo’s own creative thinking in his lyrics about how capitalism compromises people’s values: “Who am I to justify / All the evil in our eye / When I myself feel the high / From all that I despise.”\u003cem>—Nastia Voynovskaya\u003c/em>\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=1254587643/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\u003ch2>Dom Jones, “One More Night”\u003c/h2>\n\u003cp>Poet and R&B vocalist \u003ca href=\"https://iamdomjones.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Dom Jones\u003c/a> recently debuted her single “One More Night” off of her new EP, \u003cem>CHASM\u003c/em>. The jazzy song is an uplifting and melodic musical approach to that bad habit of reaching out to a former lover for one more night of romance. “I only think of you when my body is hot, the night is cold, that’s when that old love crosses my mind,” sings Jones in the opening seconds of the uptempo track.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Crazytown,” the EP’s first single, starts with a voicemail from an ex full of mixed messages about not wanting a relationship but extending an invitation to meet up. The song “Rather Be a River” exemplifies the feeling of trying to fit yourself into confining spaces in order to make a relationship work. And the song “HeartSlave” is simply a song of liberation from an unfulfilling love.\u003c/p>\n\u003cp>“One More Night” stands out not only because of Jones’ lyrics and voice. The guitar solo at the end of the track by Jeremy Flegel is simply cold, and it drives the message home as Jones repeats “lay me down one more night.”\u003cem>—Pendarvis Harshaw\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/STz6blVeCj0'\n title='//www.youtube.com/embed/STz6blVeCj0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>Lowstar Rodeo, “Yesterdeja Vu”\u003c/h2>\n\u003cp>As a member of the country duo the Easy Leaves, Kevin Carducci has seen his share of nightclubs and honky-tonks all up and down the West Coast. But for the last year, he’s mostly seen the same four walls during shelter-in-place, over and over, just like the rest of us. That \u003cem>Groundhog Day\u003c/em>-esque existence is the subject of “Yesterdeja Vu,” from Carducci’s side project \u003ca href=\"https://lowstarrodeo.bandcamp.com/releases\" target=\"_blank\" rel=\"noopener noreferrer\">Lowstar Rodeo\u003c/a>. Over a plaintive acoustic accompaniment, Carducci sings of the mental effects of cabin fever in the months since “time came apart at the seams.” An accompanying video chronicles the progression in our pandemic lives, from novelty to boredom to mania, as \u003cem>Tiger King\u003c/em> and sourdough bread give way to imaginary friends and morning drinking. Between the recognizable scenes and feelings of familiarity, I keep reminding myself that with vaccinations underway, it’ll be over soon.\u003cem>—Gabe Meline\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/vEakFpr5MB8'\n title='//www.youtube.com/embed/vEakFpr5MB8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>Lil Bean feat. Lil Yee, “War Ready”\u003c/h2>\n\u003cp>As of late, San Francisco’s \u003ca href=\"https://www.instagram.com/lilbean/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Lil Bean\u003c/a> hasn’t missed. This week he dropped a banger of a single, “\u003ca href=\"https://www.youtube.com/watch?v=kYW3Pw3Jr9w\" target=\"_blank\" rel=\"noopener noreferrer\">Vital\u003c/a>.” Last month he put out a high-powered cross-Bay collaboration with Oakland’s Offset Jim, “\u003ca href=\"https://www.youtube.com/watch?v=X1SMzBKaG9c\" target=\"_blank\" rel=\"noopener noreferrer\">Who Wit Me\u003c/a>.” Around that same time he debuted the visual for “\u003ca href=\"https://www.youtube.com/watch?v=uuUnbSLs5jA\" target=\"_blank\" rel=\"noopener noreferrer\">Jeff Hardy,\u003c/a>” which features his Northern Californian comrade Sacramento’s ShooterGang Kony. \u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cem>Do you miss packing your friends into the car, playing your favorite tracks and dancing in your seat? Us too. Welcome to \u003ca href=\"https://www.kqed.org/arts/tag/pass-the-aux\" target=\"_blank\" rel=\"noopener noreferrer\">Pass the Aux\u003c/a>, where every other week the KQED Arts & Culture team introduces you to new(ish) releases from Bay Area artists. Here’s what we have on deck.\u003c/em>\u003c/p>\n\u003cp>https://youtu.be/YeBZahB1Wgc\u003c/p>\n\u003ch2>María José Montijo (MaJo), “Lejos De Ti”\u003c/h2>\n\u003cp>Amid the dreariness of mid-pandemic existence, Puerto Rican-born healer and musician \u003ca href=\"https://www.esotericatropical.com/about\" target=\"_blank\" rel=\"noopener noreferrer\">María José Montijo\u003c/a> (MaJo) offers a balm for shelter-in-place angst for anyone who’s been longing for that feeling of an old friend’s embrace. With her latest independently released track and music video, “Lejos de Ti,” MaJo drops us into her sunlit childhood home in Puerto Rico, alive with hues of green and gold. Against a crescendo of strings and the slow bounce of drums, MaJo’s echoes of “amor” fill the void of an empty house. Interstitials of familiar Bay Area artists light up the screen as she sings to each loved one across time and space: “Aquí, lejos de ti / seís pies de distancia / es demasiado / cuando quiero / tu abrazo.”\u003c/p>\n\u003cp>MaJo dances in place to her own rhythm, inviting us to bear witness to her solo rituals as she passes pandemic time in the virtual company of chosen family. And though the song immediately reminded me to send a text to that one-friend-I’ve-been-missing, MaJo also presents a powerful portrait of spending time in the company of ourselves—especially when friends feel far.