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  </channel><item rdf:about="https://www.theideasletter.org/essay/soundtracks-to-argentinas-democracy/">
    <title>Soundtracks to Argentina’s Democracy</title>
    <dc:date>2026-07-10T09:01:48+00:00</dc:date>
    <link>https://www.theideasletter.org/essay/soundtracks-to-argentinas-democracy/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[part of this collection:
https://www.theideasletter.org/issue/quiddities/

"Finally, a palate cleanser by José Natanson, a music maven and editor of Le Monde Diplomatique Southern Cone Edition. Natanson judges two prominent styles of Argentine popular music: rock and trap. He asserts that the history of Argentine music mirrors the country’s social history: rock rose from the middle class, while trap reflects a more unequal and precarious Argentina. The shift from rock to trap is not just a musical fashion change, but a sign of social transformation. What does this illustrate about the cultural condition of Argentina?"]

"The shift from rock to trap is not simply a change in fashion or musical style; it is the reflection of a profound social transformation. Just as the birth of urban, industrial, and middle-class Argentina gradually left behind tango and folklore to make way for national rock, the evolution of Argentina—now unequal, Latin Americanized, digitalized—explains the shift from rock to trap. It is a more multi-class scene than rock and from urban peripheries.

But this evolution is not about supplanting or replacement. In fact, the European Argentina of the past persists in certain aspects that continue to set the country apart from the rest of Latin America, notably Argentines’ cultural hunger. Two Argentinas—the one of the past and the one of today—coexist. The same goes for music.

The evolution is more about absorption. The richness of Argentine music, whether rock or trap, has always lain in its ability to digest the past. It doesn’t deny the past; it transcends it. In its time, Argentine rock drew inspiration from folklore and tango, as well as jazz (a tradition that deserves a separate discussion). Today, trap blends with tango (“Traje unos tangos,” the track by YSY A, begins with a melancholic bandoneon before shifting to a heavy beat), rock (I like Trueno’s use of samples from Gustavo Cerati), and folklore (Milo J’s latest album, La vida era más corta, is a marvel that dares to feature Mercedes Sosa, the great Argentine folklorist who died in 2009).

The persistence of the old, coupled with the ability to absorb the new and create a unique blend, explains the power of the Argentine music scene. Building on the above, we could say that the changes Argentina has undergone in recent years—whose socioeconomic impact has clearly been negative—have, paradoxically, also allowed the country to renew its music by embracing global innovations and infusing them with elements of its own rock, tango, and folk traditions. This tension is the key to the diversity and avant-garde nature of this unique genre."]]></description>
<dc:subject>argentina josénatanson music rock trap class economics history suigeneris losfabulososcadillacs lfc 1960s 1970s middleclass instability perón juandomingoperón dictatorship latinamerica almendra charlygarcía serúgirán 1982 malvinas falkands peronism peronismo 2010s 2020s inequality giniindiex informaleconomy ysya muphasa elquintoescalón wos trueno duki javiermilei sociology miloj dillom neopistea bizarrap morón laboca nickinicole rosario fitopáez peruartina tango folklore gustavocerati sodastereo society socialtransformation pabloschanton</dc:subject>
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    <title>Literary Hub » America’s First War on Drugs Was Also a War on Jazz</title>
    <dc:date>2026-07-09T15:27:23+00:00</dc:date>
    <link>https://lithub.com/americas-first-war-on-drugs-was-also-a-war-on-jazz/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Lisa E. Davis on the Historical Anti-Black Crusade of Law Enforcement and the White Cultural Establishment"]]></description>
<dc:subject>warondrugs jazz history music lisadavis 2026 race racism lawenforcement police policing</dc:subject>
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    <title>Vinyl vs CD vs Spotify - YouTube</title>
    <dc:date>2026-07-09T04:14:03+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=dcU2idUSRAA</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Yo are CDs back??  Physical media is having a real moment. So ofc we had to ask: is it actually worth it, or is streaming just as good now?

We set up a full vinyl hifi setup, a modern CD equivalent, and lossless streaming spotify streamer side by side to find out. We break down turntable components (belt drive vs direct drive, moving coil vs moving magnet cartridges, tonearm materials), how a CD player and DAC actually work, and whether streaming can really compete with physical media on sound quality. 

If you're thinking about getting into vinyl, upgrading your CD setup, or just wondering if streaming sounds as good as everyone says, we made this vid 4 u."]]></description>
<dc:subject>intentionality choice streaming vinyls cds spotify applemusic music speeed 2026 hifi lossless jamespumphrey</dc:subject>
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<item rdf:about="https://harmonyholiday.substack.com/p/fourth-of-july-listening-diary">
    <title>Fourth of July Listening Diary - by Harmony Holiday</title>
    <dc:date>2026-07-06T01:21:23+00:00</dc:date>
    <link>https://harmonyholiday.substack.com/p/fourth-of-july-listening-diary</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[“It’s perfectly fair to call out this catchy but trifling ear worm of a song-of-the-summer for the psyop it is while at the same time acknowledging why it’s working so well. It’s a fed-designed jingle for the pathologically materialistic, semi-illiterate culture being born again daily on the feed and helping birth a social fabric so thin, transactional, and loveless, this can’t be love, can this be love? Is it a call for demons or an announcement that they’re among us and addicted to retail and infatuation, seeming regal and being lowdown. No minds set them ticking like a fat gold watch.”]]></description>
<dc:subject>harmonyholiday music meterialism culture 2026 internet online web consumerism psyops songs earworms love</dc:subject>
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    <title>BitTorrent’s disastrous, legendary, and controversial story | The Verge</title>
    <dc:date>2026-07-03T09:40:08+00:00</dc:date>
    <link>https://www.theverge.com/tech/959848/bittorrent-story-25-years-piracy</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The file-sharing app launched 25 years ago and unleashed a wave of piracy that would shake Hollywood to its core."]]></description>
<dc:subject>bitttorrent 2026 history internet web online p2p filesharing freeculture piracy software film music decentralization hollywood jankoroettgers</dc:subject>
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<item rdf:about="https://dissentmagazine.org/online_articles/john-prines-poetry-of-human-connection/">
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    <dc:date>2026-07-03T09:37:27+00:00</dc:date>
    <link>https://dissentmagazine.org/online_articles/john-prines-poetry-of-human-connection/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Prine was a friend of those left behind by progress and put down by other people. But his songs were all part of a larger universe where laughter and joy prevailed."]]></description>
<dc:subject>johnprine matthewstillman 2020 progress music</dc:subject>
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<item rdf:about="https://www.youtube.com/watch?v=cgPns2rB238">
    <title>Dancing the Revolution: From Dancehall to Reggaetón - YouTube</title>
    <dc:date>2026-07-01T08:27:07+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=cgPns2rB238</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In this documentary created for Dancing the Revolution: From Dancehall to Reggaetón, scholars and artists from Kingston, Jamaica, and San Juan, Puerto Rico, discuss the power of dancehall and reggaetón as transformative music genres and cultural movements. Interspersed with footage from inside dancehalls and clubs, the exhibition video brings you into the energetic spaces that have inspired countless artists across decades.   

Dancing the Revolution: From Dancehall to Reggaetón is a major exhibition that explores and expands the visual, political, and spiritual histories of dancehall and reggaetón through contemporary art—two dynamic genres that have transcended their grassroots origins to shape global culture. From Kingston to San Juan through Panama, New York City, and London, Dancing the Revolution positions music and dance as a revolutionary practice for collective liberation rooted in the struggle against colonial oppression.

Dancehall and reggaetón are not only musical genres but cultural practices and powerful expressions of resistance and joy—reminders of the Caribbean’s centuries-old traditions of dance and music as means of liberation and protest rooted in Black Atlantic history and culture. Dancing the Revolution showcases pivotal moments and themes from these histories, starting with the sound system, a mobile disco that embodies both a community experience and a vital civic institution.

