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"title": "All Rappers From Out Here Sound The Same? What Are You Smokin’?",
"headTitle": "All Rappers From Out Here Sound The Same? What Are You Smokin’? | KQED",
"content": "\u003cp>\u003cem>\u003cstrong>Editor’s Note\u003c/strong>: Be sure to see ‘\u003ca href=\"https://www.kqed.org/bayareahiphop\">That’s My Word\u003c/a>,’ KQED’s series on \u003ca href=\"https://www.kqed.org/bayareahiphop\">Bay Area hip-hop\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>A heated text message exchange about hip-hop artists from our region had my phone’s battery at less than 10%. You know it was bad because I was sitting on the couch with the phone charger right next to me. No time to plug in that stupid cord. I had points to make.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">The friend on the other end of the line was saying something I’ve heard for years: “I don’t listen to rappers from out here, they all sound alike.”\u003c/p>\n\u003cp>I’ve heard this way too often. Let’s set the record straight.\u003c/p>\n\u003cp>Yes, people do sound alike. As humans, our vocal cords only range so far. And despite our region’s unique lingo, our slang is still a derivative of the Queen’s English — the \u003ca href=\"https://statisticsanddata.org/data/the-most-spoken-languages-2022/\">most popular language in the world\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Add to that, for something to be “hip-hop” it has to fall within the broad but limited confines of a certain sound. And a major part of hip-hop is repping your region. So it would make sense for an artist to make music that’s easily identifiable as something from the West Coast, specifically Northern California.\u003c/p>\n\u003cp>So when we’re talking about one region, in one specific genre of audible artistic expression, you’re not going to get some expansive, thousand-miles-long variety of vibes. \u003cem>Sawry bruddah\u003c/em>.\u003c/p>\n\u003cp>But come on man, this region is (and has been) home to some of the most diverse artists you’ll find. And right now, at this very moment, music makers from this rich soil are putting their foot down deep in this proverbial thing called “the rap game.”\u003c/p>\n\u003cp>And you mean to tell me you don’t listen to any of them?\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Rexx Life Raj - Save Yourself (Official Video)\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/_HkZCOsXBTY?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>You’re not tapped into the spiritually healing bars of Berkeley’s \u003ca href=\"https://www.rexxliferaj.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Rexx Life Raj\u003c/a>? Vallejo’s \u003ca href=\"https://linktr.ee/Gcompenny\" target=\"_blank\" rel=\"noopener noreferrer\">LaRussell\u003c/a> isn’t inspiring you to become a Zen-like Croc-wearing entrepreneur who spits ether? You’re not pushing the speed limit in a mid-sized hybrid sedan while slappin’ the high energy music of East Oakland’s \u003ca href=\"https://www.instagram.com/officialsulan/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Su’Lan\u003c/a>? \u003cem>What are you smoking?\u003c/em>\u003c/p>\n\u003cp>In the time it takes you to order and eat four tacos from your favorite truck, you could listen to tracks from Stockton’s \u003ca href=\"https://www.instagram.com/haiti_babii/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Haiti Babii\u003c/a>, Sacramento’s \u003ca href=\"https://www.instagram.com/konyginobili/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">ShooterGang Kony\u003c/a> and Oakland duo \u003ca href=\"https://www.instagram.com/1100himself/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">1100 Himself\u003c/a> & \u003ca href=\"https://www.instagram.com/producedbymitchell/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Mitchell\u003c/a>, and get very different, lyrically sound approaches to modern gangsterism.\u003c/p>\n\u003cp>Looking for the revolution? Just last week Oakland’s \u003ca href=\"https://linktr.ee/PBO\" target=\"_blank\" rel=\"noopener noreferrer\">People’s Programs\u003c/a> dropped \u003cem>Tales of The Town\u003c/em>, a companion project to \u003ca href=\"https://linktr.ee/hellablackpod\" target=\"_blank\" rel=\"noopener noreferrer\">their latest podcast series\u003c/a>. The album features a litany of big-name artists from the region: There’s the cool-kid flow of \u003ca href=\"https://www.instagram.com/p_lo/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">P-Lo\u003c/a> and \u003ca href=\"https://www.instagram.com/g_eazy/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">G-Eazy\u003c/a>. The rugged bars of \u003ca href=\"https://www.instagram.com/whoisallblack/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">ALLBLACK \u003c/a>and \u003ca href=\"https://www.instagram.com/jstalinlivewire/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">J. Stalin\u003c/a>. The wisdom of \u003ca href=\"https://www.instagram.com/kvnalln/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Kevin Allen\u003c/a>. The smooth flow of \u003ca href=\"https://www.instagram.com/iamfijiana/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Pallaví aka Fijiana\u003c/a>. The wordplay of \u003ca href=\"https://www.instagram.com/firstnameian/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Ian Kelly\u003c/a>. The laid-back gangsta of \u003ca href=\"https://www.instagram.com/22ndjim/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">22nd Jim\u003c/a>. And \u003ca href=\"https://www.instagram.com/shyan_g/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Shy’an G\u003c/a> absolutely obliterates a track with her storytelling.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=zSO-zDfYcm4&feature=emb_title\u003c/p>\n\u003cp>That album features the song “Risen” by the immensely talented \u003ca href=\"https://elujay.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Elujay\u003c/a> and the newly appointed First Lady of Death Row, \u003ca href=\"https://www.instagram.com/msjanehandcock/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Jane Handcock.\u003c/a> On another project that dropped last week, Snoop Dogg’s Gangsta Grillz album \u003cem>I Still Got It\u003c/em>, Jane is featured on multiple tracks flaunting dope rhymes and high-quality vocals. I said she’s killin’ it in R&B and hip-hop, and she’s on Death Row. \u003cem>Don’t check me, check your ears.\u003c/em>\u003c/p>\n\u003cp>Stop being lazy and writing off an entire group of artists just because of where they’re from.\u003c/p>\n\u003cp>Yes, there are artists who undeniably sound like “Cali rappers” — which, to be clear, \u003cem>isn’t a bad thing\u003c/em>. Maybe it’s the clear pronunciation of Richmond’s \u003ca href=\"https://www.instagram.com/iamsu/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">IAMSU!\u003c/a>, the carefree gangsta flow of Vallejo’s \u003ca href=\"https://www.instagram.com/nefthepharaoh/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Nef The Pharaoh\u003c/a>, or the cold mackin’ lines coming from Antioch’s \u003ca href=\"https://www.instagram.com/mike_sherm/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Mike Sherm\u003c/a>. But differences remain even among those with regional proximity.\u003c/p>\n\u003cp>Take, for instance, rising star \u003ca href=\"https://www.instagram.com/youngjr/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Young JR\u003c/a>, who clearly sounds like he’s from here. And at the same time, he just sounds \u003ci>different\u003c/i>.\u003c/p>\n\u003cp>“I mean, I got a young JR sound,” Young JR tells me over the phone earlier this year. The East Oakland artist’s delivery has a sharp pitch and bit of a mumble, with a blatant tongue that’ll say some wild stuff over heavy beats that blap in your trunk. He looks the part too, from his fly attire and short locs to his turf dancing-inspired gigs. “I let it be known: for sure I’m a Town nigga, you feel me?” he says, about his aesthetics.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=7WZDFGeqA9I\u003c/p>\n\u003cp>Young JR says he’s gotten comparisons to other Bay Area rappers, as well as southern artists, which makes sense. The amount of Black folks in the Bay with direct ties to the Bible Belt is astounding. Even a generation or three removed from the Great Migration, accents linger. (Have you ever heard someone with a heavy Richmond accent say “car”?)\u003c/p>\n\u003cp>At the same time, because Northern California is home to so many people from places all around the globe, we inherently have an eclectic array of artists.\u003c/p>\n\u003cp>In June of this year Young JR dropped his project \u003cem>Born Again\u003c/em>, which features San Francisco’s \u003ca href=\"https://www.instagram.com/stunnaman02/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Stunnaman02\u003c/a>, Antioch’s \u003ca href=\"https://symba.komi.io/\" target=\"_blank\" rel=\"noopener noreferrer\">Symba\u003c/a>, Oakland’s \u003ca href=\"https://www.instagram.com/uc_kayla/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">UC Kayla\u003c/a> and Sacramento’s \u003ca href=\"https://www.instagram.com/omb_peezy/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">OMB Peezy\u003c/a>, to name a few. “It was intentional to get different sounds,” Young JR tells me, noting the diversity in the region and then pointing out what’s going on in the Central Valley. “We’ve got a few Sacramento artists that sound \u003cem>different\u003c/em>,” he says, bringing to my mind artists like \u003ca href=\"https://www.instagram.com/cellyru/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Celly Ru\u003c/a>, \u003ca href=\"https://www.instagram.com/mozzy/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Mozzy,\u003c/a> \u003ca href=\"https://www.instagram.com/db.boutabag/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">DB Boutabag\u003c/a> and \u003ca href=\"https://www.instagram.com/natecurry_/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Nate Curry.\u003c/a> “They got their own sound; they kept their own sound and perfected their own sound,” says Young JR.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Gritty Lex - Juice (Official Visual)\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/uM2ietSPtX4?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Sacramento’s \u003ca href=\"https://www.instagram.com/grittylex/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Gritty Lex\u003c/a> has heard the Cali-rappers-sound-the-same claim, although she says it’s more about the men. “I don’t think there are a whole bunch of female rappers who get put into that category,” she tells me during a phone call a few months ago.\u003c/p>\n\u003cp>She floats in between genres, but identifies as an alternative hip-hop artist. Someone once described her sound as “if Jhené Aiko and XXXTentacion had a baby,” she says with a laugh.\u003c/p>\n\u003cp>Lex, who performed at Rolling Loud last year and just this month dropped a new project with Myles titled \u003cem>High Tolerance\u003c/em>, says the confining definition of the “West Coast sound” is something rappers deal with across the board. “A lot of rappers are already boxed in, no matter what they do. It’s not how I see it, but people’s attention spans are really short nowadays. Once a listener gets \u003cem>that\u003c/em>, they classify you as \u003cem>that\u003c/em>; it’s hard to break that barrier down.”\u003c/p>\n\u003cp>It’s a point that I’ve contemplated for some time, and a bit of a chicken or egg question. Was “that barrier” put there because the people said early on that West Coast hip-hop is the standard, and anything from out here has to fit into that mold? Or did the industry say this is how the West Coast sounds, so only artists who fit that mold rise to the top?\u003c/p>\n\u003cp>I called someone who knows about vocals, the industry and the coast.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"P-Lo - Luh U ft. Bosko (Official Video)\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/bM50ahgsRMc?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/CRXN6porW_G/?hl=en\">Bosko Kante\u003c/a>, an Oakland-based, Grammy-winning musician and creator of the handheld autotune instrument called the \u003ca href=\"https://www.electrospit.com/products/bosko-electrospit-talkbox-feature\" target=\"_blank\" rel=\"noopener noreferrer\">ElectroSpit Talkbox\u003c/a>, is originally from Portland, Oregon. Before moving to the Bay, he spent years in Los Angeles working with Bay Area artists like E-40, the Luniz and Dru Down. He also spent some time in Atlanta, where he worked Big Boi of Outkast. In 2020, Bosko contributed to Dua Lipa’s “Levitate,” arguably the biggest song of the year.\u003c/p>\n\u003cp>Back when he first moved to Los Angeles, Bosko says the popular artists of the time were Snoop and Warren G. “So I put out records, myself as a rapper, that sounded like those, because in my mind that’s what you had to do and that’s how you should sound to be successful,” Bosko tells me during a phone call. “To be within the West Coast rap genre, you have to be within a certain circle, but you want to be more toward the edge of that circle to stand out,” says Bosko, noting the odd balance of fitting in and simultaneously standing out.