\u003cem>—Lina Blanco\u003c/em>\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=1497643037/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=212147613/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Avi Vinocur, “Tell John Prine Hello”\u003c/h2>\n\u003cp>On April 7, the day \u003ca href=\"https://www.kqed.org/arts/13878306/six-short-stories-about-john-prine\" target=\"_blank\" rel=\"noopener noreferrer\">John Prine\u003c/a>’s death was announced, \u003ca href=\"https://www.avivinocurmusic.com/bio\" target=\"_blank\" rel=\"noopener noreferrer\">Avi Vinocur\u003c/a> sat down at his typewriter and composed lyrics to a song titled “Donald Trump Killed John Prine”—an indictment of the Trump administration’s inaction to contain the novel coronavirus, and an ode to the brilliant songwriter whose life it squelched. Since Vinocur publicly posted the lyrics, the phrase “Donald Trump Killed John Prine” has become ubiquitous, and appeared on T-shirts, hoodies and bumper stickers, which may have inspired the San Francisco songsmith to change direction. On his latest album, \u003cem>Hindsight\u003c/em> (“a set of songs about the year that was”), Vinocur opted not to record the song, and instead wrote a new one. “Tell John Prine Hello” is sung from the viewpoint of someone who knows exactly what’ll happen after they die: they’ll ride on up to heaven, and find John Prine, and introduce themselves. Recorded like the rest of the album—on an iPhone—the song has an earthy, grounded feel, even as the ascending melody of the chorus evokes spiritual transport. A little bit like a John Prine song itself, actually.\u003cem>—Gabe Meline\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://youtu.be/12zA74fPNnY\u003c/p>\n\u003ch2>Jwalt, “The Taking”\u003c/h2>\n\u003cp>Treading the line between classic ego rap and self awareness, 18-year-old rapper \u003ca href=\"https://www.instagram.com/official.jwalt/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Jwalt\u003c/a> strikes a rare and refreshing balance between pride in what he’s done and humility for how far he has left to go with his new single, “The Taking.” “It’s crazy they look at the gram / And they’ve seen what I’ve done / And they think that I made it,” he raps over a steady beat and flute loop. “When I go back to the town they look up to me / They want a pic like I’m famous.”\u003c/p>\n\u003cp>Reflecting on traveling between his hometown of Oakland and college town with the opening lines “Just landed back in the Bay a couple hours ago / It feels good to be home,” the New York University freshman offers us an honest look into his aspirations and the pressure he feels to make it—not just for himself, but for everyone watching. With acknowledgements from figures like the Bay Area’s own Mistah F.A.B. and the artist Logic, Jwalt’s future certainly is bright and he knows it.\u003cem>—Samuel Getachew\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" allow=\"autoplay\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/983027656&color=%23ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Nenci, “lydia”\u003c/h2>\n\u003cp>The nymphs and mermaids in the feminist strip club of my imagination are pole dancing to “lydia” by \u003ca href=\"https://www.instagram.com/nancytransformer/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Nenci\u003c/a>, a down-tempo, undulating R&B track from the Oakland-based, Vallejo-raised artist. Out this week on San Francisco’s Text Me Records, the new song mixes an experimentalism that evokes the likes of Kelela and Yaeji with an alternative pop sensibility more akin to Rihanna’s \u003cem>ANTI\u003c/em>. Throughout “lydia,” Nenci surprises her listeners with sneaky production tricks like footwork-esque drum fills, flute riffs, tempo changes and atmospheric, smoky synths that recall ’80s electronic music greats Art of Noise. (Oh yeah, did I mention she’s classically trained in flute?) An ode to her beloved, and centering queer love, “lydia” is bound to melt the hearts of women who love women—and those who love them.\u003cem>—Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cp>https://youtu.be/L2nEFsR-fDk\u003c/p>\n\u003ch2>Zyah Belle, “I Think I Love You”\u003c/h2>\n\u003cp>Vallejo’s \u003ca href=\"https://www.instagram.com/zyahbelle/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Zyah Belle\u003c/a> just dropped an aesthetically pleasing, dream-like, nature-themed new visual for the track “I Think That I Love You.” The video features an a capella version of \u003ca href=\"https://soundcloud.com/zyahbelle/i-think-that-i-love-you-feat-romderful\" target=\"_blank\" rel=\"noopener noreferrer\">a single\u003c/a> she originally released last year. Dropping content at her own pace is something the R&B and hip-hop artist talked about recently during a chat on Instagram live. While jumping rope, in between sets she spoke openly about choosing patience, retaining agency and putting out music when she deems the time is right.\u003c/p>\n\u003cp>Falling in line with that, Zyah dropped the aforementioned video, shot by Riley Brown. The song is a tale of that nerve-racking journey of honoring your feelings and cautiously expressing them to another person, and features Zyah’s ability to hit the high notes and spit rhythmic poetry. About halfway through showing off her vocals, she breaks into a bit of a rap, “Yeah, I know you had your heart broken a few times before / but this time we spend is lavish; no Audemar.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Coming off a year where she was featured on Terrace Martin’s \u003cem>Village Days\u003c/em> project and E-40 and Too $hort’s joint album \u003cem>Ain’t Gone Do It / Terms and Conditions\u003c/em>, Zyah started off 2021 by dropping a \u003ca href=\"https://soundcloud.com/zyahbelle/ittily-dance-mix-featuring\" target=\"_blank\" rel=\"noopener noreferrer\">dance remix\u003c/a> to “I Think That I Love You.” She says she doesn’t have immediate plans to drop anything else, but it’s pretty clear that she’s going to continue to publish her work as she pleases.\u003cem>—Pendarvis Harshaw\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Do you miss packing your friends into the car, playing your favorite tracks and dancing in your seat? Us too. Welcome to \u003ca href=\"https://www.kqed.org/arts/tag/pass-the-aux\" target=\"_blank\" rel=\"noopener noreferrer\">Pass the Aux\u003c/a>, where every other week the KQED Arts & Culture team introduces you to new(ish) releases from Bay Area artists. Here’s what we have on deck.