Presenting work across varied mediums, Dancing the Revolution includes painting, sound sculptures, installations, photographs, and video, showcasing how artists have been and continue to be inspired by these histories and the visual forms that emerge from them. The exhibition features more than forty contemporary artists, including Isaac Julien, Edra Soto, Alberta Whittle, Carolina Caycedo, and Lee “Scratch” Perry. A special commissioned mixtape project by Juan Rivera invites visitors to learn about the evolution of these popular genres in Panama and hear the iconic songs that have paved the way for the global phenomenon of reggaetón.

Dancing the Revolution considers music and dance as powerful tools for sexual and political liberation. The exhibition’s title is inspired by the shifting RPMs (revolutions per minute) that mark the tempo and history of Caribbean popular music, as well as by the historic events now known as the Verano del 19, or Summer of 2019, in San Juan, Puerto Rico; multisectoral protests demanding the resignation of then-Governor Ricardo Roselló. On July 17, the same day that Roselló resigned, LGBTQ+ and feminist activists led perreo combativo, or “combative twerking” on the steps of San Juan Cathedral, transforming reggaetón’s characteristic dance into a form of political protest. This reclamation of public space through dance—an act deeply rooted in dancehall history and culture—demonstrates how music and dance can serve as bold acts of collective resistance and emancipation.

Dancing the Revolution: From Dancehall to Reggaetón is curated by Carla Acevedo-Yates, former Marilyn and Larry Fields Curator and Director of Curatorial Initiatives, with Cecilia González Godino, former Marjorie Susman Curatorial Fellow, Iris Colburn, Curatorial Associate, Nolan Jimbo, Assistant Curator, and nibia pastrana santiago, Curatorial Consultant. The exhibition is designed by SKETCH | Johann Wolfschoon, Panamá."]]></description>
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<item rdf:about="https://www.npr.org/2026/06/15/846195598/abdullah-ibrahim-south-africa-obituary">
    <title>Abdullah Ibrahim Obituary : NPR</title>
    <dc:date>2026-06-27T08:18:23+00:00</dc:date>
    <link>https://www.npr.org/2026/06/15/846195598/abdullah-ibrahim-south-africa-obituary</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>abdullahibrahim 2026 music jazz obituary piano southafrica</dc:subject>
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    <title>Abdullah Ibrahim: How Improvisation Saved My Life | JAZZ NIGHT IN AMERICA - YouTube</title>
    <dc:date>2026-06-27T08:17:51+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=Cx-PbqtQMtk</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[""It's not just that they didn't want you to record the music, it’s that they didn't want you to think."
-Abdullah Ibrahim, Pianist & Composer

—————————————————————

by SIMON RENTNER

During the era of apartheid in South Africa, jazz signified a special kind of threat to the white nationalist regime. Not only did its swing and syncopation resemble African rhythm, the music also invited a breeding opportunity for the thoughts it conveyed. In a place fortified by only separation, jazz inspired the mixing of people from all backgrounds and fostered modern ideas. In this animation, the legendary South African pianist Abdullah Ibrahim tells us how jazz and improvisation saved his life. --SIMON RENTNER"]]></description>
<dc:subject>abdullahibrahim improvisation music jazz 2017 simonrenter southafrica apartheid</dc:subject>
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<item rdf:about="https://hammerandhope.org/article/alice-coltrane-black-liberation">
    <title>Alice Coltrane Is Having a Moment</title>
    <dc:date>2026-06-26T08:26:29+00:00</dc:date>
    <link>https://hammerandhope.org/article/alice-coltrane-black-liberation</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The musician’s artistic and spiritual practices are fertile ground for imagining what Black liberation can look like today."]]></description>
<dc:subject>ambredromgoole 2026 alicecoltrabe music jazz blackliberation spirituality</dc:subject>
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<dc:identifier>https://pinboard.in/u:robertogreco/b:b14e80c86088/</dc:identifier>
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<item rdf:about="https://tunnelrecordssf.com/collections/merch">
    <title>MERCH – Tunnel Records</title>
    <dc:date>2026-06-26T06:34:57+00:00</dc:date>
    <link>https://tunnelrecordssf.com/collections/merch</link>
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    <title>Gracie Abrams on Online &quot;Nepo&quot; Hate - YouTube</title>
    <dc:date>2026-06-26T04:29:42+00:00</dc:date>
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<item rdf:about="https://psyche.co/turning-points/new-orleans-rewired-my-brain-to-improvise">
    <title>New Orleans rewired my brain to improvise | Psyche Turning Points</title>
    <dc:date>2026-06-20T09:14:23+00:00</dc:date>
    <link>https://psyche.co/turning-points/new-orleans-rewired-my-brain-to-improvise</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["I arrived in New Orleans feeling fractured and dislocated. Then I started haunting the jazz clubs"]]></description>
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<item rdf:about="https://www.economist.com/briefing/2026/06/11/forget-the-world-cup-culture-is-becoming-more-fragmented">
    <title>Forget the World Cup. Culture is becoming more fragmented</title>
    <dc:date>2026-06-14T09:36:30+00:00</dc:date>
    <link>https://www.economist.com/briefing/2026/06/11/forget-the-world-cup-culture-is-becoming-more-fragmented</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Farewell to the monoculture"

[archived:
https://archive.is/ulDjw

via:
https://social.ayjay.org/2026/06/13/the-economist-it-might-seem.html ]

"It might seem surprising, in a world of global stars, that the 6m Danes, many of whom are fluent in English, listen mainly to homegrown music. And until fairly recently they did not. In 2019 only five songs in Denmark’s top 20 were in Danish. By last year the figure was 18.

A similar trend is under way in other countries — and in other forms of entertainment. From Asia to the Americas, music charts are increasingly dominated by local sounds. Hollywood television-streaming companies are commissioning more local productions in foreign markets, causing consumption of American shows to fall. Social networks are connecting the whole world, but so far people are mainly using them to consume local content. And as video gaming expands, it too is becoming increasingly tailored to local cultures."

...

"In music, video and interactive entertainment, global tech platforms have made it easier than ever to distribute entertainment around the world. Yet the sheer abundance of content that these platforms have helped to generate means that, more than ever, global audiences are able to assert distinctively local preferences."]]></description>
<dc:subject>culture decentralization 2026 diversity denmark monoculture music language languages tv television film streaming latinamerica nigeria southafrica france germany italy poland willpage chrisdallariva worldcup attention videogames games gaming brazil brasil philippines indonesia thailand norway portugal ireland australia india czechrepublic dubai greece mexico middleeast africaeurope netflix asia larrytanz turkey türkiye southkorea korea christopherhamilton canada alexandregoncalves yeemanmargaretng youtube hindi matthewball xbox microsoft china japan manurosier newzoo garena singapore apple google roblox sensortower fortnite joostvandreunen entertainment</dc:subject>
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<item rdf:about="https://www.youtube.com/watch?v=VpxTLdSl-4Q">
    <title>Bizarrap: la historia del productor que rompió todas las reglas | Filo Música x Lalo Mir - YouTube</title>
    <dc:date>2026-06-13T02:26:07+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=VpxTLdSl-4Q</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Bizarrap y el caso de los productores exitosos

Filo.música x Lalo Mir

El Biza arrancó a los 18 años, te hablo de los primeros meses del 2019, cuando empezó a publicar mezclas y remixes de distintas batallas de “freestyle”. Esto derivó en las llamadas “Bizarrap Freestyle Sessions”.

Cuando en febrero de 2019 publicó la primera de las Music Sessions cambió todo. No solo empezó a visibilizar artistas emergentes y empezó a meter hitazos, sino que hizo una operación que lo metió de lleno en las grandes ligas: creó una marca, un estilo, un sello. 

Desde entonces, vos, yo y todos reconocemos al toque cuando una canción sale de una sesión de Bizarrap.