\u003c/p>\n\u003cp>As the founder of the \u003ca href=\"https://hiiiwav.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Black Music Incubator\u003c/a> nonprofit, housed at the former site of Zoo Labs, Bosko helps artists develop their sound. So, clearly, I had to ask him if we all sound alike.\u003c/p>\n\u003cp>“I do not agree that all Northern Californian artists sound the same,” says Bosko. “What I will say is that I think the Bay Area culture is one where we want to be different. So, in some ways, maybe we sound the same in that we sound different than the rest of the country.”\u003c/p>\n\u003cp>He adds that most artists from this region are proud of being from here, and that’s shown through their unique slang and style. “I’ll give it up to the Bay for being the most unique region in the country, in my opinion,” he says.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Larry June & Cardo - Gas Station Run (Official Music Video)\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/Hyod7v38Ho0?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Whatever your flavor, you’ll find it between the Sierra Mountains and the Pacific Ocean.\u003c/p>\n\u003cp>You could be on some healthy player stuff and listen to San Francisco’s \u003ca href=\"https://www.instagram.com/larryjunetfm/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Larry June\u003c/a>. Or you could be on some ten-toes down “real P” stuff and listen to Oakland’s \u003ca href=\"https://www.instagram.com/capolow304/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Capolow\u003c/a>. Both of these artists use the ad-lib “Aye,” but do it in a different way. And you mean to tell me neither of them float your boat?\u003c/p>\n\u003cp>Sacramento’s \u003ca href=\"https://www.instagram.com/stunnagirl/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Stunna Girl\u003c/a> just dropped the braggadocio track “\u003ca href=\"https://www.youtube.com/watch?v=R8r-s0OyDHc\" target=\"_blank\" rel=\"noopener noreferrer\">Shut Me Up\u003c/a>.” Oakland’s \u003ca href=\"https://www.instagram.com/fredobagz4500/\" target=\"_blank\" rel=\"noopener noreferrer\">Fredo Bagz\u003c/a> has the aggressive flow on this week’s release “\u003ca href=\"https://www.youtube.com/watch?v=RT-NUfQns6U\" target=\"_blank\" rel=\"noopener noreferrer\">123\u003c/a>“. There’s the the spacey creative concepts found in \u003ca href=\"https://www.instagram.com/senorgigio/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Señor Gigio’s\u003c/a> music. The boom-bap music of Oakland’s \u003ca href=\"https://www.instagram.com/ovrkast/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Ovrkast\u003c/a>. San Francisco’s \u003ca href=\"https://www.instagram.com/thereal_lilkayla/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Lil Kayla\u003c/a> has been running it up all year — her confident but relaxed bars on “\u003ca href=\"https://www.youtube.com/watch?v=ySjDu0rZSKM\" target=\"_blank\" rel=\"noopener noreferrer\">11:11\u003c/a>” illustrate her approach to the game. Oakland’s \u003ca href=\"https://www.instagram.com/paris.nights/\" target=\"_blank\" rel=\"noopener noreferrer\">Paris Nights\u003c/a> is spittin’ with aggression on a track she dropped earlier this month, “\u003ca href=\"https://www.youtube.com/watch?v=7CSIc2Cvwh4\" target=\"_blank\" rel=\"noopener noreferrer\">Coldest\u003c/a>.”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Stunna Girl - Shut me up (Official Music Video)\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/R8r-s0OyDHc?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/allhailtheqing/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Qing Qi\u003c/a>, the Bay Area actor and active member of the \u003ca href=\"https://www.instagram.com/putangclanofficial/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Pu Tang Clan\u003c/a>, just released the first episode of her web series \u003cem>All Hail The Qing\u003c/em>. But if you need some raunchy bars, I’d suggest checking last year’s song “\u003ca href=\"https://www.youtube.com/watch?v=rsMhenbNtjE\" target=\"_blank\" rel=\"noopener noreferrer\">Big D\u003c/a>.” Frisco factor \u003ca href=\"https://www.instagram.com/dregs_one/\" target=\"_blank\" rel=\"noopener noreferrer\">Dregs-One\u003c/a> is a graffiti writer, hip-hop historian and lyricist who has a beer named after one of his recent projects, \u003cem>Fog Mode\u003c/em>. San Lorenzo’s \u003ca href=\"https://www.instagram.com/rubyibarra/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Ruby Ibarra\u003c/a>, \u003ca href=\"https://www.today.com/tmrw/vaccine-scientist-day-rapper-night-how-ruby-ibarra-defying-stereotypes-t218167\" target=\"_blank\" rel=\"noopener noreferrer\">a scientist\u003c/a> outside of her rap career, raps in English and Tagalog in the song “Us,” and it \u003ca href=\"https://www.youtube.com/watch?v=fgDki5-FQgY\" target=\"_blank\" rel=\"noopener noreferrer\">was featured on NBA 2K23\u003c/a>.\u003c/p>\n\u003cp>There’s the Spanglish wordplay about street life coming from Oakland’s \u003ca href=\"https://www.instagram.com/babygas/\" target=\"_blank\" rel=\"noopener noreferrer\">Baby Gas\u003c/a>. That gritty straightforward flow San Francisco’s \u003ca href=\"https://www.instagram.com/blimesbrixton/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Blimes Brixton\u003c/a>. The cutthroat bars of Stockton’s \u003ca href=\"https://www.youtube.com/watch?v=xMO5gBczc7Q\" target=\"_blank\" rel=\"noopener noreferrer\">EBK Bckdoe\u003c/a>. The flashy and uptempo music of \u003ca href=\"https://www.instagram.com/drebaexo/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Drebae\u003c/a>. The openly honest and catchy tunes coming from \u003ca href=\"https://www.instagram.com/marikasage/\" target=\"_blank\" rel=\"noopener noreferrer\">Marika Sage\u003c/a>. And there’s the multi-layered sounds of R&B, ranchera and rap coming from \u003ca href=\"https://www.instagram.com/ladona415/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">La Doña\u003c/a>, a daughter of the Mission District.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"La Doña - Le Lo Lai (Official Music Video)\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/f13atQz5QtI?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Look, \u003ca href=\"https://www.instagram.com/professagabel/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Professa Gabel\u003c/a> has a chill flow. \u003ca href=\"https://www.instagram.com/fraktheperson/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Frak The Person\u003c/a> is a punchline and battle rapper. And \u003ca href=\"https://www.instagram.com/richiecunning/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Richie Cunning\u003c/a> just dropped an album, \u003cem>Big Deal\u003c/em>, that merges rap with that smoky, jazz-club Sinatra sound. All three are white dudes from San Francisco, and even \u003cem>they\u003c/em> sound different from one another.\u003c/p>\n\u003cp>There’s the hardened tales of returning from being incarcerated and getting back into the streets coming from artists like Oakland’s \u003ca href=\"https://www.instagram.com/killa_fonte/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Killa Fonte\u003c/a> and Richmond’s \u003ca href=\"https://www.instagram.com/_blastacannon_/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Bla$ta\u003c/a>. And there’s the glossy pop-style sound of Frisco’s \u003ca href=\"https://www.instagram.com/24kgoldn/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">24KGoldn\u003c/a>, who just might be the next Bieber — but with more bars.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"24kGoldn - Mood (Official Video) ft. iann dior\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/GrAchTdepsU?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Literally everything you could ask for.\u003c/p>\n\u003cp>To overlook the diversity of sounds coming from the people who call this place home is to completely dismiss what makes this place unique.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>And you’re telling me everyone from this region sounds the same? You, my friend, sound like everyone making that same old played-out-ass claim.\u003c/p>\n\n",
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"excerpt": "The Bay Area is stacked with stylistic variety right now — you just gotta listen for it.",
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"twTitle": "'Bay Area Rappers All Sound The Same'? What Are You Smokin’?",
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"headline": "All Rappers From Out Here Sound The Same? What Are You Smokin’?",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>Editor’s Note\u003c/strong>: Be sure to see ‘\u003ca href=\"https://www.kqed.org/bayareahiphop\">That’s My Word\u003c/a>,’ KQED’s series on \u003ca href=\"https://www.kqed.org/bayareahiphop\">Bay Area hip-hop\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>A heated text message exchange about hip-hop artists from our region had my phone’s battery at less than 10%. You know it was bad because I was sitting on the couch with the phone charger right next to me. No time to plug in that stupid cord. I had points to make.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">The friend on the other end of the line was saying something I’ve heard for years: “I don’t listen to rappers from out here, they all sound alike.”\u003c/p>\n\u003cp>I’ve heard this way too often. Let’s set the record straight.\u003c/p>\n\u003cp>Yes, people do sound alike. As humans, our vocal cords only range so far. And despite our region’s unique lingo, our slang is still a derivative of the Queen’s English — the \u003ca href=\"https://statisticsanddata.org/data/the-most-spoken-languages-2022/\">most popular language in the world\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Add to that, for something to be “hip-hop” it has to fall within the broad but limited confines of a certain sound. And a major part of hip-hop is repping your region. So it would make sense for an artist to make music that’s easily identifiable as something from the West Coast, specifically Northern California.\u003c/p>\n\u003cp>So when we’re talking about one region, in one specific genre of audible artistic expression, you’re not going to get some expansive, thousand-miles-long variety of vibes. \u003cem>Sawry bruddah\u003c/em>.\u003c/p>\n\u003cp>But come on man, this region is (and has been) home to some of the most diverse artists you’ll find. And right now, at this very moment, music makers from this rich soil are putting their foot down deep in this proverbial thing called “the rap game.”\u003c/p>\n\u003cp>And you mean to tell me you don’t listen to any of them?\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Rexx Life Raj - Save Yourself (Official Video)\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/_HkZCOsXBTY?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>You’re not tapped into the spiritually healing bars of Berkeley’s \u003ca href=\"https://www.rexxliferaj.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Rexx Life Raj\u003c/a>? Vallejo’s \u003ca href=\"https://linktr.ee/Gcompenny\" target=\"_blank\" rel=\"noopener noreferrer\">LaRussell\u003c/a> isn’t inspiring you to become a Zen-like Croc-wearing entrepreneur who spits ether? You’re not pushing the speed limit in a mid-sized hybrid sedan while slappin’ the high energy music of East Oakland’s \u003ca href=\"https://www.instagram.com/officialsulan/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Su’Lan\u003c/a>? \u003cem>What are you smoking?\u003c/em>\u003c/p>\n\u003cp>In the time it takes you to order and eat four tacos from your favorite truck, you could listen to tracks from Stockton’s \u003ca href=\"https://www.instagram.com/haiti_babii/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Haiti Babii\u003c/a>, Sacramento’s \u003ca href=\"https://www.instagram.com/konyginobili/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">ShooterGang Kony\u003c/a> and Oakland duo \u003ca href=\"https://www.instagram.com/1100himself/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">1100 Himself\u003c/a> & \u003ca href=\"https://www.instagram.com/producedbymitchell/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Mitchell\u003c/a>, and get very different, lyrically sound approaches to modern gangsterism.