\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/YeBZahB1Wgc'\n title='//www.youtube.com/embed/YeBZahB1Wgc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>María José Montijo (MaJo), “Lejos De Ti”\u003c/h2>\n\u003cp>Amid the dreariness of mid-pandemic existence, Puerto Rican-born healer and musician \u003ca href=\"https://www.esotericatropical.com/about\" target=\"_blank\" rel=\"noopener noreferrer\">María José Montijo\u003c/a> (MaJo) offers a balm for shelter-in-place angst for anyone who’s been longing for that feeling of an old friend’s embrace. With her latest independently released track and music video, “Lejos de Ti,” MaJo drops us into her sunlit childhood home in Puerto Rico, alive with hues of green and gold. Against a crescendo of strings and the slow bounce of drums, MaJo’s echoes of “amor” fill the void of an empty house. Interstitials of familiar Bay Area artists light up the screen as she sings to each loved one across time and space: “Aquí, lejos de ti / seís pies de distancia / es demasiado / cuando quiero / tu abrazo.”\u003c/p>\n\u003cp>MaJo dances in place to her own rhythm, inviting us to bear witness to her solo rituals as she passes pandemic time in the virtual company of chosen family. And though the song immediately reminded me to send a text to that one-friend-I’ve-been-missing, MaJo also presents a powerful portrait of spending time in the company of ourselves—especially when friends feel far.\u003cem>—Lina Blanco\u003c/em>\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=1497643037/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=212147613/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Avi Vinocur, “Tell John Prine Hello”\u003c/h2>\n\u003cp>On April 7, the day \u003ca href=\"https://www.kqed.org/arts/13878306/six-short-stories-about-john-prine\" target=\"_blank\" rel=\"noopener noreferrer\">John Prine\u003c/a>’s death was announced, \u003ca href=\"https://www.avivinocurmusic.com/bio\" target=\"_blank\" rel=\"noopener noreferrer\">Avi Vinocur\u003c/a> sat down at his typewriter and composed lyrics to a song titled “Donald Trump Killed John Prine”—an indictment of the Trump administration’s inaction to contain the novel coronavirus, and an ode to the brilliant songwriter whose life it squelched. Since Vinocur publicly posted the lyrics, the phrase “Donald Trump Killed John Prine” has become ubiquitous, and appeared on T-shirts, hoodies and bumper stickers, which may have inspired the San Francisco songsmith to change direction. On his latest album, \u003cem>Hindsight\u003c/em> (“a set of songs about the year that was”), Vinocur opted not to record the song, and instead wrote a new one. “Tell John Prine Hello” is sung from the viewpoint of someone who knows exactly what’ll happen after they die: they’ll ride on up to heaven, and find John Prine, and introduce themselves. Recorded like the rest of the album—on an iPhone—the song has an earthy, grounded feel, even as the ascending melody of the chorus evokes spiritual transport. A little bit like a John Prine song itself, actually.\u003cem>—Gabe Meline\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/12zA74fPNnY'\n title='//www.youtube.com/embed/12zA74fPNnY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>Jwalt, “The Taking”\u003c/h2>\n\u003cp>Treading the line between classic ego rap and self awareness, 18-year-old rapper \u003ca href=\"https://www.instagram.com/official.jwalt/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Jwalt\u003c/a> strikes a rare and refreshing balance between pride in what he’s done and humility for how far he has left to go with his new single, “The Taking.” “It’s crazy they look at the gram / And they’ve seen what I’ve done / And they think that I made it,” he raps over a steady beat and flute loop. “When I go back to the town they look up to me / They want a pic like I’m famous.”\u003c/p>\n\u003cp>Reflecting on traveling between his hometown of Oakland and college town with the opening lines “Just landed back in the Bay a couple hours ago / It feels good to be home,” the New York University freshman offers us an honest look into his aspirations and the pressure he feels to make it—not just for himself, but for everyone watching. With acknowledgements from figures like the Bay Area’s own Mistah F.A.B. and the artist Logic, Jwalt’s future certainly is bright and he knows it.\u003cem>—Samuel Getachew\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" allow=\"autoplay\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/983027656&color=%23ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Nenci, “lydia”\u003c/h2>\n\u003cp>The nymphs and mermaids in the feminist strip club of my imagination are pole dancing to “lydia” by \u003ca href=\"https://www.instagram.com/nancytransformer/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Nenci\u003c/a>, a down-tempo, undulating R&B track from the Oakland-based, Vallejo-raised artist. Out this week on San Francisco’s Text Me Records, the new song mixes an experimentalism that evokes the likes of Kelela and Yaeji with an alternative pop sensibility more akin to Rihanna’s \u003cem>ANTI\u003c/em>. Throughout “lydia,” Nenci surprises her listeners with sneaky production tricks like footwork-esque drum fills, flute riffs, tempo changes and atmospheric, smoky synths that recall ’80s electronic music greats Art of Noise. (Oh yeah, did I mention she’s classically trained in flute?) An ode to her beloved, and centering queer love, “lydia” is bound to melt the hearts of women who love women—and those who love them.\u003cem>—Nastia Voynovskaya\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/L2nEFsR-fDk'\n title='//www.youtube.com/embed/L2nEFsR-fDk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>Zyah Belle, “I Think I Love You”\u003c/h2>\n\u003cp>Vallejo’s \u003ca href=\"https://www.instagram.com/zyahbelle/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Zyah Belle\u003c/a> just dropped an aesthetically pleasing, dream-like, nature-themed new visual for the track “I Think That I Love You.” The video features an a capella version of \u003ca href=\"https://soundcloud.com/zyahbelle/i-think-that-i-love-you-feat-romderful\" target=\"_blank\" rel=\"noopener noreferrer\">a single\u003c/a> she originally released last year. Dropping content at her own pace is something the R&B and hip-hop artist talked about recently during a chat on Instagram live. While jumping rope, in between sets she spoke openly about choosing patience, retaining agency and putting out music when she deems the time is right.