Hay otros grandes productores que fueron importantísimos para impulsar artistas, como George Martin, Phil Spector, Giorgio Moroder o Quincy Jones.

¿Qué otros productores musicales conocés?

Conocelos acá y repasemos un poco de cultura en una nueva edición de Filo.música."]]></description>
<dc:subject>lalomir bizarrap 2026 music argentina</dc:subject>
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<item rdf:about="https://www.nplusonemag.com/online-only/online-only/the-same-stream-twice/">
    <title>The Same Stream Twice | Online Only | n+1 | Rob Arcand</title>
    <dc:date>2026-06-12T01:48:51+00:00</dc:date>
    <link>https://www.nplusonemag.com/online-only/online-only/the-same-stream-twice/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Cultural products are more than ever a class of financialized assets, whose owners are even further removed from artmaking"

...

"It can be difficult to see what purpose cultural criticism serves in a moment of such rapid change for the culture industries. If “derivative media” is the reigning spirit of our times, saturated with shoddy reboots and padded with robotic background music, is there still any reason to engage with these works as critics? We might follow the example of Horkheimer and Adorno, who simply rejected Hollywood, Tin Pan Alley, jazz, and other mass cultural products as mere instruments of capitalist domination; yet their mandarin Marxism feels retrograde in a time when the boundaries of high and low taste are far less sharply drawn. In their own ways, Pelly and deWaard both suggest paths forward for criticism, drawn from their engagements with political economy.

In Pelly’s account, streaming as a medium is inseparable from the economic forces that have made it ubiquitous in everyday life, and to be an effective critic today requires close engagement with these economic factors. A kind of vernacular historical materialism underlies her premise that the musical styles of Billie Eilish or Post Malone emanate from the financialized, algorithmically conditioned environment of streaming itself, as well as deWaard’s ruthlessly symptomatic readings of 30 Rock and Space Jam. From there, both turn to critique the funding structures and production process that form the connective tissue between these economic and aesthetic categories. The critic of derivative media must be no less fluent in the language of boardrooms and earnings calls than that of sitcom dialogue or rap lyrics.

The spirit of Fredric Jameson looms over such work. Knowingly or not, both Pelly and deWaard engage questions that the late Marxist critic put forward decades ago. In The Political Unconscious (1981), Jameson suggests that Marxist literary criticism needs modes of interpretation that are able to mediate between the formal features of artistic works and the economic conditions of their production, without reducing them to simplistic economic narratives or descriptions of aesthetic inspiration uncoupled from material conditions. This “allegorical” approach to critique propelled much of his subsequent work, including his 1991 masterpiece Postmodernism, or, the Cultural Logic of Late Capitalism, with its famous readings of the Westin Bonaventure Hotel, Andy Warhol’s pop paintings, and nostalgia films like American Graffiti.

The irony of aesthetic life under capitalism, as Jameson also reminded us, has always been that even the most debased cultural products contain, albeit in ideologically distorted forms, the promise of a way of life liberated from the instrumentalizing, commodifying drives of capital. If the cultural logic of finance capital—with its degraded platforms, securitized song catalogs, and “derivative media”—is the terrain that the critic must inhabit, then it represents a shared site of struggle with workers from across the music, film, and television industries. It is in this contested landscape where the future of the culture industries will be decided."]]></description>
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    <title>SML - &quot;Roundabouts&quot; (live at Zebulon, LA) - YouTube</title>
    <dc:date>2026-06-07T01:43:41+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=qM6gOi1NawM</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["from SML's 2026 album 'Spontaneous Music Live' https://international-anthem.lnk.to/SpontaneousMusicLive

Filmed and edited by Charlie Weinmann.

Recorded and mixed live to stereo analog tape by Bryce Gonzales at Zebulon, Los Angeles, December 3, 2025."]]></description>
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    <title>Immanuel Wilkins: A Critics Poll Trifecta</title>
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    <link>https://downbeat.com/news/detail/immanuel-wilkins-a-critics-poll-trifecta</link>
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    <title>On ‘The 7th Hand,’ Immanuel Wilkins Sees Jazz as an Escape Pod - The New York Times</title>
    <dc:date>2026-06-06T11:51:02+00:00</dc:date>
    <link>https://www.nytimes.com/2022/02/01/arts/music/immanuel-wilkins-7th-hand-review.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The alto saxophonist Immanuel Wilkins and his quartet make bristling, physical music, both leaning into and pulling against the swing rhythm that has historically been the backbone of jazz. There’s a certain sensuality to classic swing, an element of taking your time that doesn’t seem at home amid the hamster-wheel feeling of life today. Wilkins has wisely left that part behind in favor of a layered, exploding-grid approach to rhythm.

Still, there’s no confusing that this is blues-based, gospel-infused, intellectually considered music, from concept down to craft. All of which qualifies it neatly as part of the jazz tradition (pardon the four-letter word).

But it’s much harder to locate his major saxophone influences than to position him in a broad lineage — which is a sign of how widely Wilkins, 24, has listened. Soon after Blue Note Records released his debut album, “Omega,” in 2020, I found myself nagged by that question: Whose alto playing casts the biggest shadow over Wilkins? Comparisons to legends like Jackie McLean or contemporaries like Logan Richardson didn’t feel right. It was J.D. Allen, a saxophonist one generation ahead of Wilkins, who solved the riddle, in a chat that summer: When he listened to Wilkins, he said, James Spaulding came to mind. It made sense on a few levels.

One of jazz history’s crucial supporting cast members, Spaulding was a frequent presence on classic Blue Note albums in the early ’60s. But he also spent time playing rougher, more atonal stuff with Pharoah Sanders, Sun Ra, Billy Bang and others. Skating alongside the tempered scale, Spaulding, now 84, might blow squirrelly, zigzagging lines at a thousand notes a minute, or pause to tug at a single note from multiple sides. These are shoes that Wilkins walks in.

But he has made himself known as a composer, too, to a degree Spaulding never did, and in just a few years, his quartet — with Micah Thomas on piano, Daryl Johns on bass and Kweku Sumbry on drums — has become a band that members of the young generation can measure their own ideas up against.

“The 7th Hand,” Wilkins’s newly released second album, confirms the quartet’s commanding status on the scene. Another collection of all originals, it is just as unrelenting as “Omega.” On tunes like “Don’t Break” and “Shadow,” Wilkins and Thomas play the melody in loosely locked unison, shifting in and out of keys, tilting and rocking the harmonic floor beneath them. Moving like this, Wilkins can switch emotional registers, even genres, with the flick of a wrist: A simple blues lick transposes into what sounds like a heart-tugging soul line, then scrambles up into something that’s undeniably jazz.

“Don’t Break” includes a cameo from the Farafina Kan percussion ensemble (with which Sumbry often performs), weaving its West African hand percussion into the flow of the quartet and proving that Wilkins’s progressive take on rhythm still connects easily with its roots. The album’s other guest artist, the flutist Elena Pinderhughes, makes a strong impression on back-to-back tracks, “Witness” and “Lighthouse,” with a hard-blown and soaring sound that will be immediately recognizable to listeners who’ve heard her in Christian Scott aTunde Adjuah’s recent groups. Throughout the album, Thomas’s dazzling presence across the entire keyboard gives the quartet much of its depth; he’s on his way to becoming a prominent bandleader in his own right.

Wilkins has said that with “The 7th Hand,” he was looking for nothing less than spiritual transmission — to make himself and the quartet into a “vessel” for the divine, in the way of a Mahalia Jackson, or a John or Alice Coltrane. Biblically, the number seven represents completion and the limits of human endeavor: On the seventh day, we rest. The album’s seventh and final track is a 26-minute free improvisation titled “Lift,” which Wilkins saw as an opportunity to set aside his own map and let spirit take over. The quartet unspools its finely woven, vigilant group sound into something wide open, achieving a kind of escape. Thomas and Sumbry sometimes sound like the free-jazz pioneers Cecil Taylor and Sunny Murray going at it; elsewhere, Wilkins and the drummer collide with the combustive power of John Coltrane and Elvin Jones.