\u003c/p>\n\u003cp>Looking for the revolution? Just last week Oakland’s \u003ca href=\"https://linktr.ee/PBO\" target=\"_blank\" rel=\"noopener noreferrer\">People’s Programs\u003c/a> dropped \u003cem>Tales of The Town\u003c/em>, a companion project to \u003ca href=\"https://linktr.ee/hellablackpod\" target=\"_blank\" rel=\"noopener noreferrer\">their latest podcast series\u003c/a>. The album features a litany of big-name artists from the region: There’s the cool-kid flow of \u003ca href=\"https://www.instagram.com/p_lo/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">P-Lo\u003c/a> and \u003ca href=\"https://www.instagram.com/g_eazy/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">G-Eazy\u003c/a>. The rugged bars of \u003ca href=\"https://www.instagram.com/whoisallblack/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">ALLBLACK \u003c/a>and \u003ca href=\"https://www.instagram.com/jstalinlivewire/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">J. Stalin\u003c/a>. The wisdom of \u003ca href=\"https://www.instagram.com/kvnalln/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Kevin Allen\u003c/a>. The smooth flow of \u003ca href=\"https://www.instagram.com/iamfijiana/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Pallaví aka Fijiana\u003c/a>. The wordplay of \u003ca href=\"https://www.instagram.com/firstnameian/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Ian Kelly\u003c/a>. The laid-back gangsta of \u003ca href=\"https://www.instagram.com/22ndjim/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">22nd Jim\u003c/a>. And \u003ca href=\"https://www.instagram.com/shyan_g/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Shy’an G\u003c/a> absolutely obliterates a track with her storytelling.\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/zSO-zDfYcm4'\n title='//www.youtube.com/embed/zSO-zDfYcm4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>That album features the song “Risen” by the immensely talented \u003ca href=\"https://elujay.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Elujay\u003c/a> and the newly appointed First Lady of Death Row, \u003ca href=\"https://www.instagram.com/msjanehandcock/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Jane Handcock.\u003c/a> On another project that dropped last week, Snoop Dogg’s Gangsta Grillz album \u003cem>I Still Got It\u003c/em>, Jane is featured on multiple tracks flaunting dope rhymes and high-quality vocals. I said she’s killin’ it in R&B and hip-hop, and she’s on Death Row. \u003cem>Don’t check me, check your ears.\u003c/em>\u003c/p>\n\u003cp>Stop being lazy and writing off an entire group of artists just because of where they’re from.\u003c/p>\n\u003cp>Yes, there are artists who undeniably sound like “Cali rappers” — which, to be clear, \u003cem>isn’t a bad thing\u003c/em>. Maybe it’s the clear pronunciation of Richmond’s \u003ca href=\"https://www.instagram.com/iamsu/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">IAMSU!\u003c/a>, the carefree gangsta flow of Vallejo’s \u003ca href=\"https://www.instagram.com/nefthepharaoh/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Nef The Pharaoh\u003c/a>, or the cold mackin’ lines coming from Antioch’s \u003ca href=\"https://www.instagram.com/mike_sherm/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Mike Sherm\u003c/a>. But differences remain even among those with regional proximity.\u003c/p>\n\u003cp>Take, for instance, rising star \u003ca href=\"https://www.instagram.com/youngjr/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Young JR\u003c/a>, who clearly sounds like he’s from here. And at the same time, he just sounds \u003ci>different\u003c/i>.\u003c/p>\n\u003cp>“I mean, I got a young JR sound,” Young JR tells me over the phone earlier this year. The East Oakland artist’s delivery has a sharp pitch and bit of a mumble, with a blatant tongue that’ll say some wild stuff over heavy beats that blap in your trunk. He looks the part too, from his fly attire and short locs to his turf dancing-inspired gigs. “I let it be known: for sure I’m a Town nigga, you feel me?” he says, about his aesthetics.\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/7WZDFGeqA9I'\n title='//www.youtube.com/embed/7WZDFGeqA9I'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Young JR says he’s gotten comparisons to other Bay Area rappers, as well as southern artists, which makes sense. The amount of Black folks in the Bay with direct ties to the Bible Belt is astounding. Even a generation or three removed from the Great Migration, accents linger. (Have you ever heard someone with a heavy Richmond accent say “car”?)\u003c/p>\n\u003cp>At the same time, because Northern California is home to so many people from places all around the globe, we inherently have an eclectic array of artists.\u003c/p>\n\u003cp>In June of this year Young JR dropped his project \u003cem>Born Again\u003c/em>, which features San Francisco’s \u003ca href=\"https://www.instagram.com/stunnaman02/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Stunnaman02\u003c/a>, Antioch’s \u003ca href=\"https://symba.komi.io/\" target=\"_blank\" rel=\"noopener noreferrer\">Symba\u003c/a>, Oakland’s \u003ca href=\"https://www.instagram.com/uc_kayla/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">UC Kayla\u003c/a> and Sacramento’s \u003ca href=\"https://www.instagram.com/omb_peezy/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">OMB Peezy\u003c/a>, to name a few. “It was intentional to get different sounds,” Young JR tells me, noting the diversity in the region and then pointing out what’s going on in the Central Valley. “We’ve got a few Sacramento artists that sound \u003cem>different\u003c/em>,” he says, bringing to my mind artists like \u003ca href=\"https://www.instagram.com/cellyru/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Celly Ru\u003c/a>, \u003ca href=\"https://www.instagram.com/mozzy/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Mozzy,\u003c/a> \u003ca href=\"https://www.instagram.com/db.boutabag/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">DB Boutabag\u003c/a> and \u003ca href=\"https://www.instagram.com/natecurry_/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Nate Curry.\u003c/a> “They got their own sound; they kept their own sound and perfected their own sound,” says Young JR.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Gritty Lex - Juice (Official Visual)\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/uM2ietSPtX4?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Sacramento’s \u003ca href=\"https://www.instagram.com/grittylex/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Gritty Lex\u003c/a> has heard the Cali-rappers-sound-the-same claim, although she says it’s more about the men. “I don’t think there are a whole bunch of female rappers who get put into that category,” she tells me during a phone call a few months ago.\u003c/p>\n\u003cp>She floats in between genres, but identifies as an alternative hip-hop artist. Someone once described her sound as “if Jhené Aiko and XXXTentacion had a baby,” she says with a laugh.\u003c/p>\n\u003cp>Lex, who performed at Rolling Loud last year and just this month dropped a new project with Myles titled \u003cem>High Tolerance\u003c/em>, says the confining definition of the “West Coast sound” is something rappers deal with across the board. “A lot of rappers are already boxed in, no matter what they do. It’s not how I see it, but people’s attention spans are really short nowadays. Once a listener gets \u003cem>that\u003c/em>, they classify you as \u003cem>that\u003c/em>; it’s hard to break that barrier down.”\u003c/p>\n\u003cp>It’s a point that I’ve contemplated for some time, and a bit of a chicken or egg question. Was “that barrier” put there because the people said early on that West Coast hip-hop is the standard, and anything from out here has to fit into that mold? Or did the industry say this is how the West Coast sounds, so only artists who fit that mold rise to the top?\u003c/p>\n\u003cp>I called someone who knows about vocals, the industry and the coast.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"P-Lo - Luh U ft. Bosko (Official Video)\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/bM50ahgsRMc?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/CRXN6porW_G/?hl=en\">Bosko Kante\u003c/a>, an Oakland-based, Grammy-winning musician and creator of the handheld autotune instrument called the \u003ca href=\"https://www.electrospit.com/products/bosko-electrospit-talkbox-feature\" target=\"_blank\" rel=\"noopener noreferrer\">ElectroSpit Talkbox\u003c/a>, is originally from Portland, Oregon. Before moving to the Bay, he spent years in Los Angeles working with Bay Area artists like E-40, the Luniz and Dru Down. He also spent some time in Atlanta, where he worked Big Boi of Outkast. In 2020, Bosko contributed to Dua Lipa’s “Levitate,” arguably the biggest song of the year.\u003c/p>\n\u003cp>Back when he first moved to Los Angeles, Bosko says the popular artists of the time were Snoop and Warren G. “So I put out records, myself as a rapper, that sounded like those, because in my mind that’s what you had to do and that’s how you should sound to be successful,” Bosko tells me during a phone call. “To be within the West Coast rap genre, you have to be within a certain circle, but you want to be more toward the edge of that circle to stand out,” says Bosko, noting the odd balance of fitting in and simultaneously standing out.\u003c/p>\n\u003cp>As the founder of the \u003ca href=\"https://hiiiwav.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Black Music Incubator\u003c/a> nonprofit, housed at the former site of Zoo Labs, Bosko helps artists develop their sound. So, clearly, I had to ask him if we all sound alike.\u003c/p>\n\u003cp>“I do not agree that all Northern Californian artists sound the same,” says Bosko. “What I will say is that I think the Bay Area culture is one where we want to be different. So, in some ways, maybe we sound the same in that we sound different than the rest of the country.”\u003c/p>\n\u003cp>He adds that most artists from this region are proud of being from here, and that’s shown through their unique slang and style. “I’ll give it up to the Bay for being the most unique region in the country, in my opinion,” he says.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Larry June & Cardo - Gas Station Run (Official Music Video)\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/Hyod7v38Ho0?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Whatever your flavor, you’ll find it between the Sierra Mountains and the Pacific Ocean.\u003c/p>\n\u003cp>You could be on some healthy player stuff and listen to San Francisco’s \u003ca href=\"https://www.instagram.com/larryjunetfm/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Larry June\u003c/a>. Or you could be on some ten-toes down “real P” stuff and listen to Oakland’s \u003ca href=\"https://www.instagram.com/capolow304/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Capolow\u003c/a>. Both of these artists use the ad-lib “Aye,” but do it in a different way. And you mean to tell me neither of them float your boat?\u003c/p>\n\u003cp>Sacramento’s \u003ca href=\"https://www.instagram.com/stunnagirl/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Stunna Girl\u003c/a> just dropped the braggadocio track “\u003ca href=\"https://www.youtube.com/watch?v=R8r-s0OyDHc\" target=\"_blank\" rel=\"noopener noreferrer\">Shut Me Up\u003c/a>.” Oakland’s \u003ca href=\"https://www.instagram.com/fredobagz4500/\" target=\"_blank\" rel=\"noopener noreferrer\">Fredo Bagz\u003c/a> has the aggressive flow on this week’s release “\u003ca href=\"https://www.youtube.com/watch?v=RT-NUfQns6U\" target=\"_blank\" rel=\"noopener noreferrer\">123\u003c/a>“. There’s the the spacey creative concepts found in \u003ca href=\"https://www.instagram.com/senorgigio/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Señor Gigio’s\u003c/a> music. The boom-bap music of Oakland’s \u003ca href=\"https://www.instagram.com/ovrkast/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Ovrkast\u003c/a>. San Francisco’s \u003ca href=\"https://www.instagram.com/thereal_lilkayla/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Lil Kayla\u003c/a> has been running it up all year — her confident but relaxed bars on “\u003ca href=\"https://www.youtube.com/watch?v=ySjDu0rZSKM\" target=\"_blank\" rel=\"noopener noreferrer\">11:11\u003c/a>” illustrate her approach to the game. Oakland’s \u003ca href=\"https://www.instagram.com/paris.nights/\" target=\"_blank\" rel=\"noopener noreferrer\">Paris Nights\u003c/a> is spittin’ with aggression on a track she dropped earlier this month, “\u003ca href=\"https://www.youtube.com/watch?v=7CSIc2Cvwh4\" target=\"_blank\" rel=\"noopener noreferrer\">Coldest\u003c/a>.”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Stunna Girl - Shut me up (Official Music Video)\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/R8r-s0OyDHc?