\u003c/p>\n\u003cp>Falling in line with that, Zyah dropped the aforementioned video, shot by Riley Brown. The song is a tale of that nerve-racking journey of honoring your feelings and cautiously expressing them to another person, and features Zyah’s ability to hit the high notes and spit rhythmic poetry. About halfway through showing off her vocals, she breaks into a bit of a rap, “Yeah, I know you had your heart broken a few times before / but this time we spend is lavish; no Audemar.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Coming off a year where she was featured on Terrace Martin’s \u003cem>Village Days\u003c/em> project and E-40 and Too $hort’s joint album \u003cem>Ain’t Gone Do It / Terms and Conditions\u003c/em>, Zyah started off 2021 by dropping a \u003ca href=\"https://soundcloud.com/zyahbelle/ittily-dance-mix-featuring\" target=\"_blank\" rel=\"noopener noreferrer\">dance remix\u003c/a> to “I Think That I Love You.” She says she doesn’t have immediate plans to drop anything else, but it’s pretty clear that she’s going to continue to publish her work as she pleases.\u003cem>—Pendarvis Harshaw\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Pass the Aux: New Tracks by Gunna Goes Global, DÆMON, Kehlani, Ian Kelly and Nihar",
"headTitle": "Pass the Aux: New Tracks by Gunna Goes Global, DÆMON, Kehlani, Ian Kelly and Nihar | KQED",
"content": "\u003cp>Do you miss packing your friends into the car, playing your favorite tracks and dancing in your seat? Us too. Welcome to \u003cem>Pass the Aux\u003c/em>, where every other week the KQED Arts & Culture team introduces you to new(ish) releases from Bay Area artists. Here’s what we have on deck.\u003cem>—Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cp>https://youtu.be/cgBzWvwvWc4\u003c/p>\n\u003ch2>Gunna Goes Global, “Blue Klux Klan”\u003c/h2>\n\u003cp>San Francisco’s \u003ca href=\"https://linktr.ee/GunnaGoesGlobal\" target=\"_blank\" rel=\"noopener noreferrer\">Gunna Goes Global\u003c/a> started off Black History Month by releasing a song that stands as a statement: “Blue Klux Klan.” It’s a straightforward shot at white supremacy, police brutality and racism in America.\u003c/p>\n\u003cp>The actor and rapper begins the track with a monologue. “The most heinous acts of violence in American history have been committed against Black bodies with no legal ramifications, no apologies, no acknowledgement, no accountability; just more atrocities,” says Gunna. “Malicious acts do not come from fear, they come from hate. That shit is over with.”\u003c/p>\n\u003cp>The video, directed by Ace, shows Gunna witnessing a cop stalk a young Black child, much in the same way Trayvon Martin was reportedly followed by George Zimmerman before the young boy was killed. In this fictional depiction, Gunna gets to the stalker before the stalker gets to the child, killing the cop in cold blood. Both the song and the video are centered on the trial that follows the fictional killing. While on the stand, Gunna lyrically goes through the cop’s background and upbringing—turning the justifications typically used for police violence on their head.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The track concludes with another monologue from Gunna, this one about tangible actions needed to change the reality Black people face in America. “Retroactive prison reform, marijuana conviction expungement, Black faces in tech spaces,” are among the objectives he names. Gunna tells me that while this song is art based in reality, it’s also part of a forthcoming documentary about some of the very real issues covered on this track.\u003cem>—Pendarvis Harshaw\u003c/em>\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=2065646827/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=2136189519/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Auton, “Beneath Paving Stones” (Nihar remix)\u003c/h2>\n\u003cp>When the Ohio producer \u003ca href=\"https://lefthandpathwax.bandcamp.com/album/without-hindrance\" target=\"_blank\" rel=\"noopener noreferrer\">Auton\u003c/a> performed in the Bay Area for a 2018 Honey Soundsystem party, she quickly caught the attention of local label Left Hand Path. Three years later, the San Francisco label is releasing Auton’s \u003cem>Without Hindrance\u003c/em>, an album inspired by the May 1968 uprising in France, made up of four original tracks and four remixes. Among those remixes, San Francisco producer (and label co-owner) Nihar turns “Beneath Paving Stones” into a mental journey that’s as thrilling as it is deep. Starting with a simple high-C note on repeat, new elements slowly introduce themselves, one by one, pulling your brain into its moving tapestry. Two minutes later, the track no longer resembles its origins; the frequencies are lurching and buzzing and slicing. By the time you’re through, don’t be surprised if you don’t resemble your origins either.\u003cem>—Gabe Meline\u003c/em>\u003c/p>\n\u003cp>https://youtu.be/qNrM3QqTkdQ\u003c/p>\n\u003ch2>DÆMON and Endgame, “Eye Teeth”\u003c/h2>\n\u003cp>\u003ca href=\"https://daemondaemon.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">DÆMON\u003c/a> is a hip-hop artist from Oakland whose style is what some might refer to as experimental or alternative. No matter the label, his music is definitely unique. His latest track, “Eye Teeth,” a single from the \u003ca href=\"https://infinitemachine.bandcamp.com/album/im082-d-mon-endgame-dxe\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>DXE\u003c/em> EP\u003c/a>, is a collaborative effort with Endgame of Precious Metals. The song’s uptempo drum pattern seem like it could’ve been used in a scene from \u003cem>Mortal Kombat\u003c/em>. It’s matched with aggressive synthesizers that sound like they’re directly from 1984, and makes for a sound the artists describe as “cybernetic warfare melodies.” [aside postid='arts_13891687']\u003c/p>\n\u003cp>The lyrics are about DÆMON’s pursuit of an attractive woman who won’t be stopped or limited by any man or occupation. But the icing on the cake is the video. Shot inside of the Home Depot in Emeryville by director Brandon Tauszik, the video uses 360-degree technology to turn a casual walk through the hardware store into a full-blown experience. The song and video are on par with the experimental stylings of DÆMON, who is not new to obscure videos. For the song “\u003ca href=\"https://youtu.be/7NgyIrNV8vk\" target=\"_blank\" rel=\"noopener noreferrer\">In-App Purchases\u003c/a>,” he filmed a video inside of a vacant mall. And for the track “\u003ca href=\"https://youtu.be/OT0AzsIunGg\" target=\"_blank\" rel=\"noopener noreferrer\">Sirenxe\u003c/a>,” I can’t even explain what’s going on there. But it’s thrilling. Looking forward to more from DÆMON.