Wilkins’s idea to use this album as a means of transcendence — of exiting the body and disappearing into sound — isn’t just about worship. In interviews, he has cited contemporary theorists like Arthur Jafa with providing crucial inspiration, and he’s spoken about seeking an aesthetics of abstention: from being watched, from being sorted into commercial bins. It’s in line with a larger current in Black radical thought today, shepherded by figures like Jafa and Fred Moten. In “Glitch Feminism,” published in 2020, the writer and curator Legacy Russell proposes rethinking our entire relationship to the human body — a site of so much labeling and othering. “The glitch,” she says, is a place where we might reject capture and embrace “refusal.”

It’s possible to hear “The 7th Hand” in a similar way. In her liner notes, the poet Harmony Holiday calls this album “the sound of turning away from ourselves to get back to ourselves, of how abandon can be organized into liberation with the right set of adventures and a beat to unpack them by.”"]]></description>
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    <title>Sax star Immanuel Wilkins: ‘Hands are a symbol of praise – but they are also lifted up at police’ | Jazz | The Guardian</title>
    <dc:date>2026-06-06T11:44:21+00:00</dc:date>
    <link>https://www.theguardian.com/music/2022/feb/01/immanuel-wilkins-jazz-saxophone</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["At 24, the saxophonist is being hailed as one of the most promising jazz artists in the US – and his music, which explores faith and Black cultural vitality, is utopian in an America that isn’t"

...

"Immanuel Wilkins appears on a video call from his flat in Brooklyn, looking intently at the laptop perched on top of his Fender Rhodes keyboard. A column of light bounces off his forehead, and his red circular glasses magnify his eyes ever so slightly, making him look particularly absorbed in conversation.

We’re speaking before the release of The 7th Hand, the follow-up to his Blue Note Records debut (“an alto saxophonist whose playing is at once dazzlingly solid and perfectly lithe”, trilled the New York Times, as the album topped its best jazz of 2020 poll). He’s warm, effusive and a tad nervous. There’s a tantalising moment where he considers playing the Rhodes to explain a point, before getting tongue-tied, reconsidering and starting again. He’s only 24, and yet this new album – which examines spirituality in its artwork and contemporary dance in its videos – is mature and adventurous.

“At the core of Black existence, which is to say jazz music as well, is this idea of the in-between,” he says. “What makes jazz so great – it’s the solo, right? We play the head [the central theme], then we remix, we do our own thing in-between.”

He was born in Philadelphia, moving 20 minutes east to the suburb of Upper Darby for grade school: “I had grass. I had a playset in the backyard. I had the quintessential suburban kid life.” An only child, music was Wilkins’ way of making friends, via school bands and the historic Philadelphia Clef Club of Jazz and Performing Arts. Back home, his parents encouraged his music, perhaps living out their abandoned artistic dreams – he recently stumbled upon Archie Shepp and Benny Golson transcriptions compiled by his dad, who flirted with professional work as a trombonist and flautist.

Wilkins is a member of the Pentecostal Church of God in Christ, and began his musical career as resident pianist in the worship band at his local church. “I realised early on that there was a correlation between the atmosphere in the room and what I played. That was a turning point for me as a composer, player, everything. The idea of being responsible for how people consumed the spirit.”

He moved quickly through his early instruments: “I started on violin when I was three, and yeah, it didn’t really work out. Then I tried piano, and was not good. I tried singing. Yeah …” he says, chuckling. To convince his parents he was serious about the saxophone (and to fork out the money for one of his own), Wilkins returned home from church one Sunday and found he “could already play through one of the hymns [on it], like halfway, just.” They said yes.

Growing up, it was all about saxophonist Kenny Garrett (“third grade, fourth grade, fifth, sixth, seventh …”) and tips passed down from Branford Marsalis, whose band his unofficial “big brother” Justin Faulkner had recently joined on drums. Fellow Philly dweller Marshall Allen, leader and longtime member of the Sun Ra Arkestra, invited Wilkins aged 12 to the famed Arkestra House in Germantown, where the interstellar adventurers have lived since 1968. Wilkins got to sit next to Allen and experience his caustic sound. “Marshall used to tie a red rope around the bell of his saxophone, and I got a red wristband and put it round mine to be just like him.”

Why did he leave, then? “There’s some good Philly colleges, but I just wanted to go to Juilliard, I wanted to be around Wynton [Marsalis]” – the Pulitzer Prize-winning trumpeter and teacher who typifies august, classy jazz. “So I got up and left.” Marsalis pointed him towards Ornette Coleman’s Town Hall, 1962 album (“Emulating [Coleman’s] sound became a big part of what I do”), and the move to New York also brought him closer to forward-thinking pianist Jason Moran, who would later produce his first album. “I first met him at an Aretha Franklin concert when I was a child. Then, whenever he was in Philly, I went to all his gigs. When his drummer heard me in New York he said to Jason, ‘Hey, you know that cat who used to come to all our gigs? He doesn’t sound that bad, you should probably give him a chance.’” It was at Juilliard that Wilkins also met his quartet (Micah Thomas, Daryl Johns and Kweku Sumbry); there’s now an expectant buzz developing around all four of them.

Juilliard’s jazz department shares a floor with the dance and acting divisions, and Wilkins regrets not branching out across disciplines earlier (his mum was a dancer, and still dances in church on occasion). The 7th Hand makes up for lost time, a collective creative statement with roots in Black critical thought. The cover art, featuring Wilkins mid-immersion, remixes established ideas of southern Black baptism, placing women in the traditionally male leadership role. “I guess I’m trying to ask, who is really worthy of being baptised? Or, what is the established imagery around holiness that we see?” Meanwhile, the video Emanation/Don’t Break (featuring Farafina Kan Percussion Ensemble, and directed by Cauleen Smith, above) searches for the connections between Black dance styles – footwork, line-dancing and double-dutch – weaving yet more rich symbolism into Wilkins’ creation.

The album’s title comes from the Book of Ezekiel, where God commands Ezekiel to build an altar with the measurements of “six cubits and one handbreadth”.

“Hands are at the centre of spiritual life, they’re so powerful,” says Wilkins. “Those lifted hands in the church are some symbol of praise, right? But those same hands are also lifted up at the police.” His philosophy, and music, is utopian in an America that isn’t: “It’s about imagining a scenario that is so far beyond our reach, but that gets us to a certain truth that meets us farther than we are now.”

The album continues where Omega’s rhapsody on the totality of Black life left off: seven movements that flow into one another and culminate in the 27-minute immersive tapestry of Lift. Collective improvisation gradually subsumes the quartet as the record progresses; the group morphs into vessels through whom divine inspiration can flow freely. The sound is excitingly diverse, flowing quickly from harsh, driving dissonance towards gentler gospel tones, before exploding back into vibrant improvisation.