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/allhailtheqing/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Qing Qi\u003c/a>, the Bay Area actor and active member of the \u003ca href=\"https://www.instagram.com/putangclanofficial/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Pu Tang Clan\u003c/a>, just released the first episode of her web series \u003cem>All Hail The Qing\u003c/em>. But if you need some raunchy bars, I’d suggest checking last year’s song “\u003ca href=\"https://www.youtube.com/watch?v=rsMhenbNtjE\" target=\"_blank\" rel=\"noopener noreferrer\">Big D\u003c/a>.” Frisco factor \u003ca href=\"https://www.instagram.com/dregs_one/\" target=\"_blank\" rel=\"noopener noreferrer\">Dregs-One\u003c/a> is a graffiti writer, hip-hop historian and lyricist who has a beer named after one of his recent projects, \u003cem>Fog Mode\u003c/em>. San Lorenzo’s \u003ca href=\"https://www.instagram.com/rubyibarra/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Ruby Ibarra\u003c/a>, \u003ca href=\"https://www.today.com/tmrw/vaccine-scientist-day-rapper-night-how-ruby-ibarra-defying-stereotypes-t218167\" target=\"_blank\" rel=\"noopener noreferrer\">a scientist\u003c/a> outside of her rap career, raps in English and Tagalog in the song “Us,” and it \u003ca href=\"https://www.youtube.com/watch?v=fgDki5-FQgY\" target=\"_blank\" rel=\"noopener noreferrer\">was featured on NBA 2K23\u003c/a>.\u003c/p>\n\u003cp>There’s the Spanglish wordplay about street life coming from Oakland’s \u003ca href=\"https://www.instagram.com/babygas/\" target=\"_blank\" rel=\"noopener noreferrer\">Baby Gas\u003c/a>. That gritty straightforward flow San Francisco’s \u003ca href=\"https://www.instagram.com/blimesbrixton/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Blimes Brixton\u003c/a>. The cutthroat bars of Stockton’s \u003ca href=\"https://www.youtube.com/watch?v=xMO5gBczc7Q\" target=\"_blank\" rel=\"noopener noreferrer\">EBK Bckdoe\u003c/a>. The flashy and uptempo music of \u003ca href=\"https://www.instagram.com/drebaexo/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Drebae\u003c/a>. The openly honest and catchy tunes coming from \u003ca href=\"https://www.instagram.com/marikasage/\" target=\"_blank\" rel=\"noopener noreferrer\">Marika Sage\u003c/a>. And there’s the multi-layered sounds of R&B, ranchera and rap coming from \u003ca href=\"https://www.instagram.com/ladona415/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">La Doña\u003c/a>, a daughter of the Mission District.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"La Doña - Le Lo Lai (Official Music Video)\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/f13atQz5QtI?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Look, \u003ca href=\"https://www.instagram.com/professagabel/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Professa Gabel\u003c/a> has a chill flow. \u003ca href=\"https://www.instagram.com/fraktheperson/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Frak The Person\u003c/a> is a punchline and battle rapper. And \u003ca href=\"https://www.instagram.com/richiecunning/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Richie Cunning\u003c/a> just dropped an album, \u003cem>Big Deal\u003c/em>, that merges rap with that smoky, jazz-club Sinatra sound. All three are white dudes from San Francisco, and even \u003cem>they\u003c/em> sound different from one another.\u003c/p>\n\u003cp>There’s the hardened tales of returning from being incarcerated and getting back into the streets coming from artists like Oakland’s \u003ca href=\"https://www.instagram.com/killa_fonte/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Killa Fonte\u003c/a> and Richmond’s \u003ca href=\"https://www.instagram.com/_blastacannon_/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Bla$ta\u003c/a>. And there’s the glossy pop-style sound of Frisco’s \u003ca href=\"https://www.instagram.com/24kgoldn/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">24KGoldn\u003c/a>, who just might be the next Bieber — but with more bars.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"24kGoldn - Mood (Official Video) ft. iann dior\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/GrAchTdepsU?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Literally everything you could ask for.\u003c/p>\n\u003cp>To overlook the diversity of sounds coming from the people who call this place home is to completely dismiss what makes this place unique.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And you’re telling me everyone from this region sounds the same? You, my friend, sound like everyone making that same old played-out-ass claim.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Shy'an G Champions Community Power on 'Better Daze'",
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"content": "\u003cp>\u003cem>Welcome to Pass the Aux, where KQED Arts & Culture brings you our favorite new tracks by Bay Area artists. Check out past entries and submit a song for future coverage \u003ca href=\"https://www.kqed.org/arts/tag/pass-the-aux\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"http://www.shyangmusic.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Shy’an G\u003c/a> is a truth-seeker taking an unflinching look at history—and a change-maker plotting her takeover—on the new track “Better Daze.”\u003c/p>\n\u003cp>“Better Daze” kicks off with a loop of a retro-soul vocal sample, floating over a heavy bass knock. Shy’an opens with self-reflective lyrics, but “Better Daze” isn’t simply a motivational sermon about personal accomplishments. Instead, she focuses on the collective power of the community to create a better world. “Tell me what’s your politics / From the people for the people / That’s my motto, kid,” she repeats in the hook.\u003c/p>\n\u003cp>https://youtu.be/2mqwpLz6Zh0\u003c/p>\n\u003cp>As Shy’an raps in her low alto, her voice often swells with passion, and her dynamic delivery takes listeners on an emotional ride. In the second verse, she quiets down to reflect on her family history, paying tribute to Ms. Susan, her four-times-great-grandmother, who was enslaved.\u003c/p>\n\u003cp>“Give them all of your arms and legs / Build a house for some / The key is on Ms. Susan’s back / In the shapes of lashes / They evolved into bullet holes and stolen assets / We got the nerve to claim them back? / Damn right, you fascists,” she raps, spitting the last bar with venom.\u003c/p>\n\u003cp>“I am speaking to the audacity that we as Black people have to no longer tolerate the brutality that we and our ancestors have suffered, that is the theft of our basic human rights,” Shy’an tells KQED in an email. “Better Daze” holds these heavy truths and then turns them into fuel for the fight ahead. As she says in the hook, “We got a lot to do, better be in shape for it.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Welcome to Pass the Aux, where KQED Arts & Culture brings you our favorite new tracks by Bay Area artists. Check out past entries and submit a song for future coverage \u003ca href=\"https://www.kqed.org/arts/tag/pass-the-aux\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"http://www.shyangmusic.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Shy’an G\u003c/a> is a truth-seeker taking an unflinching look at history—and a change-maker plotting her takeover—on the new track “Better Daze.”\u003c/p>\n\u003cp>“Better Daze” kicks off with a loop of a retro-soul vocal sample, floating over a heavy bass knock. Shy’an opens with self-reflective lyrics, but “Better Daze” isn’t simply a motivational sermon about personal accomplishments. Instead, she focuses on the collective power of the community to create a better world. “Tell me what’s your politics / From the people for the people / That’s my motto, kid,” she repeats in the hook.\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/2mqwpLz6Zh0'\n title='//www.youtube.com/embed/2mqwpLz6Zh0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>As Shy’an raps in her low alto, her voice often swells with passion, and her dynamic delivery takes listeners on an emotional ride. In the second verse, she quiets down to reflect on her family history, paying tribute to Ms. Susan, her four-times-great-grandmother, who was enslaved.\u003c/p>\n\u003cp>“Give them all of your arms and legs / Build a house for some / The key is on Ms. Susan’s back / In the shapes of lashes / They evolved into bullet holes and stolen assets / We got the nerve to claim them back? / Damn right, you fascists,” she raps, spitting the last bar with venom.\u003c/p>\n\u003cp>“I am speaking to the audacity that we as Black people have to no longer tolerate the brutality that we and our ancestors have suffered, that is the theft of our basic human rights,” Shy’an tells KQED in an email. “Better Daze” holds these heavy truths and then turns them into fuel for the fight ahead. As she says in the hook, “We got a lot to do, better be in shape for it.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "The 10 Best Bay Area Albums of 2020",
"headTitle": "The 10 Best Bay Area Albums of 2020 | KQED",
"content": "\u003cp>2020 threw the music industry for a loop. So many listeners said they had a hard time keeping up with new releases. Instead, old favorites became their emotional-support companions as they navigated a completely new reality. The artists themselves also had to make difficult adjustments: many asked themselves whether it was worth it to drop projects they recorded in the before-times. Were songs about pre-pandemic life still relevant? Did fans want music that reflected what was going on in the world or an escape?\u003c/p>\n\u003cp>As the year progressed, the answer proved to be a combination of both. Some of our favorite music gave us catharsis, some reflected our pain and some offered a joyful vision of what’s possible.\u003c/p>\n\u003cp>Below, KQED Arts & Culture contributors give us their top Bay Area albums of the year. Whether you’re into rap, indie rock, classical, jazz, folk or pop, there’s something for you on this list.\u003c/p>\n\u003cp>And, it’s worth noting, independent artists are cut off from touring and need our financial support now more than ever. So if you like what you hear, consider buying it on Bandcamp or iTunes. \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=3156800882/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" href=\"https://thaoandthegetdownstaydown.bandcamp.com/album/temple\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Thao & The Get Down Stay Down, \u003cem>Temple\u003c/em> (Ribbon Music)\u003c/h2>\n\u003cp>We children of immigrants carry the weight of our parents’ struggles on our shoulders; they sacrificed so much, so we feel the pressure to repay them by achieving the American dream. \u003ca href=\"https://www.thaoandthegetdownstaydown.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Thao Nguyen\u003c/a> flips the narrative with her piercing howl on the title track of \u003cem>Temple\u003c/em>, where she writes from the perspective of her mother, who fled Vietnam as a war refugee. With lyrics like “I lost my city in the light of day / Thick smoke and helicopter blades,” the punchy dance-rock track creates images of destruction, loss, survival and hope so visceral, they send chills. It’s a theme especially resonant during a year filled with a different kind of grief, where many of us have had to say goodbye to loved ones and old ways of life. \u003cem>Temple\u003c/em>’s hard, driving rhythms and fuzzed-out guitars give voice to necessary conversations about immigration, queerness and the quest to live fully in one’s power. \u003cem>—N.V.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" allow=\"autoplay *; encrypted-media *; fullscreen *\" frameborder=\"0\" height=\"450\" style=\"width:100%;max-width:660px;overflow:hidden;background:transparent;\" sandbox=\"allow-forms allow-popups allow-same-origin allow-scripts allow-storage-access-by-user-activation allow-top-navigation-by-user-activation\" src=\"https://embed.music.apple.com/us/album/murder-weapon/1498266889\" width=\"100%\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>The Jacka, \u003cem>Murder Weapon\u003c/em> (The Artist Records/EMPIRE)\u003c/h2>\n\u003cp>After Dominick “The Jacka” Newton was killed in 2015, his manager PK pieced together old recordings for his posthumous album, \u003ca href=\"https://music.apple.com/us/album/murder-weapon/1498266889\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Murder Weapon\u003c/em>\u003c/a>. Although \u003cem>Murder Weapon\u003c/em> was recorded over the span of a few years, it still sounds current. It might help that it features well-known lyricists Styles P, Curren$y and Grammy nominee Freddie Gibbs, as well as The Jacka’s long-time collaborators Husalah, Rydah J. Klyde and producer RobLo.\u003c/p>\n\u003cp>The album is full of heavy bass lines and the gangsta-lifestyle lyrics you’d expect from The Jacka. There are references to drug consumption and distribution on “They Know What This Is” (featuring Paul Wall and Boo Banga) and evidence of extraterrestrial life on “Ancient Astronaut” (featuring Killah Priest). “We Outside,” a standout track with a catchy hook sung by what sounds like a chorus of children, is a bit ironic for 2020—but keep in mind it was released before shelter-in-place orders came down. When the Pittsburg-based MC drops the biographical bar, “Love me cause I’m gangsta, but I’m really trying to teach Islam,” I was reminded of my appreciation for an artist who so passionately balanced his human flaws and religious beliefs. \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=202612447/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>Discos Resaca Collective and Mariposas Del Alma, \u003cem>Y Te Cuento\u003c/em> (self-released)\u003c/h2>\n\u003cp>The first full-length album from cumbia collective \u003ca href=\"https://www.discosresaca.