\u003cem>—P.H.\u003c/em>\u003c/p>\n\u003cp>https://youtu.be/RkVyo5RRYU0\u003c/p>\n\u003ch2>Ian Kelly, “Gold Chain”\u003c/h2>\n\u003cp>The concept of building a legacy is heavy on \u003ca href=\"https://iankelly.fanlink.to/kellsisdead\" target=\"_blank\" rel=\"noopener noreferrer\">Ian Kelly\u003c/a>’s mind on “Gold Chain,” a standout track on his latest album, \u003ci>Kells is D.E.A.D\u003c/i>. The name of the song might have you expecting three minutes of braggadocio, but Kelly hits his listeners with a pump fake, rhyming instead about treasuring family heirlooms (in the forms of both gold and knowledge), and sacrificing temporary flashiness for long-term gains. The track is sunny and airy, with an 808 bounce punctuated by an organ loop, and lines like “I got my ancestors’ respect” make you perk your ears up as you bob your head, lest you miss any of the generations-old wisdom Kelly shares. \u003ci>Kells is D.E.A.D.\u003c/i> is the Oakland artist’s latest release with \u003ca href=\"https://www.jamlarecords.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Jamla\u003c/a>, 9th Wonder’s independent label that also reps Rapsody, and it’s well worth your time.\u003cem>—N.V.\u003c/em>\u003c/p>\n\u003cp>https://youtu.be/GZagrum0fbQ\u003c/p>\n\u003ch2>Lil Durk feat. Kehlani, “Love You Too”\u003c/h2>\n\u003cp>Oakland born-and-raised R&B star \u003ca href=\"https://www.kehlani.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Kehlani\u003c/a> joins forces with Chicago’s Lil Durk for “Love You Too,” a somber three-minute track that dropped Wednesday night. With his signature drawling and crooning style, Lil Durk alternates between singing and rapping over a dark, brooding beat before Kehlani joins with her sharp pen and raspy vocals. “Never takin’ love for granted / Many die young before they have this,” they sing together, emphasizing their gratitude for a once-in-a-lifetime connection.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The song reflects on the importance of valuing your partner, intermingled with Lil Durk’s declarations of both admiration and attraction. He vows to never let his feelings go unknown, repeating the line, “So come through, I’ma show you.” With two weeks left before Valentines Day, “Love You Too” is a beautiful sonic reminder to show the people you love how much you care.\u003cem>—Samuel Getachew\u003c/em>\u003c/p>\n\n",
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"title": "Pass the Aux: New Tracks by Gunna Goes Global, DÆMON, Kehlani, Ian Kelly and Nihar | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Do you miss packing your friends into the car, playing your favorite tracks and dancing in your seat? Us too. Welcome to \u003cem>Pass the Aux\u003c/em>, where every other week the KQED Arts & Culture team introduces you to new(ish) releases from Bay Area artists. Here’s what we have on deck.\u003cem>—Nastia Voynovskaya\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/cgBzWvwvWc4'\n title='//www.youtube.com/embed/cgBzWvwvWc4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>Gunna Goes Global, “Blue Klux Klan”\u003c/h2>\n\u003cp>San Francisco’s \u003ca href=\"https://linktr.ee/GunnaGoesGlobal\" target=\"_blank\" rel=\"noopener noreferrer\">Gunna Goes Global\u003c/a> started off Black History Month by releasing a song that stands as a statement: “Blue Klux Klan.” It’s a straightforward shot at white supremacy, police brutality and racism in America.\u003c/p>\n\u003cp>The actor and rapper begins the track with a monologue. “The most heinous acts of violence in American history have been committed against Black bodies with no legal ramifications, no apologies, no acknowledgement, no accountability; just more atrocities,” says Gunna. “Malicious acts do not come from fear, they come from hate. That shit is over with.”\u003c/p>\n\u003cp>The video, directed by Ace, shows Gunna witnessing a cop stalk a young Black child, much in the same way Trayvon Martin was reportedly followed by George Zimmerman before the young boy was killed. In this fictional depiction, Gunna gets to the stalker before the stalker gets to the child, killing the cop in cold blood. Both the song and the video are centered on the trial that follows the fictional killing. While on the stand, Gunna lyrically goes through the cop’s background and upbringing—turning the justifications typically used for police violence on their head.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The track concludes with another monologue from Gunna, this one about tangible actions needed to change the reality Black people face in America. “Retroactive prison reform, marijuana conviction expungement, Black faces in tech spaces,” are among the objectives he names. Gunna tells me that while this song is art based in reality, it’s also part of a forthcoming documentary about some of the very real issues covered on this track.\u003cem>—Pendarvis Harshaw\u003c/em>\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=2065646827/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=2136189519/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Auton, “Beneath Paving Stones” (Nihar remix)\u003c/h2>\n\u003cp>When the Ohio producer \u003ca href=\"https://lefthandpathwax.bandcamp.com/album/without-hindrance\" target=\"_blank\" rel=\"noopener noreferrer\">Auton\u003c/a> performed in the Bay Area for a 2018 Honey Soundsystem party, she quickly caught the attention of local label Left Hand Path. Three years later, the San Francisco label is releasing Auton’s \u003cem>Without Hindrance\u003c/em>, an album inspired by the May 1968 uprising in France, made up of four original tracks and four remixes. Among those remixes, San Francisco producer (and label co-owner) Nihar turns “Beneath Paving Stones” into a mental journey that’s as thrilling as it is deep. Starting with a simple high-C note on repeat, new elements slowly introduce themselves, one by one, pulling your brain into its moving tapestry. Two minutes later, the track no longer resembles its origins; the frequencies are lurching and buzzing and slicing. By the time you’re through, don’t be surprised if you don’t resemble your origins either.