I ask Wilkins where he stands on the idea of spiritual jazz, a genre now bound up with cosmic psychedelia. “I like the phrase sacred music better,” he says. “Like, John Coltrane had A Love Supreme, and Duke Ellington had Come Sunday. I wonder if maybe this is my sacred music period.” Either way, as band members gradually peel themselves away from the group and embrace Wilkins’ idea of vesselhood with transcendent solos, his music always feels carried by spirit."]]></description>
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    <title>Immanuel Wilkins Speaks To Black Experience In America</title>
    <dc:date>2026-06-06T11:43:43+00:00</dc:date>
    <link>https://downbeat.com/news/detail/immanuel-wilkins-speaks-to-black-experience-in-america</link>
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    <link>https://downbeat.com/news/detail/thinking-big-with-immanuel-wilkins</link>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["The alto saxophonist reflects on his first live release, the three-volume Live at the Village Vanguard, and the dazzling chemistry of his forward-thinking quartet."]]></description>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["Blue Note Records Presents "First Look" | This episode features Immanuel Wilkins discussing his new album "'The 7th Hand"

Blue Note President Don Was hosts “First Look,” a series of in-depth conversations with musicians about the making of their new albums, previewing tracks & telling the stories behind the music."]]></description>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["Blue Note Records presents "First Look" | This episode features saxophonist Immanuel Wilkins discussing his album "Omega"

Blue Note President Don Was hosts “First Look," a series of in-depth conversations with musicians about the making of their new albums, previewing tracks & telling the stories behind the music." ]]></description>
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    <title>Detroit Music, Creativity, Capital, &amp; the Working Class with Hanif Abdurraqib - YouTube</title>
    <dc:date>2026-06-03T20:27:18+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=Vinqz2Fs0zA</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Hanif Abdurraqib returns to the show to talk about his new project, the video podcast 'Living For The City' with season one focused on Detroit. We'll talk about some of the dynamics Hanif examines in the new series, including how the working class has found time to make such globally influential music, how gentrification impacts artists and musicians, and more.

Living For the City:  https://www.youtube.com/channel/UCsjRzm4m1SLECMzBb96XQLA

As the podcast's description notes, "Before Detroit gave the world Motown, techno, and hip-hop, it gave the world something harder to name: a feeling that music made in basements and backrooms and borrowed spaces could become the soundtrack to an entire generation." 

"The full arc of how one city became the unlikely origin point for some of the most influential music ever made, told by the people who were actually there."

Hanif Abdurraqib is a poet, essayist, and cultural critic from Columbus, Ohio. His bestselling and award-winning books include Go Ahead in the Rain: Notes to A Tribe Called Quest, They Can’t Kill Us Until They Kill Us, A Little Devil in America: In Praise of Black Performance, and There’s Always This Year: On Basketball and Ascension, and poetry collections A Fortune for your Disaster and The Crown Ain’t Worth Much."]]></description>
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    <title>Living for the City - YouTube</title>
    <dc:date>2026-06-03T20:27:05+00:00</dc:date>
    <link>https://www.youtube.com/channel/UCsjRzm4m1SLECMzBb96XQLA</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Before Detroit gave the world Motown, techno, and hip-hop, it gave the world something harder to name: a feeling that music made in basements and backrooms and borrowed spaces could become the soundtrack to an entire generation. That is the story Living for the City is here to tell, and nobody alive is better equipped to tell it than Hanif Abdurraqib.

MacArthur Fellow. New York Times bestselling author. Hanif brings his singular voice to a new video podcast series that goes inside the streets, venues, and neighborhoods where iconic sounds are born, talking with the artists, DJs, producers, and community architects who built these movements from the ground up.

Season One is Detroit. Eight episodes. The full arc of how one city became the unlikely origin point for some of the most influential music ever made, told by the people who were actually there. This is not a music history lesson. This is a front-row seat to the moments that mattered.

Living for the City premieres May 13th."

[via:

"Detroit Music, Creativity, Capital, & the Working Class with Hanif Abdurraqib" (MAKC)
https://www.youtube.com/watch?v=Vinqz2Fs0zA ]]]></description>
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    <title>Immanuel Wilkins - CHARANAM (Official Video) - YouTube</title>
    <dc:date>2026-06-03T09:38:24+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=yznomWTLU3s</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Purchase "Immanuel Wilkins Quartet: Live at the Village Vanguard Vol 1" : https://immanuelwilkins.lnk.to/LiveAtTheVillageVanguardID

Immanuel Wilkins: Alto Saxophone
Micah Thomas: Piano
Ryoma Takenaga: Bass
Kweku Sumbry: Drums
Composed by Alice Coltrane"]]></description>
<dc:subject>immanuelwilkins music jazz 2026 bluenote bluenoterecords</dc:subject>
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    <title>BOMB Magazine | Immanuel Wilkins’s Blues Blood</title>
    <dc:date>2026-06-03T09:33:30+00:00</dc:date>
    <link>https://bombmagazine.org/articles/2024/09/16/immanuel-wilkins-blues-blood/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Like other great long-form jazz suites, Immanuel Wilkins’s latest album exemplifies “what Ellington called a ‘social-significance thrust,’ music explicitly designed as a ‘tone parallel’ to the black experience.”"]]></description>
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<item rdf:about="https://ftrain.com/canons">
    <title>Canons, by Paul Ford (Ftrain)</title>
    <dc:date>2026-06-03T09:19:47+00:00</dc:date>
    <link>https://ftrain.com/canons</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["I still do like humans.

We have been talking for my entire life about how a daily newspaper holds as much information as a medieval peasant received in a lifetime. Who said it? McLuhan? Ong? It’s too late to go looking.

Except now: A daily newspaper? We’ll need a new reference. A very long text? Three TikTok’s? For my entire life people have been trying to get more people to pay attention to:

• Classical music
• Baroque music
• Greek drama
• Renaissance literature
• Early modernism
• Shakespeare
• Literary fiction
• Art in general

But also to pay less attention to one particular tradition because so many others have been neglected; i.e. swap Wharton and Conrad for Morrison and Achebe. To be honest? Fine. It doesn’t matter anywhere near as much as people think. When I was 20 (I’m 51 now) I wrote an honors essay on the canon, and who was in there? Defending the canon? But Dinesh D’Souza. Then a youthful conservative sprout. We all have to start somewhere. I’ve been surprised, then, seeing him pop up, jumping from one cultural crisis to another, making his way (nearly to jail, but probation). The professor/advisor on that essay—it was for an honors class; he was a friend—left his wife for one of my classmates; his wife called me, very late at night, heavily narcotized, and asked me many probing questions about his sex life and the affair, of which I knew no details. I had no idea how to respond.

“I think she’s a big Aerosmith fan,” I said.

“I can’t compete with that,” she said.

The Dean also told me what she knew. There are many charms to a small liberal arts college.

These things do have a way of lodging in memory. Happiness is fleeting. I sincerely hope everyone is doing okay.

But of course in amongst all the angst and bleakness of that extremely baffling time in my life I recollect more than anything a work-study job at the Mac lab, tending to a network, helping people print. I thought that would be sufficient. I was ready to spend my life writing little six hundred word essays, and helping other people print.

Even then I had an inkling: That the real canon is not the texts themselves, which very few people trudge through, but rather the struggle over the canon. That’s the actual material. Texts come and go. Social media made it visible in a way that even the French couldn’t see. (Unrelated I always find it funny that the great science academy is simply called “Po.”)

We’d much, much rather fight over an author than read them. So now it’s the age of smashing. MMA on the White House Lawn. Ocean sensors being decommissioned. God even knows that the NEH is today. The national body is becoming insensate. We are losing our eyes, our ears, any sense of touch. We can’t even feel the weather. Ultimately only our mouths remain, demanding a steady feed of goop. We are an old man jamming crumbling cookies into his sore gums. The whole country has gone to Snak Kakes.

Today I was descending to my train home and saw an ad for the Paramount+ White House Fight Club. I gave it the finger. I support real democracy things as well, with money and time, so I feel okay with my pointless symbolic acts. All the warnings were real. Sinclair Lewis and Octavia Butler Mike Judge and Margaret Atwood. It happened. Here we are. I think we thought it would be more dignified, though.

We maintain an office in Beirut. Most of my employees get bombed weekly. Not metaphorically. I go home to dabble with keyboards and vibe code. When I go to bed I boot up the canon on my phone, in my ears. Old LP records of Shakespeare plays, from the Internet Archive. Complete with crackles. I haven’t made it past Act I of Hamlet. Or Lear. Or Richard III. Or old recordings of Chopin or The Well Tempered Clavier. Which is unfortunately initialized as WTC. The western literary canon has become, for me, a sleep aid.