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Discos Resaca\u003c/a> is a masterclass in what makes the Bay Area yell, “Wepa!” \u003cem>Y Te Cuento\u003c/em> (\u003cem>And I’ll Tell You\u003c/em>) melds traditional cumbias from Central and South America with hip-hop and oldies to create a sound that’s powerful in its imagery and danceability. Hometown party anthems like “Cumbia de San Jose” tell the story of the local South Bay scene, while “Chupacabra” and “Se Va El Agua” employ the evocative storytelling traditions of cumbia.\u003c/p>\n\u003cp>Resaca cool things down on the album’s title track, a pensive tribute to lost loved ones, and on the DJ favorite “I Love You For All Seasons,” a mid-tempo cumbia sung by three Oakland sisters known as \u003ca href=\"https://mariposasdelalma.bandcamp.com/album/la-morena-sonidera-la-oaklandesa\" target=\"_blank\" rel=\"noopener noreferrer\">Mariposas Del Alma\u003c/a>. The collective features accordion master Ivan Flores, percussionist Wilson Posada, conguero Pedro Rosales, producer Xian Ballesteros and guitarists Fabian Martinez and Erik Molina, in collaboration with rapper Deuce Eclipse and Philthy Dronez. \u003cem>—Jessica Lipsky\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=1015931905/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>James Wavey, \u003cem>Babe\u003c/em> (self-released)\u003c/h2>\n\u003cp>The 2020 release \u003cem>Babe\u003c/em> from Oakland-based rapper and producer \u003ca href=\"https://alleyesmanifest.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">James Wavey\u003c/a>, a.k.a. Alleyes Manifest, takes the listener on a smooth, sonic journey through blurred genre barriers, like a vintage mixtape that flows in fun and unpredictable ways. The project calls to mind snippets of lowrider oldies, Stax Records classics from RZA’s \u003cem>Shaolin Soul Selection\u003c/em>, nu-jazz and hip-hop. Wavey suavely layers his verses over warm samples warped with reverb and delay. The result is a catchy and soulful album presented in 10 short but flavorful tracks that are perfect for solo kitchen dance parties. \u003cem>—Masha Pershay\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=676995628/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>Kronos Quartet, \u003cem>Long Time Passing: Kronos Quartet and Friends Celebrate Pete Seeger\u003c/em> (Smithsonian Folkways Recordings)\u003c/h2>\n\u003cp>At a time when this country seems to be closing in on itself, the \u003ca href=\"https://kronosquartet.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Kronos Quartet\u003c/a>’s careening exploration of the music and ideas of great American folk bard Pete Seeger opens up possibilities. The ever-peripatetic San Francisco string quartet has a knack for collaborating with some of the world’s most interesting musicians. \u003cem>Long Time Passing\u003c/em> enables us to listen to even the most picked-over songs from the Seeger cannon—“If I Had a Hammer,” “We Shall Overcome”—in a way that feels both edgy and comforting.\u003c/p>\n\u003cp>The album approaches transcendence not with these lovely covers of Seeger’s songs, but rather with a pair of contemporary, original tracks inspired by Seeger’s life. San Francisco born-and-raised composer Jacob Garchik’s spiraling “Storyteller” weaves snippets of Seeger’s singing and speaking voice, riffing on subjects as varied as his work with ethnomusicologist Alan Lomax and Marlene Dietrich’s German-language take on “Where Have All the Flowers Gone?” (“Sag’ mir, wo die Blumen sind”). And the version of folksinger Zoe Mulford’s “The President Sang Amazing Grace,” which singer Meklit performs with quiet intensity above long, spartan string chords, recalls what it means to be human in the face of disaster. \u003cem>—Chloe Veltman\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" allow=\"autoplay *; encrypted-media *; fullscreen *\" frameborder=\"0\" height=\"450\" style=\"width:100%;max-width:660px;overflow:hidden;background:transparent;\" sandbox=\"allow-forms allow-popups allow-same-origin allow-scripts allow-storage-access-by-user-activation allow-top-navigation-by-user-activation\" src=\"https://embed.music.apple.com/us/album/let-me-go/1531051491\" width=\"100%\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Shy’An G, \u003cem>Let Me Go\u003c/em> (STP)\u003c/h2>\n\u003cp>If you prefer a more lyrical flavor of hip-hop, look no further than \u003ca href=\"https://music.apple.com/us/album/let-me-go/1531051491\" target=\"_blank\" rel=\"noopener noreferrer\">Shy’An G\u003c/a>, a Berkeley rapper and producer whose \u003cem>Let Me Go\u003c/em> positions her as a multifaceted artist to watch. In an era where a “scam or be scammed” philosophy seems to touch all aspects of American culture, Shy’An G raps with a refreshing sincerity about trying to forge an honest path in a broken world. On the project, her rhymes move freely between motivation, social critique and clever witticisms. Thoughtful gems like “Who gets offended by generosity? / Hard work, patience, agility” from the somber, piano-driven “Remember This Day” sit comfortably beside the bass-heavy rambunctiousness of “Don’t Lose Focus” (a standout line: “My grandma in her 80s and she still rock stilettos”). Fans of Rapsody, Noname and Anderson .Paak should add Shy’An G to their collections. \u003cem>—N.V.\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=277021995/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>Dougie Stu, \u003cem>Familiar Future\u003c/em> (Ropeadope)\u003c/h2>\n\u003cp>It takes a certain degree of humility to do whatever is necessary to elevate an ensemble’s sound for years before finally taking the helm of your own project. \u003ca href=\"https://dougiestu.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Doug Stuart\u003c/a> has been that humble sideman, a vital bass and keyboard player on some of the Bay Area’s best and most eclectic acts: Bells Atlas, Meernaa, Brijean and astronauts, etc. On \u003cem>Familiar Future\u003c/em>, his debut as Dougie Stu, we see the crowning moment the multi-instrumentalist and composer has been working towards.\u003c/p>\n\u003cp>A cool and collected free jazz exploration with Stuart as bandleader, \u003cem>Familiar Future\u003c/em> calls upon a diverse cast of stellar musicians to enact his vision. “Henny” feels deftly inspired by Bob James’s iconic “Nautilus,” with Stuart’s far-out bass dancing alongside Jeff Parker’s guitar, Hamir Atwal’s jazzy drums, Rob Shelton’s hazy Korg synth and the violin/cello combo of Shaina Evoniuk and Crystal Pascucci. “BB’s Birthday” shines as Stuart’s finest arrangement, with Marcus Stephans’ flute and Brijean Murphy’s congas taking us into space. As its title suggests, \u003cem>Familiar Future\u003c/em> is an album about knowing where the road goes but biding your time to strike at the right moment. Stuart and his players have found it. \u003cem>—Adrian Spinelli\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" allow=\"autoplay *; encrypted-media *; fullscreen *\" frameborder=\"0\" height=\"450\" style=\"width:100%;max-width:660px;overflow:hidden;background:transparent;\" sandbox=\"allow-forms allow-popups allow-same-origin allow-scripts allow-storage-access-by-user-activation allow-top-navigation-by-user-activation\" src=\"https://embed.music.apple.com/us/album/enlighten-the-night/1518607463\" width=\"100%\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Mahsa Vahdat, \u003cem>Enlighten the Night\u003c/em> (Six Degrees Records)\u003c/h2>\n\u003cp>Unable to pursue her career in Iran, where women vocalists are largely banned from performing solo in public, Mahsa Vahdat has found a place to thrive in the Bay Area. Last year she and her sister, vocalist Marjan Vahdat, collaborated with Kronos Quartet on a gorgeous album exploring themes of displacement and exile, \u003cem>Placeless\u003c/em>. Living in Berkeley with her husband, multi-instrumentalist and arranger Atabak Elyasi, she crafted a breathtaking collection of new songs on \u003cem>Enlighten the Night\u003c/em>. While working mostly within classical Persian modes, she weaves a numinous musical mélange with the Norwegian jazz trio of pianist Tord Gustavsen, bassist Gjermund Silset and drummer Kenneth Ekornes. Her compositions illuminate the work of beloved Persian poets like Rumi, Hafez and Omar Khayyam while also drawing on essential 20th-century Iranian writers like Nimā Yushij and Mohammad Ebrahim Jafari, the great poet and painter who provides the words for the quietly ecstatic opening piece “The Act of Freedom.” \u003cem>—Andrew Gilbert\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=983504168/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>The Seshen, \u003cem>CYAN\u003c/em> (Tru Thoughts)\u003c/h2>\n\u003cp>It feels like an eternity ago when \u003ca href=\"https://theseshen.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The Seshen\u003c/a> debuted the \u003ca href=\"https://youtu.be/lR7AmjLCnWk\" target=\"_blank\" rel=\"noopener noreferrer\">short film\u003c/a> to accompany the release of their third LP, \u003cem>CYAN\u003c/em>, at San Francisco’s Rickshaw Stop in late February. Lead singer Lalin St. Juste appeared equal parts raw, hopeful, emotive and mystical in the film. She seemed both at peace and nearly coming apart at the seams at the foot of the ocean’s crashing waves. \u003cem>CYAN\u003c/em> explores the many dimensions of depression, and today it feels prescient considering St. Juste is not alone in taking a long hard look at ourselves and what the heck is happening around us. The album jostles us gently on the synth pop swing of “Close Your Eyes,” and comforts us with the sea foam-like rhythm of “Faster Than Before” and hypnotic depths of “Still Dreaming.” Producer Akiyoshi Ehara sets up canvases for us to splash into like gooey oil paints as we navigate through St. Juste’s elegant neo-R&B delivery. The album’s moments of beauty recall that late-February night show, when we had no idea what was about to hit us. \u003cem>—A.S.\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=2886199336/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>Ismay, \u003cem>Songs of Sonoma Mountain\u003c/em> (Ismay Music)\u003c/h2>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>In 2017, something spared Petaluma from the fires. It wasn’t a first responder, a quick-thinking housemate or even a sign from above. Sonoma Mountain, where songwriter \u003ca href=\"https://www.ismaymusic.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Avery Hellman\u003c/a> lives on a ranch, seems to have protected the North Bay town: Fires have a hard time descending downhill, and Petaluma contains less fast-burning vegetation than surrounding areas, which bought firefighters time. Hellman’s debut full-length album, recorded under their folk project Ismay, is set on Sonoma Mountain, and spends its eight tracks saying thank you to the land. Opener “A Song in Praise of Sonoma Mountain” imagines the flora and fauna of the ranch singing their own expressions of joy, while “When I Was Younger I Cried” uses river rocks and mountain sides as metaphors for gender identity. It’s an utterly lovely feat of folk imbued with gentle gratitude for Northern California. \u003cem>—Jody Amable\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>2020 threw the music industry for a loop. So many listeners said they had a hard time keeping up with new releases. Instead, old favorites became their emotional-support companions as they navigated a completely new reality. The artists themselves also had to make difficult adjustments: many asked themselves whether it was worth it to drop projects they recorded in the before-times. Were songs about pre-pandemic life still relevant? Did fans want music that reflected what was going on in the world or an escape?\u003c/p>\n\u003cp>As the year progressed, the answer proved to be a combination of both. Some of our favorite music gave us catharsis, some reflected our pain and some offered a joyful vision of what’s possible.\u003c/p>\n\u003cp>Below, KQED Arts & Culture contributors give us their top Bay Area albums of the year. Whether you’re into rap, indie rock, classical, jazz, folk or pop, there’s something for you on this list.\u003c/p>\n\u003cp>And, it’s worth noting, independent artists are cut off from touring and need our financial support now more than ever. So if you like what you hear, consider buying it on Bandcamp or iTunes. \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=3156800882/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" href=\"https://thaoandthegetdownstaydown.bandcamp.com/album/temple\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003ch2>Thao & The Get Down Stay Down, \u003cem>Temple\u003c/em> (Ribbon Music)\u003c/h2>\n\u003cp>We children of immigrants carry the weight of our parents’ struggles on our shoulders; they sacrificed so much, so we feel the pressure to repay them by achieving the American dream. \u003ca href=\"https://www.thaoandthegetdownstaydown.