\u003cem>—Gabe Meline\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/qNrM3QqTkdQ'\n title='//www.youtube.com/embed/qNrM3QqTkdQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>DÆMON and Endgame, “Eye Teeth”\u003c/h2>\n\u003cp>\u003ca href=\"https://daemondaemon.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">DÆMON\u003c/a> is a hip-hop artist from Oakland whose style is what some might refer to as experimental or alternative. No matter the label, his music is definitely unique. His latest track, “Eye Teeth,” a single from the \u003ca href=\"https://infinitemachine.bandcamp.com/album/im082-d-mon-endgame-dxe\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>DXE\u003c/em> EP\u003c/a>, is a collaborative effort with Endgame of Precious Metals. The song’s uptempo drum pattern seem like it could’ve been used in a scene from \u003cem>Mortal Kombat\u003c/em>. It’s matched with aggressive synthesizers that sound like they’re directly from 1984, and makes for a sound the artists describe as “cybernetic warfare melodies.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The lyrics are about DÆMON’s pursuit of an attractive woman who won’t be stopped or limited by any man or occupation. But the icing on the cake is the video. Shot inside of the Home Depot in Emeryville by director Brandon Tauszik, the video uses 360-degree technology to turn a casual walk through the hardware store into a full-blown experience. The song and video are on par with the experimental stylings of DÆMON, who is not new to obscure videos. For the song “\u003ca href=\"https://youtu.be/7NgyIrNV8vk\" target=\"_blank\" rel=\"noopener noreferrer\">In-App Purchases\u003c/a>,” he filmed a video inside of a vacant mall. And for the track “\u003ca href=\"https://youtu.be/OT0AzsIunGg\" target=\"_blank\" rel=\"noopener noreferrer\">Sirenxe\u003c/a>,” I can’t even explain what’s going on there. But it’s thrilling. Looking forward to more from DÆMON.\u003cem>—P.H.\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/RkVyo5RRYU0'\n title='//www.youtube.com/embed/RkVyo5RRYU0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>Ian Kelly, “Gold Chain”\u003c/h2>\n\u003cp>The concept of building a legacy is heavy on \u003ca href=\"https://iankelly.fanlink.to/kellsisdead\" target=\"_blank\" rel=\"noopener noreferrer\">Ian Kelly\u003c/a>’s mind on “Gold Chain,” a standout track on his latest album, \u003ci>Kells is D.E.A.D\u003c/i>. The name of the song might have you expecting three minutes of braggadocio, but Kelly hits his listeners with a pump fake, rhyming instead about treasuring family heirlooms (in the forms of both gold and knowledge), and sacrificing temporary flashiness for long-term gains. The track is sunny and airy, with an 808 bounce punctuated by an organ loop, and lines like “I got my ancestors’ respect” make you perk your ears up as you bob your head, lest you miss any of the generations-old wisdom Kelly shares. \u003ci>Kells is D.E.A.D.\u003c/i> is the Oakland artist’s latest release with \u003ca href=\"https://www.jamlarecords.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Jamla\u003c/a>, 9th Wonder’s independent label that also reps Rapsody, and it’s well worth your time.\u003cem>—N.V.\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/GZagrum0fbQ'\n title='//www.youtube.com/embed/GZagrum0fbQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>Lil Durk feat. Kehlani, “Love You Too”\u003c/h2>\n\u003cp>Oakland born-and-raised R&B star \u003ca href=\"https://www.kehlani.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Kehlani\u003c/a> joins forces with Chicago’s Lil Durk for “Love You Too,” a somber three-minute track that dropped Wednesday night. With his signature drawling and crooning style, Lil Durk alternates between singing and rapping over a dark, brooding beat before Kehlani joins with her sharp pen and raspy vocals. “Never takin’ love for granted / Many die young before they have this,” they sing together, emphasizing their gratitude for a once-in-a-lifetime connection.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The song reflects on the importance of valuing your partner, intermingled with Lil Durk’s declarations of both admiration and attraction. He vows to never let his feelings go unknown, repeating the line, “So come through, I’ma show you.” With two weeks left before Valentines Day, “Love You Too” is a beautiful sonic reminder to show the people you love how much you care.\u003cem>—Samuel Getachew\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Pass the Aux: New Tracks by Ally Cocaine, Jax the Band, Rexx Life Raj and Dax Pierson",
"headTitle": "Pass the Aux: New Tracks by Ally Cocaine, Jax the Band, Rexx Life Raj and Dax Pierson | KQED",
"content": "\u003cp>Do you miss packing your friends into the car and passing around the aux cord, playing your favorite tracks, singing along and dancing in your seat? We do too—which is why the KQED Arts & Culture team is introducing our new, biweekly music column, Pass the Aux. Every two weeks, we’ll share new(ish) releases from Bay Area artists, across a variety of genres. Hip-hop, pop, experimental, jazz, R&B, rock, folk and classical all have a home here. Here’s what we have on deck this week.\u003cem>—Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cp>https://youtu.be/w6v6EUPrHxM\u003c/p>\n\u003ch2>Ally Cocaine, “Boss Type” feat. 10 Piece Tone\u003c/h2>\n\u003cp>The video for \u003ca href=\"https://www.instagram.com/ally_cocaine/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Ally Cocaine\u003c/a>’s recently released track “Boss Type” (feat. 10 Piece Tone) has the flavor of a classic Blaxploitation film. The lively attire, the freshly laid hairdos and the drop-top, American-made vehicle chauffeured by producer Big Spence all play into the plot. Directed by Ariel Mei, the video depicts Ally as the head of an operation of some sort; the details of the business aren’t disclosed, but other women who don’t wear a lot of clothes are obviously bringing her money. The video’s concept compliments the subject matter in the bass-heavy track, in which Ally raps, “I’m the boss type / If I was Tina Turner, I would’ve offed Ike.” The standalone single also serves as a good introduction to Ally Cocaine’s music, clearly capturing both her lyrical ability and her “I don’t play that B.S.” attitude.