I don’t understand Bach, despite trying very hard, so I think about him a lot. Chopin I can figure out a little more, but I can’t play a bar of it. I found a century-old collection of Nocturnes on the street because a family was moving out; I grabbed it and put it in my bike bag. Our friends moved in to the house. We went to the housewarming and I talked about vibecoding, and M&A. Wives were annoyed. But I still have the book. Maybe one day I can play Nocturnes, in a book assembled about 50 years after Chopin died.

Anyway the party. I went home a few drinks in and sat at the digital keyboard and trundled through my little Bach book. It’s all the things he wrote for Anna Magdalena, his wife, to help her practice. We’re all Bach’s (second) wife, I suppose.

I am starting to see the math of him: The twelve notes divided by seven, modulo five delicious unscalar notes, to be grabbed whenever you want a little sizzle. What I would give for my fingers to make the sounds I expect them to. At some level playing piano is kind of like manipulating a musical abacus. I tell myself that because it negates the need for talent. I just need to do rhythmic finger math for ten more years and I’ll be able to understand something.

And god bless us, as a species, if you give us perfect harmony we want nothing to do with it. We could have a trombone orchestra with just intonation and everything absolutely consonant, but instead we want our half-ton grand pianos well-tempered, meaning slightly out of tune and if that wasn’t enough we are going to have a lot of accidentals to make the whole thing feel slightly off.

This is the only thing that makes humans worth it: Give us perfection and we will fill it with pockmarks. That’s why we’re good. Hand us a canon, and ideology, a religion, a true love, and before long we will see cracks, and we will pick at the peeling paint with our fingers. If that’s not enough we will open the piano and put little things on the strings, and call that “prepared.” Perfection, consonance, clarity—we say we want them but we despise them and sing the praises of artists who pour sand into the gears of form.

No canon can ever stabilize. I think this is why, over the years, classical draws me back. Theoretically it’s perfect; that’s why we’ve adopted it. But the nice thing about the Nocturnes is that someone must always be reinventing them, annoyed at their forebears, staking claim, grabbing territory. Our adoration of psychic purity is incompatible with our need to claim psychic territory. This is our one true feature. “It’s perfect,” we say, and then we break it and put it back together, cracks showing. “Or, actually, now it is.” Give us perfection and we bite it."]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=L2wk2M2mr0U">
    <title>Art vs. Tucker Carlson: Revolutionary Tools or &quot;Tools&quot;? (with Saul Williams) - YouTube</title>
    <dc:date>2026-06-01T04:58:16+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=L2wk2M2mr0U</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Poet, musician, actor, & writer Saul Williams joins Bad Faith podcast for the first time to talk about how art can help feed this revolutionary moment and expand our understanding of our potential as a global community. But also, Briahna is still hyper-fixated on the prominent role the Israel-critical right is playing in the anti-war space, and what the implications are for building a left, anti war, internationalist movement that can't be "America first" insofar as our way of life is dependent on the immiseration of the global south. We work through all of this in a deeply nuanced, compassionate, and musical 2 hour chat."

[referenced here by Jared Ball:

"Saul Williams, Briahna Joy Gray, and I Love Boosters (*No Spoilers, Just Precursor)"
https://www.youtube.com/watch?v=KbSbtilM5nQ ]]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=juyubtHdUJc">
    <title>Cypress Hill | El Sonido: Cancioneros — Rap latino, identidad y Dios Bendiga - YouTube</title>
    <dc:date>2026-05-20T06:09:39+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=juyubtHdUJc</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["El Sonido: Cancioneros viajó a la Ciudad de México para encontrarse con Cypress Hill horas antes de su presentación en Vive Latino. En medio de un momento histórico para la música latina global, el grupo habló sobre representación, identidad bicultural y el significado detrás de Dios Bendiga, su primer álbum completamente en español y su primer disco de larga duración en más de cuatro años que se lanzará oficialmente el 24 de julio de 2026.

En este episodio, B-Real, Sen Dog, Eric Bobo y DJ Lord abren su cancionero personal para compartir la música que habita sus auriculares actualmente: desde el rap chicano de Coyote hasta la psicodelia rebajada de Amantes del Futuro, el legado eterno de Chalino Sánchez y la poesía política de Gil Scott-Heron.

Nuestro episodio cuatro de nuestra nueva temporada es un retrato íntimo de una banda que sigue entendiendo la música como resistencia cultural y comunidad.

Puedes ver el video podcast en el canal de YouTube KEXP Podcasts, con subtítulos en inglés y español.

Cancionero curado por Cypress Hill:

· “Whippin’ Cream” – Coyote, B-Real & Sick Jacken feat. The Psycho Realm
 · “Cultura Sonidera” – Amantes del Futuro
 · “Alma Enamorada” – Chalino Sánchez
 · “The Revolution Will Not Be Televised” – Gil Scott-Heron
 · “Guacha Trucha” – Cypress Hill & Alemán

**

English:

El Sonido: Cancioneros traveled to Mexico City to meet Cypress Hill just hours before their performance at Vive Latino. In the middle of a historic moment for global Latino music, the group spoke about representation, bicultural identity, and the meaning behind Dios Bendiga — their first fully Spanish-language album and their first full-length release in more than four years, officially arriving on July 24, 2026.

In this episode, B-Real, Sen Dog, Eric Bobo, and DJ Lord open their personal cancionero to share the music currently living in their headphones: from the Chicano rap of Coyote to the slowed-down psychedelic sound of Amantes del Futuro, the timeless legacy of Chalino Sánchez, and the political poetry of Gil Scott-Heron.

Episode four of our new season becomes an intimate portrait of a group that continues to understand music as cultural resistance and community.
You can watch the full video podcast on the KEXP Podcasts YouTube channel, with subtitles available in English and Spanish."]]></description>
<dc:subject>albinacabrera elsonido music kexp cypresshill chalinosánchez gilscott-heron alemán amantesdelfuturo b-real sendog ericbobo djlord</dc:subject>
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<item rdf:about="https://www.youtube.com/watch?v=Yt15iNgvNsw">
    <title>McMansion Hell, Fandoms, Retinol and Modern Opera | Middlebrow Podcast - YouTube</title>
    <dc:date>2026-05-13T06:55:58+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=Yt15iNgvNsw</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Kate Wagner is the architecture critic at The Nation and the creator of the internet's favorite architecture criticism blog, McMansion Hell. We dive into finding beauty in all buildings, criticism as a practice, modern opera, retinol, fandoms and more. Read McMansion Hell here: https://mcmansionhell.com 

00:00 - Intro 
00:23 - Retinol 
2:30 - Anime Face 
2:58 - Defining McMansion 
05:47 - 80s Architecture 
07:05 - Revival of Old Tastes 
20:51 - Agrarian High School 
21:13 - Autodidact Gang 
22:25 - Challenges of Architecture 
26:39 - McMansions Abroad 
31:04 - Politics of a McMansion 
34:45 - Emerging Movements 
38:26 - Edgar Wright’s Running Man 
41:04 - DSA Baby Boom 
41:35 - Modern Opera 
45:18 - The Ring Cycle 
47:07 - Receptiveness in a Critic’s Heart 
49:21 - Fandoms 
50:33 - Faith in the Public 
53:48 - All Buildings Are Interesting 
55:03 - The Goal of Criticism 
01:00:38 - Fascist Architecture"]]></description>
<dc:subject>middlebrowpodcast katewagner mcmansionhell 2026 architecture mcmansions criticism us 1980s 1990s postmodernism charlesjencks autodidactism autodidacts taste edgarwright politics inequality economics policy suburbia suburbs conspicuousconsumption fandoms fandom buildings fascism fascistarchitecture fascistaesthetics donaldtrump latefascistaesthetics opera runningman society vernaculararchitecture danrosen brianpark oil wealthinequality oman serbia construction realestate wealth luxury dubai dubaichocolate labubus power ideology magaface castledoctrine utah florida environment bjarkeingels thomasheatherwick autocad frankgehry technology robotics smartcities design adaptivereuse materials shippingcontainers césarpelli adaptation domination architects housing aoscott fans reading howweread writing film movies music tuckercarlson italianfuturists italianfuturism nazis ai artificialintelligence llms education</dc:subject>
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<item rdf:about="https://www.openculture.com/2026/05/how-john-coltrane-introduced-the-world-to-my-favorite-things-1961.html">
    <title>How John Coltrane Introduced the World to His Radical Sound with His Recording of &quot;My Favorite Things&quot; (1961) | Open Culture</title>
    <dc:date>2026-05-12T13:47:21+00:00</dc:date>
    <link>https://www.openculture.com/2026/05/how-john-coltrane-introduced-the-world-to-my-favorite-things-1961.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["[embed: "How Coltrane Broke "My Favorite Things" (feat. Adam Neely)"
https://www.youtube.com/watch?v=Bg1RGmyl-_A ]