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Thao Nguyen\u003c/a> flips the narrative with her piercing howl on the title track of \u003cem>Temple\u003c/em>, where she writes from the perspective of her mother, who fled Vietnam as a war refugee. With lyrics like “I lost my city in the light of day / Thick smoke and helicopter blades,” the punchy dance-rock track creates images of destruction, loss, survival and hope so visceral, they send chills. It’s a theme especially resonant during a year filled with a different kind of grief, where many of us have had to say goodbye to loved ones and old ways of life. \u003cem>Temple\u003c/em>’s hard, driving rhythms and fuzzed-out guitars give voice to necessary conversations about immigration, queerness and the quest to live fully in one’s power. \u003cem>—N.V.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" allow=\"autoplay *; encrypted-media *; fullscreen *\" frameborder=\"0\" height=\"450\" style=\"width:100%;max-width:660px;overflow:hidden;background:transparent;\" sandbox=\"allow-forms allow-popups allow-same-origin allow-scripts allow-storage-access-by-user-activation allow-top-navigation-by-user-activation\" src=\"https://embed.music.apple.com/us/album/murder-weapon/1498266889\" width=\"100%\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>The Jacka, \u003cem>Murder Weapon\u003c/em> (The Artist Records/EMPIRE)\u003c/h2>\n\u003cp>After Dominick “The Jacka” Newton was killed in 2015, his manager PK pieced together old recordings for his posthumous album, \u003ca href=\"https://music.apple.com/us/album/murder-weapon/1498266889\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Murder Weapon\u003c/em>\u003c/a>. Although \u003cem>Murder Weapon\u003c/em> was recorded over the span of a few years, it still sounds current. It might help that it features well-known lyricists Styles P, Curren$y and Grammy nominee Freddie Gibbs, as well as The Jacka’s long-time collaborators Husalah, Rydah J. Klyde and producer RobLo.\u003c/p>\n\u003cp>The album is full of heavy bass lines and the gangsta-lifestyle lyrics you’d expect from The Jacka. There are references to drug consumption and distribution on “They Know What This Is” (featuring Paul Wall and Boo Banga) and evidence of extraterrestrial life on “Ancient Astronaut” (featuring Killah Priest). “We Outside,” a standout track with a catchy hook sung by what sounds like a chorus of children, is a bit ironic for 2020—but keep in mind it was released before shelter-in-place orders came down. When the Pittsburg-based MC drops the biographical bar, “Love me cause I’m gangsta, but I’m really trying to teach Islam,” I was reminded of my appreciation for an artist who so passionately balanced his human flaws and religious beliefs. \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=202612447/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>Discos Resaca Collective and Mariposas Del Alma, \u003cem>Y Te Cuento\u003c/em> (self-released)\u003c/h2>\n\u003cp>The first full-length album from cumbia collective \u003ca href=\"https://www.discosresaca.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Discos Resaca\u003c/a> is a masterclass in what makes the Bay Area yell, “Wepa!” \u003cem>Y Te Cuento\u003c/em> (\u003cem>And I’ll Tell You\u003c/em>) melds traditional cumbias from Central and South America with hip-hop and oldies to create a sound that’s powerful in its imagery and danceability. Hometown party anthems like “Cumbia de San Jose” tell the story of the local South Bay scene, while “Chupacabra” and “Se Va El Agua” employ the evocative storytelling traditions of cumbia.\u003c/p>\n\u003cp>Resaca cool things down on the album’s title track, a pensive tribute to lost loved ones, and on the DJ favorite “I Love You For All Seasons,” a mid-tempo cumbia sung by three Oakland sisters known as \u003ca href=\"https://mariposasdelalma.bandcamp.com/album/la-morena-sonidera-la-oaklandesa\" target=\"_blank\" rel=\"noopener noreferrer\">Mariposas Del Alma\u003c/a>. The collective features accordion master Ivan Flores, percussionist Wilson Posada, conguero Pedro Rosales, producer Xian Ballesteros and guitarists Fabian Martinez and Erik Molina, in collaboration with rapper Deuce Eclipse and Philthy Dronez. \u003cem>—Jessica Lipsky\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=1015931905/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>James Wavey, \u003cem>Babe\u003c/em> (self-released)\u003c/h2>\n\u003cp>The 2020 release \u003cem>Babe\u003c/em> from Oakland-based rapper and producer \u003ca href=\"https://alleyesmanifest.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">James Wavey\u003c/a>, a.k.a. Alleyes Manifest, takes the listener on a smooth, sonic journey through blurred genre barriers, like a vintage mixtape that flows in fun and unpredictable ways. The project calls to mind snippets of lowrider oldies, Stax Records classics from RZA’s \u003cem>Shaolin Soul Selection\u003c/em>, nu-jazz and hip-hop. Wavey suavely layers his verses over warm samples warped with reverb and delay. The result is a catchy and soulful album presented in 10 short but flavorful tracks that are perfect for solo kitchen dance parties. \u003cem>—Masha Pershay\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=676995628/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>Kronos Quartet, \u003cem>Long Time Passing: Kronos Quartet and Friends Celebrate Pete Seeger\u003c/em> (Smithsonian Folkways Recordings)\u003c/h2>\n\u003cp>At a time when this country seems to be closing in on itself, the \u003ca href=\"https://kronosquartet.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Kronos Quartet\u003c/a>’s careening exploration of the music and ideas of great American folk bard Pete Seeger opens up possibilities. The ever-peripatetic San Francisco string quartet has a knack for collaborating with some of the world’s most interesting musicians. \u003cem>Long Time Passing\u003c/em> enables us to listen to even the most picked-over songs from the Seeger cannon—“If I Had a Hammer,” “We Shall Overcome”—in a way that feels both edgy and comforting.\u003c/p>\n\u003cp>The album approaches transcendence not with these lovely covers of Seeger’s songs, but rather with a pair of contemporary, original tracks inspired by Seeger’s life. San Francisco born-and-raised composer Jacob Garchik’s spiraling “Storyteller” weaves snippets of Seeger’s singing and speaking voice, riffing on subjects as varied as his work with ethnomusicologist Alan Lomax and Marlene Dietrich’s German-language take on “Where Have All the Flowers Gone?” (“Sag’ mir, wo die Blumen sind”). And the version of folksinger Zoe Mulford’s “The President Sang Amazing Grace,” which singer Meklit performs with quiet intensity above long, spartan string chords, recalls what it means to be human in the face of disaster. \u003cem>—Chloe Veltman\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" allow=\"autoplay *; encrypted-media *; fullscreen *\" frameborder=\"0\" height=\"450\" style=\"width:100%;max-width:660px;overflow:hidden;background:transparent;\" sandbox=\"allow-forms allow-popups allow-same-origin allow-scripts allow-storage-access-by-user-activation allow-top-navigation-by-user-activation\" src=\"https://embed.music.apple.com/us/album/let-me-go/1531051491\" width=\"100%\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Shy’An G, \u003cem>Let Me Go\u003c/em> (STP)\u003c/h2>\n\u003cp>If you prefer a more lyrical flavor of hip-hop, look no further than \u003ca href=\"https://music.apple.com/us/album/let-me-go/1531051491\" target=\"_blank\" rel=\"noopener noreferrer\">Shy’An G\u003c/a>, a Berkeley rapper and producer whose \u003cem>Let Me Go\u003c/em> positions her as a multifaceted artist to watch. In an era where a “scam or be scammed” philosophy seems to touch all aspects of American culture, Shy’An G raps with a refreshing sincerity about trying to forge an honest path in a broken world. On the project, her rhymes move freely between motivation, social critique and clever witticisms. Thoughtful gems like “Who gets offended by generosity? / Hard work, patience, agility” from the somber, piano-driven “Remember This Day” sit comfortably beside the bass-heavy rambunctiousness of “Don’t Lose Focus” (a standout line: “My grandma in her 80s and she still rock stilettos”). Fans of Rapsody, Noname and Anderson .Paak should add Shy’An G to their collections. \u003cem>—N.V.\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=277021995/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>Dougie Stu, \u003cem>Familiar Future\u003c/em> (Ropeadope)\u003c/h2>\n\u003cp>It takes a certain degree of humility to do whatever is necessary to elevate an ensemble’s sound for years before finally taking the helm of your own project. \u003ca href=\"https://dougiestu.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Doug Stuart\u003c/a> has been that humble sideman, a vital bass and keyboard player on some of the Bay Area’s best and most eclectic acts: Bells Atlas, Meernaa, Brijean and astronauts, etc. On \u003cem>Familiar Future\u003c/em>, his debut as Dougie Stu, we see the crowning moment the multi-instrumentalist and composer has been working towards.\u003c/p>\n\u003cp>A cool and collected free jazz exploration with Stuart as bandleader, \u003cem>Familiar Future\u003c/em> calls upon a diverse cast of stellar musicians to enact his vision. “Henny” feels deftly inspired by Bob James’s iconic “Nautilus,” with Stuart’s far-out bass dancing alongside Jeff Parker’s guitar, Hamir Atwal’s jazzy drums, Rob Shelton’s hazy Korg synth and the violin/cello combo of Shaina Evoniuk and Crystal Pascucci. “BB’s Birthday” shines as Stuart’s finest arrangement, with Marcus Stephans’ flute and Brijean Murphy’s congas taking us into space. As its title suggests, \u003cem>Familiar Future\u003c/em> is an album about knowing where the road goes but biding your time to strike at the right moment. Stuart and his players have found it. \u003cem>—Adrian Spinelli\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" allow=\"autoplay *; encrypted-media *; fullscreen *\" frameborder=\"0\" height=\"450\" style=\"width:100%;max-width:660px;overflow:hidden;background:transparent;\" sandbox=\"allow-forms allow-popups allow-same-origin allow-scripts allow-storage-access-by-user-activation allow-top-navigation-by-user-activation\" src=\"https://embed.music.apple.com/us/album/enlighten-the-night/1518607463\" width=\"100%\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Mahsa Vahdat, \u003cem>Enlighten the Night\u003c/em> (Six Degrees Records)\u003c/h2>\n\u003cp>Unable to pursue her career in Iran, where women vocalists are largely banned from performing solo in public, Mahsa Vahdat has found a place to thrive in the Bay Area. Last year she and her sister, vocalist Marjan Vahdat, collaborated with Kronos Quartet on a gorgeous album exploring themes of displacement and exile, \u003cem>Placeless\u003c/em>. Living in Berkeley with her husband, multi-instrumentalist and arranger Atabak Elyasi, she crafted a breathtaking collection of new songs on \u003cem>Enlighten the Night\u003c/em>. While working mostly within classical Persian modes, she weaves a numinous musical mélange with the Norwegian jazz trio of pianist Tord Gustavsen, bassist Gjermund Silset and drummer Kenneth Ekornes. Her compositions illuminate the work of beloved Persian poets like Rumi, Hafez and Omar Khayyam while also drawing on essential 20th-century Iranian writers like Nimā Yushij and Mohammad Ebrahim Jafari, the great poet and painter who provides the words for the quietly ecstatic opening piece “The Act of Freedom.” \u003cem>—Andrew Gilbert\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=983504168/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>The Seshen, \u003cem>CYAN\u003c/em> (Tru Thoughts)\u003c/h2>\n\u003cp>It feels like an eternity ago when \u003ca href=\"https://theseshen.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The Seshen\u003c/a> debuted the \u003ca href=\"https://youtu.be/lR7AmjLCnWk\" target=\"_blank\" rel=\"noopener noreferrer\">short film\u003c/a> to accompany the release of their third LP, \u003cem>CYAN\u003c/em>, at San Francisco’s Rickshaw Stop in late February. Lead singer Lalin St. Juste appeared equal parts raw, hopeful, emotive and mystical in the film. She seemed both at peace and nearly coming apart at the seams at the foot of the ocean’s crashing waves. \u003cem>CYAN\u003c/em> explores the many dimensions of depression, and today it feels prescient considering St. Juste is not alone in taking a long hard look at ourselves and what the heck is happening around us. The album jostles us gently on the synth pop swing of “Close Your Eyes,” and comforts us with the sea foam-like rhythm of “Faster Than Before” and hypnotic depths of “Still Dreaming.” Producer Akiyoshi Ehara sets up canvases for us to splash into like gooey oil paints as we navigate through St. Juste’s elegant neo-R&B delivery. The album’s moments of beauty recall that late-February night show, when we had no idea what was about to hit us. \u003cem>—A.S.