\u003cem>—Pendarvis Harshaw\u003c/em>\u003c/p>\n\u003cp>https://youtu.be/dY8iLikhRIg\u003c/p>\n\u003ch2>Jax the Band, “What If”\u003c/h2>\n\u003cp>Formed in 2013, \u003ca href=\"http://jaxtheband.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Jax the Band\u003c/a> is a Haitian-American family band of three homeschooled siblings from Oakland, California. The group dropped the music video for their song “What If” earlier this month, a track that was released as part of their debut album \u003cem>The Glo Up\u003c/em> in October 2020. The two-minute song features dreamy vocals and harmonies from singer Sudan Jackson, backed by tranquil and uplifting instrumentals. The music video, filmed in various locations throughout the Bay Area, features quick cuts between a series of straightforward shots with Sudan at the center, mirroring the deceptively simple yet captivating song itself, and portraying the passage of time as her hair changes and the weather shifts.\u003cem>—Samuel Getachew\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://youtu.be/aM3mp1FeJbU\u003c/p>\n\u003ch2>Rexx Life Raj, “Bad Bad Bad”\u003c/h2>\n\u003cp>Over the past year, we’ve read about entertainers and influencers going against COVID-19 protocols and throwing lavish parties in their mansions. Not \u003ca href=\"https://www.rexxliferaj.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Rexx Life Raj\u003c/a>. In his new music video for “Bad Bad Bad,” he’s dressed in a \u003ca href=\"https://youtu.be/6MGGwk6bBWg\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Bubble Boy\u003c/em>\u003c/a>-meets-astronaut COVID shield as he ventures around the Bay Area, playing pick-up basketball, strolling on Haight Street and unsuccessfully attempting to eat charcuterie through his air-sealed helmet. The video showcases a lighthearted side of the artist, who has a sense of humor despite being \u003ca href=\"https://www.kqed.org/arts/13869513/rexx-life-raj-father-figure-3-empire\" target=\"_blank\" rel=\"noopener noreferrer\">known for delivering sage advice\u003c/a> in the form of lyrical gems. Those come through on this guitar-driven, motivational hip-hop track, in which Raj relishes his successes and thinks back with a laugh at those who doubted him. With a demeanor as down-to-earth as people swapping money-making tips on Clubhouse, Raj raps about the multiple streams of income he’s pursuing to make it as an independent artist in a pandemic.\u003cem>—Nastia Voynovskaya\u003c/em>\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=2806984102/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\u003ch2>Dax Pierson, \u003cem>Nerve Bumps\u003c/em>\u003c/h2>\n\u003cp>\u003c/p>\n\u003cp>If you’ve ever laid on your floor listening to Pharoah Sanders or Alice Coltrane and felt the music speaking to you directly, then you know it takes a special kind of artist to convey ideas and feelings through purely instrumental music. And even then, when it happens, it’s often through the human-like vibrations of acoustic instruments. \u003ca href=\"https://daxpierson.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Dax Pierson\u003c/a>, meanwhile, has mastered the art of communication in the electronic realm. While his previous album \u003ca href=\"https://www.kqed.org/arts/13861305/dax-piersons-new-album-confronts-a-near-death-experience-and-turbulent-recovery\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Live In Oakland\u003c/em>\u003c/a> resonated with a darker ambiance, having drawn upon his recovery from a 2005 crash that left him partially paralyzed, the \u003ca href=\"https://soundcloud.com/darkentriesrecords/dax-pierson-nerve-bumps-a-queer-divine-disappointmentclips\" target=\"_blank\" rel=\"noopener noreferrer\">preview clips\u003c/a> from his upcoming full-length \u003cem>Nerve Bumps\u003c/em> are lively, complex, and pulsating with emotion. I can’t wait for the full-length, coming in late February, so I can lay on the floor at let it speak to me.\u003cem>—Gabe Meline\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Do you miss packing your friends into the car and passing around the aux cord, playing your favorite tracks, singing along and dancing in your seat? We do too—which is why the KQED Arts & Culture team is introducing our new, biweekly music column, Pass the Aux. Every two weeks, we’ll share new(ish) releases from Bay Area artists, across a variety of genres. Hip-hop, pop, experimental, jazz, R&B, rock, folk and classical all have a home here. Here’s what we have on deck this week.\u003cem>—Nastia Voynovskaya\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/w6v6EUPrHxM'\n title='//www.youtube.com/embed/w6v6EUPrHxM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>Ally Cocaine, “Boss Type” feat. 10 Piece Tone\u003c/h2>\n\u003cp>The video for \u003ca href=\"https://www.instagram.com/ally_cocaine/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Ally Cocaine\u003c/a>’s recently released track “Boss Type” (feat. 10 Piece Tone) has the flavor of a classic Blaxploitation film. The lively attire, the freshly laid hairdos and the drop-top, American-made vehicle chauffeured by producer Big Spence all play into the plot. Directed by Ariel Mei, the video depicts Ally as the head of an operation of some sort; the details of the business aren’t disclosed, but other women who don’t wear a lot of clothes are obviously bringing her money. The video’s concept compliments the subject matter in the bass-heavy track, in which Ally raps, “I’m the boss type / If I was Tina Turner, I would’ve offed Ike.” The standalone single also serves as a good introduction to Ally Cocaine’s music, clearly capturing both her lyrical ability and her “I don’t play that B.S.” attitude.\u003cem>—Pendarvis Harshaw\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/dY8iLikhRIg'\n title='//www.youtube.com/embed/dY8iLikhRIg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>Jax the Band, “What If”\u003c/h2>\n\u003cp>Formed in 2013, \u003ca href=\"http://jaxtheband.