John Coltrane released “more significant works” than his 1960 “My Favorite Things,” says Robin Washington in a PRX documentary on the classic reworking of Rodgers and Hammerstein’s Broadway hit. “A Love Supreme” is often cited as the zenith of the saxophonist’s career. “But if you tried to explain that song to an average listener, you would lose them. [“My Favorite Things”] is a definitive work that everyone knows, and anyone can listen to, and the fascinating story of its evolution is something everyone can share and enjoy.” The song is accessible, a commercially successful hit, and it is also an experimental masterpiece.

Indeed, “My Favorite Things” may be the perfect introduction to Coltrane’s experimentalism. After the dizzying chord changes of 1959’s “Giant Steps,” this 14-minute, two-chord excursion patterned on the ragas of Ravi Shankar announced Coltrane’s move into the modal forms he refined until his death in 1967, as well as his embrace of the soprano saxophone and his new quartet. It became “Coltrane’s most requested tune,” says Ed Wheeler in The World According to John Coltrane, “and a bridge to a broad public audience.”

Coltrane’s take is also mesmerizing, trance-inducing, “often compared to a whirling dervish,” notes the Polyphonic video above, a reference to the Sufi meditation technique of spinning in a circle. It’s an unlikely song choice for the exercise, which makes it all the more fascinating. The Sound of Music, Rodgers and Hammerstein’s final Broadway collaboration, was an “instant classic,” and everyone who’d seen it walked away humming the tune to “My Favorite Things.” By 1960, it had become a standard, with several cover versions released by Leslie Uggams, The Pete King Chorale, the Hi-Lo’s, and the Norman Luboff Choir.

[embed: "John Coltrane - My Favorite Things (1961) (Full Album)"
https://www.youtube.com/watch?v=UlFNy9iWrpE ]

Hundreds more covers would follow. None of them sounded like Coltrane’s. The modal form—in which musicians improvise in different kinds of scales over simplified chord structures—created the “open freedom” in music explored on Miles Davis’ pathbreaking Kind of Blue, on which Coltrane played tenor sax. (It was Davis who bought Coltrane his first soprano sax that year.) Coltrane’s use of modal form in adaptations of popular standards like “My Favorite Things” and George Gershwin’s “Summertime” from Porgy and Bess was an explicit strategy to court a wider public, using the familiar to orient his listeners to the new.

The video essay brings in the expertise of musician, composer, and YouTuber Adam Neely, who explains what makes Rogers and Hammerstein’s classic unique among show tunes, and why it appealed to Coltrane as the centerpiece of the 1961 album of the same name. The song’s unusual form and structure allow the same melody to be played over both major and minor chords. Coltrane’s modification of the song reduces it to the two tonics, E major and E minor, over which he and the band solo, introducing a shifting tonality and mood to the melody with each chord change.

[embed: "John Coltrane Quartet My Favorite Things Live in Comblain-La-Tour 1965"
https://www.youtube.com/watch?v=ehYM_cg2DHI ]

Neely goes into greater depth, but it’s overall an accessible explanation of Coltrane’s very accessible, yet vertiginously deep, “My Favorite Things.” Maybe only one question remains. Coltrane’s rendition came out four years before Julie Andrews’ iconic performance in the film adaptation of The Sound of Music, evoking the obvious question,” says Washington: “Did he influence her?”"]]></description>
<dc:subject>johncoltrane jazz music history 2026</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:b653865cd351/</dc:identifier>
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<item rdf:about="https://www.youtube.com/watch?v=8AIHszcu36A">
    <title>Inside the world of mariachi tailors - YouTube</title>
    <dc:date>2026-05-07T20:01:47+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=8AIHszcu36A</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In this episode of In The Hyphen, I go inside the traje de charro industry to learn more about what goes into making mariachi-grade clothing."]]></description>
<dc:subject>sewing tailoring tailors mariachi music 2025 uniforms fernandohurtado lupitainfante clothing jorgetello losangeles trajesdecharro maríaterrones history textiles mexico us</dc:subject>
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</item>
<item rdf:about="https://thebeautifultruth.org/life/psychology/iain-mcgilchrist-brains-hemispheres/">
    <title>Iain McGilchrist: Re-enchanting the Brain's Hemispheres — The Beautiful Truth</title>
    <dc:date>2026-05-05T18:00:34+00:00</dc:date>
    <link>https://thebeautifultruth.org/life/psychology/iain-mcgilchrist-brains-hemispheres/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Can we re-enchant our view of the world by re-engaging a ‘right hemispheric’ view of life, love and faith?"

[via Mo Bitar:
https://www.youtube.com/watch?v=h9dgeM_KuB8 ]]]></description>
<dc:subject>iainmcgilchrist 2026 rightbrain leftbrain neuroscience life living love faith religion spirituality perspective justinbrierley belletindall philippullman acgrayling rowanwilliams psychology truth reality art poetry myth ritual rationalism science academia thinking howwethink enlightnement governance power architecture music distance bureaucracy society trust complexity sacredness interconnected interconnectedness uniqueness relationships meaning meaningmaking awareness unknown unknowing civilization knowledge connection philosophy enchantment reenchantment wonder</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:909231d0e1c9/</dc:identifier>
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<item rdf:about="https://open.spotify.com/episode/11zlpahmklfgr8YOUrtLnY">
    <title>Sara Hendren: Who Is the Built World Actually Built For? - Art of Inquiry | Podcast on Spotify</title>
    <dc:date>2026-05-05T14:11:09+00:00</dc:date>
    <link>https://open.spotify.com/episode/11zlpahmklfgr8YOUrtLnY</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Sara Hendren didn't start out in engineering. She started as a visual artist, then moved into cultural history, studying objects, artifacts, and what they say about the world that made them. Then life brought her into pediatric spaces filled with a new kind of object: gadgets and tools designed for a child's body, yes, but also doing quiet therapeutic work, covered in butterflies and bugs, useful and expressive all at once. She found herself asking: what is an object broadcasting beyond its user? What does it mean that eyeglasses get sold as fashion while hearing aids are hidden away as clinical? That was the moment everything snapped together, her training in the history of artifacts, the politics of disability, and the material culture of prosthetics all converging at once. In this free-flowing conversation, Sara walks us through the space between mechanical design and design for expression, why the logical and meticulous side of making art and the creative side of meaningful engineering are really the same instinct. As the world asks more and more from its engineers, Sara brings it all back to a question that feels more urgent than ever: can a designed object change not just how we move through the world, but how we see it?"