\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=2886199336/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>Ismay, \u003cem>Songs of Sonoma Mountain\u003c/em> (Ismay Music)\u003c/h2>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In 2017, something spared Petaluma from the fires. It wasn’t a first responder, a quick-thinking housemate or even a sign from above. Sonoma Mountain, where songwriter \u003ca href=\"https://www.ismaymusic.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Avery Hellman\u003c/a> lives on a ranch, seems to have protected the North Bay town: Fires have a hard time descending downhill, and Petaluma contains less fast-burning vegetation than surrounding areas, which bought firefighters time. Hellman’s debut full-length album, recorded under their folk project Ismay, is set on Sonoma Mountain, and spends its eight tracks saying thank you to the land. Opener “A Song in Praise of Sonoma Mountain” imagines the flora and fauna of the ranch singing their own expressions of joy, while “When I Was Younger I Cried” uses river rocks and mountain sides as metaphors for gender identity. It’s an utterly lovely feat of folk imbued with gentle gratitude for Northern California. \u003cem>—Jody Amable\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>Note: This episode originally aired March 17, 2019\u003c/em>\u003c/p>\n\u003cp>Shy’an G’s music is like listening to an open diary entry.\u003c/p>\n\u003cp>Shy’an, an East Bay native, says her style of writing dates back to the time she stole her sister’s copy of Tupac’s \u003cem>All Eyez on Me\u003c/em>.\u003c/p>\n\u003cp>The short version is that she sat under the jungle gym on the playground while listening to the album on a Discman, penning her own rhymes, and she hasn’t stopped since.\u003c/p>\n\u003cfigure id=\"attachment_13853017\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13853017\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/ShyanG.Rightnowish.MAIN_-800x500.jpg\" alt=\"Cover detail from Shy'an'G's new album, 'The Reset.'\" width=\"800\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/ShyanG.Rightnowish.MAIN_-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/ShyanG.Rightnowish.MAIN_-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/ShyanG.Rightnowish.MAIN_-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/ShyanG.Rightnowish.MAIN_.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cover detail from Shy’an’G’s new album, ‘The Reset.’ \u003ccite>(Shyan'G)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The longer, more nuanced version is the story of a young woman who honed her craft and has used it to navigate all that life has thrown at her, from educational hurdles to unsavory roommates.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Writing and family have been Shy’an’s support system through it all. As an ode to her support system, she recently dropped \u003cem>\u003ca href=\"https://soundcloud.com/shyan-g/sets/the-reset\">The Reset\u003c/a>\u003c/em>, her second studio project. For this week’s episode of \u003cem>Rightnowish\u003c/em>, I chopped it up with her about the project, which highlights family, writing and taking a moment to realize you’ve made it through some trials.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Click the audio link above to check it out.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Note: This episode originally aired March 17, 2019\u003c/em>\u003c/p>\n\u003cp>Shy’an G’s music is like listening to an open diary entry.\u003c/p>\n\u003cp>Shy’an, an East Bay native, says her style of writing dates back to the time she stole her sister’s copy of Tupac’s \u003cem>All Eyez on Me\u003c/em>.\u003c/p>\n\u003cp>The short version is that she sat under the jungle gym on the playground while listening to the album on a Discman, penning her own rhymes, and she hasn’t stopped since.\u003c/p>\n\u003cfigure id=\"attachment_13853017\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13853017\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/ShyanG.Rightnowish.MAIN_-800x500.jpg\" alt=\"Cover detail from Shy'an'G's new album, 'The Reset.'\" width=\"800\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/ShyanG.Rightnowish.MAIN_-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/ShyanG.Rightnowish.MAIN_-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/ShyanG.Rightnowish.MAIN_-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/ShyanG.Rightnowish.MAIN_.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cover detail from Shy’an’G’s new album, ‘The Reset.’ \u003ccite>(Shyan'G)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The longer, more nuanced version is the story of a young woman who honed her craft and has used it to navigate all that life has thrown at her, from educational hurdles to unsavory roommates.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Writing and family have been Shy’an’s support system through it all. As an ode to her support system, she recently dropped \u003cem>\u003ca href=\"https://soundcloud.com/shyan-g/sets/the-reset\">The Reset\u003c/a>\u003c/em>, her second studio project. For this week’s episode of \u003cem>Rightnowish\u003c/em>, I chopped it up with her about the project, which highlights family, writing and taking a moment to realize you’ve made it through some trials.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Click the audio link above to check it out.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span> can’t wait for Shy’an G’s sister, Sharick LaMay, to read this. It’ll be the first time she learns what happened to her \u003cem>All Eyez on Me\u003c/em> CD.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>See, the story goes that when Shy’an G was about 9 years old, she stole the double-disc album from her big sis, and quickly brought it to school. While listening to Tupac’s raps on her Discman, Shy’an G sat under the play structure and penned her very first lyrics.\u003c/p>\n\u003cp>“She doesn’t know that, but uhh… \u003cem>now\u003c/em> she does,” Shy’an G told me a few weeks ago, anticipating this article while sitting on the couch at her cousin’s apartment. The MC, poet and producer laughed. “I hope it was worth it, because for me it was worth it—I hope she finds it worth it.”\u003c/p>\n\u003cp>Voluntarily or not, that instance was one of many acts of family support that helped mold Shy’an G into the up-and-coming East Bay artist she is today.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Looking at Shy’an G’s accomplishments, there’s plenty reason to believe that sacrificing a Tupac CD was worthwhile: she’s gone from writing raps on elementary school playgrounds to attending classes at YR Media (formerly Youth Radio) and on to graduating from Cal State East Bay. \u003c/p>\n\u003cp>And today, Shy’an is set to drop her latest project, \u003cem>\u003ca href=\"https://www.youtube.com/playlist?list=OLAK5uy_my-Euh0VZ1poYBA4EO0peqOL4tyXoE5h0\" rel=\"noopener\" target=\"_blank\">The Reset\u003c/a>\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13849394\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/ShyanGWalking-800x600.jpg\" alt=\"Shy'an G with her cousin and manager, Blake Simons, in West Oakland.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13849394\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ShyanGWalking-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ShyanGWalking-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ShyanGWalking-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ShyanGWalking-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ShyanGWalking-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ShyanGWalking.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Shy’an G with her cousin and manager, Blake Simons, in West Oakland. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">B\u003c/span>efore the \u003cem>The Reset\u003c/em> hit the internet, I got a chance to hear it. In fact, I needed to hear it. I’d been suffering from writer’s block, and I needed a reset. Her album served as a reminder to get the stress out, and to let creative vibes come alive.\u003c/p>\n\u003cp>And when you do that, family will be there to support.\u003c/p>\n\u003cp>The five-track project is succinct, to the point. It starts off with the track “Shot Clock,” which features the play-by-play call of a WNBA game of Alena Beard beating the shot clock in the finals. I asked Shy’an G why she included it.\u003c/p>\n\u003cp>“I wanted to incorporate a piece of a basketball game,” Shy’an G told me. “And I specifically chose a women’s basketball game because I have basketball background as well, I used to hoop. I still hoop every now and then. And also I just want to embrace women basketball players—they’re out here killing it… Brittney Boyd, Candice Parker, Brittney Griner , Lisa Leslie, Sheryl Swoops, Maya Moore, Diana Taurasi, the list goes on and on.”\u003c/p>\n\u003cfigure id=\"attachment_13849393\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/ShyanG.ResetCover-800x800.jpg\" alt=\"'The Reset' album cover.\" width=\"800\" height=\"800\" class=\"size-medium wp-image-13849393\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ShyanG.ResetCover-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ShyanG.ResetCover-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ShyanG.ResetCover-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ShyanG.ResetCover-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ShyanG.ResetCover-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ShyanG.ResetCover-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ShyanG.ResetCover-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ShyanG.ResetCover-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ShyanG.ResetCover-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ShyanG.ResetCover.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘The Reset’ album cover.\u003c/figcaption>\u003c/figure>\n\u003cp>As for the theme of “Shot Clock,” she told me that the intention was to simply show what she had been through in her life as of late—“you know, beating the buzzer.” It’s an idea she explored on her last project, \u003cem>\u003ca href=\"https://soundcloud.com/shyan-g/sets/ijnam\" rel=\"noopener\" target=\"_blank\">I Just Need a Minute\u003c/a>\u003c/em>. “I was giving it my all while I was venting,” Shy’an G said. “So, now that I’m done, I’m ready to restart that clock. And I was able to beat that buzzer.”\u003c/p>\n\u003cp>When you listen to her new album, you hear references to why she’s coming anew.\u003c/p>\n\u003cp>On the track “From Now On,” she doesn’t hold back: “Look bruh, I lost a couple bands in a court case / Lost an apartment ‘cause I lived with scammers, acting fake / Got fired cold, and still denied my unemployment pay / Got my degree, but I’m in a warehouse, minimum wage.”\u003c/p>\n\u003cp>On the track “Go Off,” she takes gut passion and mixes it with a bass-tinged vocal tone, a chopped sample of what sounds like Nina Simone, and rapid hi-hats. It makes for a song that’ll have you questioning if she still listens to Tupac when she writes her raps.\u003c/p>\n\u003cp>And in the single “Top Down,” there’s more gloss than grit. It’s lyrical, all the same, but definitely something closer to what you might hear on the radio.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" width=\"100%\" height=\"450\" scrolling=\"no\" frameborder=\"no\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/playlists/691077864&color=%23513a22&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>What I found interesting about “Top Down” is the image she chose to use for the art. It’s \u003ca href=\"https://www.instagram.com/p/BsbzbdAgncy/\" rel=\"noopener\" target=\"_blank\">a Polaroid of her father\u003c/a>: scarf over the face and nose, glasses over the eyes, hat on but top down on the ride. I asked her, why?\u003c/p>\n\u003cp>“Because he always lives his fullest best life with no boundaries, no figurative ceilings over his head,” Shy’an G said as she sat on the edge of the couch. “He wants to be able to see and embrace every part and angle and aspect of his life, and that’s what my song is about. Live life with the top down. Don’t keep yourself cooped up. So he was a great symbol for the concept and for the artwork.”\u003c/p>\n\u003cp>(That mini-sermon earned a new follower of this “reset” mind state. She didn’t know it at the time, but she took me out of my 2019 writing slump—and saved me the hassle of having to steal my big sis’ music to find inspiration.) \u003c/p>\n\u003cp>Shy’an G drove it home with her next point. “I felt myself putting myself in boundaries, so much, to the point… it took for me to encounter some really tough situations, and I got sick of it. I was just like, ‘You know what? I’m going to live my life with the top down, taking myself out of the box. And I’m going to start by making this song right here.’ And I looked at my dad as a great example to go by.”\u003c/p>\n\u003cfigure id=\"attachment_13849391\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/ShyanG.LoadingDock-800x554.jpg\" alt=\"Shy'an G with her cousin and manager, Blake Simons, who also hosts the podcast Hella Black.\" width=\"800\" height=\"554\" class=\"size-medium wp-image-13849391\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ShyanG.LoadingDock-800x554.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ShyanG.LoadingDock-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ShyanG.LoadingDock-768x532.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ShyanG.LoadingDock-1020x707.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ShyanG.LoadingDock-1200x831.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ShyanG.LoadingDock.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Shy’an G with her cousin and manager, Blake Simons, who also hosts the podcast Hella Black. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">B\u003c/span>eyond a metaphor for living your best life, that Polaroid on the cover of her single is an extension of the full artwork for \u003cem>The Reset\u003c/em>.\u003c/p>\n\u003cp>The album cover features eight photos, framed in the same Polaroid fashion. They’re all images of Shy’an G starting things: her first basketball game, first graduation, first time touching the mic. And of course, one from the day she was born.\u003c/p>\n\u003cp>“And my first profound memory of my relatives,” Shy’an G said. “They all kind of helped to shape in both the beginning of my journey and finding myself, and also finding my purpose and how I want to impact their community.”\u003c/p>\n\u003cp>I thought about how \u003cem>All Eyez on Me\u003c/em> was Tupac’s own “reset” album. How he’d recently been released from prison and getting back to work; pulling from the past and laying a new track for his future. \u003c/p>\n\u003cp>“I wanted that,” Shy’an G said of her art. “I wanted to tie that back to my process of resetting my life, and my approach to making thought-provoking lyrical creative music again.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Shy’an G hosts an album release party on Friday, Jan. 25, at the Second Half Bar and Grill in Oakland at 8pm. \u003ca href=\"https://www.bandsintown.com/e/100738849\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span> can’t wait for Shy’an G’s sister, Sharick LaMay, to read this. It’ll be the first time she learns what happened to her \u003cem>All Eyez on Me\u003c/em> CD.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>See, the story goes that when Shy’an G was about 9 years old, she stole the double-disc album from her big sis, and quickly brought it to school. While listening to Tupac’s raps on her Discman, Shy’an G sat under the play structure and penned her very first lyrics.\u003c/p>\n\u003cp>“She doesn’t know that, but uhh… \u003cem>now\u003c/em> she does,” Shy’an G told me a few weeks ago, anticipating this article while sitting on the couch at her cousin’s apartment. The MC, poet and producer laughed. “I hope it was worth it, because for me it was worth it—I hope she finds it worth it.”\u003c/p>\n\u003cp>Voluntarily or not, that instance was one of many acts of family support that helped mold Shy’an G into the up-and-coming East Bay artist she is today.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Looking at Shy’an G’s accomplishments, there’s plenty reason to believe that sacrificing a Tupac CD was worthwhile: she’s gone from writing raps on elementary school playgrounds to attending classes at YR Media (formerly Youth Radio) and on to graduating from Cal State East Bay. \u003c/p>\n\u003cp>And today, Shy’an is set to drop her latest project, \u003cem>\u003ca href=\"https://www.youtube.com/playlist?list=OLAK5uy_my-Euh0VZ1poYBA4EO0peqOL4tyXoE5h0\" rel=\"noopener\" target=\"_blank\">The Reset\u003c/a>\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13849394\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/ShyanGWalking-800x600.jpg\" alt=\"Shy'an G with her cousin and manager, Blake Simons, in West Oakland.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13849394\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ShyanGWalking-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ShyanGWalking-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ShyanGWalking-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ShyanGWalking-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ShyanGWalking-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ShyanGWalking.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Shy’an G with her cousin and manager, Blake Simons, in West Oakland. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">B\u003c/span>efore the \u003cem>The Reset\u003c/em> hit the internet, I got a chance to hear it. In fact, I needed to hear it. I’d been suffering from writer’s block, and I needed a reset. Her album served as a reminder to get the stress out, and to let creative vibes come alive.\u003c/p>\n\u003cp>And when you do that, family will be there to support.\u003c/p>\n\u003cp>The five-track project is succinct, to the point. It starts off with the track “Shot Clock,” which features the play-by-play call of a WNBA game of Alena Beard beating the shot clock in the finals. I asked Shy’an G why she included it.\u003c/p>\n\u003cp>“I wanted to incorporate a piece of a basketball game,” Shy’an G told me. “And I specifically chose a women’s basketball game because I have basketball background as well, I used to hoop. I still hoop every now and then. And also I just want to embrace women basketball players—they’re out here killing it… Brittney Boyd, Candice Parker, Brittney Griner , Lisa Leslie, Sheryl Swoops, Maya Moore, Diana Taurasi, the list goes on and on.”\u003c/p>\n\u003cfigure id=\"attachment_13849393\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/ShyanG.ResetCover-800x800.jpg\" alt=\"'The Reset' album cover.\" width=\"800\" height=\"800\" class=\"size-medium wp-image-13849393\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ShyanG.ResetCover-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ShyanG.ResetCover-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ShyanG.ResetCover-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ShyanG.ResetCover-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ShyanG.ResetCover-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ShyanG.ResetCover-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ShyanG.ResetCover-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ShyanG.ResetCover-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ShyanG.ResetCover-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ShyanG.ResetCover.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘The Reset’ album cover.\u003c/figcaption>\u003c/figure>\n\u003cp>As for the theme of “Shot Clock,” she told me that the intention was to simply show what she had been through in her life as of late—“you know, beating the buzzer.” It’s an idea she explored on her last project, \u003cem>\u003ca href=\"https://soundcloud.com/shyan-g/sets/ijnam\" rel=\"noopener\" target=\"_blank\">I Just Need a Minute\u003c/a>\u003c/em>. “I was giving it my all while I was venting,” Shy’an G said. “So, now that I’m done, I’m ready to restart that clock. And I was able to beat that buzzer.”\u003c/p>\n\u003cp>When you listen to her new album, you hear references to why she’s coming anew.\u003c/p>\n\u003cp>On the track “From Now On,” she doesn’t hold back: “Look bruh, I lost a couple bands in a court case / Lost an apartment ‘cause I lived with scammers, acting fake / Got fired cold, and still denied my unemployment pay / Got my degree, but I’m in a warehouse, minimum wage.”\u003c/p>\n\u003cp>On the track “Go Off,” she takes gut passion and mixes it with a bass-tinged vocal tone, a chopped sample of what sounds like Nina Simone, and rapid hi-hats. It makes for a song that’ll have you questioning if she still listens to Tupac when she writes her raps.\u003c/p>\n\u003cp>And in the single “Top Down,” there’s more gloss than grit. It’s lyrical, all the same, but definitely something closer to what you might hear on the radio.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" width=\"100%\" height=\"450\" scrolling=\"no\" frameborder=\"no\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/playlists/691077864&color=%23513a22&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>What I found interesting about “Top Down” is the image she chose to use for the art. It’s \u003ca href=\"https://www.instagram.com/p/BsbzbdAgncy/\" rel=\"noopener\" target=\"_blank\">a Polaroid of her father\u003c/a>: scarf over the face and nose, glasses over the eyes, hat on but top down on the ride. I asked her, why?\u003c/p>\n\u003cp>“Because he always lives his fullest best life with no boundaries, no figurative ceilings over his head,” Shy’an G said as she sat on the edge of the couch. “He wants to be able to see and embrace every part and angle and aspect of his life, and that’s what my song is about. Live life with the top down. Don’t keep yourself cooped up. So he was a great symbol for the concept and for the artwork.”\u003c/p>\n\u003cp>(That mini-sermon earned a new follower of this “reset” mind state. She didn’t know it at the time, but she took me out of my 2019 writing slump—and saved me the hassle of having to steal my big sis’ music to find inspiration.) \u003c/p>\n\u003cp>Shy’an G drove it home with her next point. “I felt myself putting myself in boundaries, so much, to the point… it took for me to encounter some really tough situations, and I got sick of it. I was just like, ‘You know what? I’m going to live my life with the top down, taking myself out of the box. And I’m going to start by making this song right here.’ And I looked at my dad as a great example to go by.”\u003c/p>\n\u003cfigure id=\"attachment_13849391\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/ShyanG.LoadingDock-800x554.jpg\" alt=\"Shy'an G with her cousin and manager, Blake Simons, who also hosts the podcast Hella Black.\" width=\"800\" height=\"554\" class=\"size-medium wp-image-13849391\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ShyanG.LoadingDock-800x554.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ShyanG.LoadingDock-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ShyanG.LoadingDock-768x532.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ShyanG.LoadingDock-1020x707.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ShyanG.LoadingDock-1200x831.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/ShyanG.LoadingDock.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Shy’an G with her cousin and manager, Blake Simons, who also hosts the podcast Hella Black. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">B\u003c/span>eyond a metaphor for living your best life, that Polaroid on the cover of her single is an extension of the full artwork for \u003cem>The Reset\u003c/em>.\u003c/p>\n\u003cp>The album cover features eight photos, framed in the same Polaroid fashion. They’re all images of Shy’an G starting things: her first basketball game, first graduation, first time touching the mic. And of course, one from the day she was born.\u003c/p>\n\u003cp>“And my first profound memory of my relatives,” Shy’an G said. “They all kind of helped to shape in both the beginning of my journey and finding myself, and also finding my purpose and how I want to impact their community.”\u003c/p>\n\u003cp>I thought about how \u003cem>All Eyez on Me\u003c/em> was Tupac’s own “reset” album. How he’d recently been released from prison and getting back to work; pulling from the past and laying a new track for his future. \u003c/p>\n\u003cp>“I wanted that,” Shy’an G said of her art. “I wanted to tie that back to my process of resetting my life, and my approach to making thought-provoking lyrical creative music again.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Shy’an G hosts an album release party on Friday, Jan. 25, at the Second Half Bar and Grill in Oakland at 8pm. \u003ca href=\"https://www.bandsintown.com/e/100738849\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"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.",
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"possible": {
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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"radiolab": {
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"reveal": {
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},
"rightnowish": {
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"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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},
"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
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