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Jax the Band\u003c/a> is a Haitian-American family band of three homeschooled siblings from Oakland, California. The group dropped the music video for their song “What If” earlier this month, a track that was released as part of their debut album \u003cem>The Glo Up\u003c/em> in October 2020. The two-minute song features dreamy vocals and harmonies from singer Sudan Jackson, backed by tranquil and uplifting instrumentals. The music video, filmed in various locations throughout the Bay Area, features quick cuts between a series of straightforward shots with Sudan at the center, mirroring the deceptively simple yet captivating song itself, and portraying the passage of time as her hair changes and the weather shifts.\u003cem>—Samuel Getachew\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/aM3mp1FeJbU'\n title='//www.youtube.com/embed/aM3mp1FeJbU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>Rexx Life Raj, “Bad Bad Bad”\u003c/h2>\n\u003cp>Over the past year, we’ve read about entertainers and influencers going against COVID-19 protocols and throwing lavish parties in their mansions. Not \u003ca href=\"https://www.rexxliferaj.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Rexx Life Raj\u003c/a>. In his new music video for “Bad Bad Bad,” he’s dressed in a \u003ca href=\"https://youtu.be/6MGGwk6bBWg\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Bubble Boy\u003c/em>\u003c/a>-meets-astronaut COVID shield as he ventures around the Bay Area, playing pick-up basketball, strolling on Haight Street and unsuccessfully attempting to eat charcuterie through his air-sealed helmet. The video showcases a lighthearted side of the artist, who has a sense of humor despite being \u003ca href=\"https://www.kqed.org/arts/13869513/rexx-life-raj-father-figure-3-empire\" target=\"_blank\" rel=\"noopener noreferrer\">known for delivering sage advice\u003c/a> in the form of lyrical gems. Those come through on this guitar-driven, motivational hip-hop track, in which Raj relishes his successes and thinks back with a laugh at those who doubted him. With a demeanor as down-to-earth as people swapping money-making tips on Clubhouse, Raj raps about the multiple streams of income he’s pursuing to make it as an independent artist in a pandemic.\u003cem>—Nastia Voynovskaya\u003c/em>\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=2806984102/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\u003ch2>Dax Pierson, \u003cem>Nerve Bumps\u003c/em>\u003c/h2>\n\u003cp>\u003c/p>\n\u003cp>If you’ve ever laid on your floor listening to Pharoah Sanders or Alice Coltrane and felt the music speaking to you directly, then you know it takes a special kind of artist to convey ideas and feelings through purely instrumental music. And even then, when it happens, it’s often through the human-like vibrations of acoustic instruments. \u003ca href=\"https://daxpierson.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Dax Pierson\u003c/a>, meanwhile, has mastered the art of communication in the electronic realm. While his previous album \u003ca href=\"https://www.kqed.org/arts/13861305/dax-piersons-new-album-confronts-a-near-death-experience-and-turbulent-recovery\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Live In Oakland\u003c/em>\u003c/a> resonated with a darker ambiance, having drawn upon his recovery from a 2005 crash that left him partially paralyzed, the \u003ca href=\"https://soundcloud.com/darkentriesrecords/dax-pierson-nerve-bumps-a-queer-divine-disappointmentclips\" target=\"_blank\" rel=\"noopener noreferrer\">preview clips\u003c/a> from his upcoming full-length \u003cem>Nerve Bumps\u003c/em> are lively, complex, and pulsating with emotion. I can’t wait for the full-length, coming in late February, so I can lay on the floor at let it speak to me.\u003cem>—Gabe Meline\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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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 />",
"airtime": "SUN 9pm-10pm",
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"meta": {
"site": "radio",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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}
},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"id": "here-and-now",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/hiddenbrain.jpg",
"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
"subscribe": {
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"tuneIn": "https://tunein.com/podcasts/Science-Podcasts/Hidden-Brain-p787503/",
"rss": "https://feeds.npr.org/510308/podcast.xml"
}
},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"rss": "https://feeds.npr.org/510313/podcast.xml"
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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",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
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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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"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"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",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"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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"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/xtTd",
"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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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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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",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"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",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
"site": "news",
"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/",
"meta": {
"site": "news",
"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",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
"site": "radio",
"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
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"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
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