[via:
https://ablerism.micro.blog/2026/04/29/i-had-fun-speaking-on.html

"I had fun speaking on the Art of Inquiry, a podcast created by two Northeastern engineering students interested in the arts and humanities. My strange career path, my mentor Krzysztof Wodiczko introducing me to interrogative design, raising a child with Down syndrome, studio + lab culture, more."]]]></description>
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</item>
<item rdf:about="https://www.youtube.com/watch?v=StrpSp8anQM">
    <title>Vicky Osterweil on Disney, Intellectual Property and Storytelling - YouTube</title>
    <dc:date>2026-05-03T19:43:34+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=StrpSp8anQM</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["This week, we’re featuring a recent, live interview that I did at Firestorm books with Vicky Osterweil, anarchist writer and worker, author of In Defense of Looting and more recently The Extended Universe: How Disney Killed The Movies and Took Over the World (Haymarket, 2026). Vicky is a member of the Collective of Anarchist Writers (CAW), and you can also find her on Bluesky and what she's thinking about what she's watching at Letterboxd.

During the chat Vicky talks about intellectual property and how it overlaps between entertainment and other elements like technology and medicine, the shaping and limiting effects IP has on popular culture and imagination, the film industry and more."

[See also:

"In Defense of Looting with Vicky Osterweil" (2021)
https://www.youtube.com/watch?v=qWxjrTRDbio

"In Defense of Looting with Vicky Osterweil This week we are getting the chance to air a conversation that I had with writer, anarchist, and agitator Vicky Osterweil about her recently published book  In Defense of Looting, a Riotous History of Uncivil Action published  (Bold Type Press, August 2020). We get to talk about a lot of different topics in this interview, how the book emerged from a zine written in the middle of the Ferguson Uprising of the summer of 2014, its reception by the far right and by comrades, her process in deciding what to include in this book, the etymology of the word “loot” and ensuing implications thereof, why you should totally transition if that’s the right thing for you to do, and many more topics!"

and 

"The Interregnum: Roundtable with Vicky Osterweil" (2022)
https://www.youtube.com/watch?v=a3MRLe0Gcno

"This week we are pleased to present something a little bit new for TFS listeners. This is a kind of informal round table discussion that co host Scott and I had alongside Vicky Osterweil, who has been on the show before to speak on her book In Defense of Looting; A Riotous History of Uncivil Action. We all sat down to talk about a short and thought provoking article which was published in January of 2022 called “The Interregnum: The George Floyd Uprising, the coronavirus pandemic, and the emerging social revolution” which was published on the Haters Cafe and we will link to it in the show notes for anyone interested in reading it.

An interregnum is defined as being a period of discontinuity in a government, organization, or social order, and it typically points to time frames at which there isn’t a clear monarch or reigning body in a given place. This article points to the many ways the George Floyd uprising, the covid 19 pandemic, the rise of anti-work, and what the article calls the Great Refusal (a pivot from the ‘Great Resignation’ nomenclature of some mass media) have all created the conditions for a possible broadscale social revolution. Also stay tuned to the end of this episode where we chat briefly about what books we’re reading right now. We hope you enjoy this chat!

((note to listeners, I’m now using the name I use in real life for this radio project, which is Amar. It’s become more and more important to me to be as fully acknowledging of my culture and ethnicity as possible, and this is one way I’m choosing to do that))"]]]></description>
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    <title>We Are (Still) Living in the Long Boring</title>
    <dc:date>2026-04-24T03:38:52+00:00</dc:date>
    <link>https://freddiedeboer.substack.com/p/we-are-still-living-in-the-long-boring</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["I have really been trying to avoid talking about LLMs, or if you must, AI. But things have gotten kind of weird lately. There’s an unsettled quality to the discourse right now; we were briefly in “It’s cringe to believe in AI,” now we’ve swung back to “It’s cringe not to believe in AI,” but no one seems to share the same conception of what believing in AI entails. The influence of programming looms large, as it has over the culture writ large for some time. We were in another lull of disappointment in what LLMs can do, and then Claude Code came out, and suddenly everyone’s promising us asteroid mines and radical life extension and abundant clean energy again. But this is a category error: none of those things can be achieved with code.

The most telling thing about the LLM moment is what this technology is actually good at. LLMs write code, generate images, produce music, summarize documents, draft prose… which is to say, they have achieved mastery over the exact domains that were already, by any sane measure, overprovisioned. Was anyone saying that we didn’t have enough digital writing, images, videos, music, video games, or applications, a few years ago? The core triumph of technological growth is taking scarcity and creating abundance. Well, LLMs create an abundance, that’s for sure. But there was already an abundance of text, online, and an abundance of images, and there’s some insane stat like 24 hours of video gets uploaded to YouTube every second or whatever, and yes, there has been an abundance of code, of programs, of apps. And before we got these fancy new tools to produce more code, there wasn’t a lot of people saying “Gee, what we need is more apps, the app store is too empty.”

The internet in 2022, before the ChatGPT wave broke, already contained more text than any human being could read in ten thousand lifetimes, more images than any eye could see, more music than any ear could hear. When I was a younger man, the get-rich-quick scheme du jour was to create the next great iPhone app, which led to a world of smartphone apps so wildly overserved that we all got tired of apps and no one has sincerely gotten excited about a new one in like ten years. And now… we get more. The scarcity that these tools have abolished, in other words, was not a scarcity anyone was actually suffering from. We did not need more “content”; we did not need to produce digital entertainments at a faster pace. We needed (and still need) cheaper energy, more housing, better cancer treatments, functional mass transit, and a replacement for the internal combustion engine people actually want to use. What we received instead was a machine that can write a cover letter in four seconds and generate a photorealistic image of SpongeBob jackin it. The question of whether this constitutes civilizational transformation should answer itself. Right?

This is the “bits are easy, atoms are hard” problem in its starkest form. Every task LLMs perform (some of which they do pretty well, like help write code) happens on screens, in files, in the virtual world that computation has always occupied. And the lesson of the last fifty years of digital technology is that software’s limits are the limits of the screen itself. Code cannot insulate your house; no algorithm has ever laid a water pipe; the internet has not built a single mile of high-speed rail. What our current stagnation shows, collectively, is that the improvements in material human life that matter the most - abundance in warmth, in calories, in clean water, in physical safety, in hours of freedom from labor - were all achieved by technologies that operated on atoms: steel, concrete, copper wire, chlorine, penicillin. The digital revolution produced real and genuine gains within its own domain, but it never breached that membrane between the virtual and the physical, and LLMs show no signs of doing so either.

Claude Code has genuinely transformed how programmers write software, which is great, but also largely beside the point: the biggest technological lessons of the 21st century are about the limits of code.

You have not heard any of the many, many excitable AI maximalists in the media address this reality, the bits vs atoms barrier, because they have no response that can preserve their intense attachment to the idea that the world is about to change forever. So they resolutely ignore this basic reality: most of the world is not computers. Most of your life is dependent on technologies other than computers. Inconveniently, we also have few arenas of human endeavor that are seeing rapid development other than in computing.

And so the grander promises (curing cancer, cracking fusion, colonizing Mars, achieving material abundance through AI-directed science) function less as predictions than as a kind of promissory theology, perpetually redeemable in a future that recedes as you approach it. The actual connection between a model that autocompletes code and a cure for pancreatic cancer is speculative in the most precise sense: the sense of having no demonstrated mechanism. AI has produced real if modest contributions to protein folding and drug candidate screening. These are genuinely good things. But the leap from “AlphaFold is sometimes useful to structural biologists” to “we are on the threshold of defeating disease” is not an inference supported by evidence but rather a narrative that a certain kind of mind finds emotionally necessary. And when you look at the pattern of these promises historically - fusion has been twenty years away for seventy years, the paperless office was supposed to arrive with the PC, every home will soon have a large 3D printer that will provide them with the plastic goods they once bought at Walmart - the most responsible explanation is not that the breakthrough is imminent but that each generation of technologists, confronting the gap between what their tools can do and what they wish they could do, fills that gap with imagination and calls it the future.

Dee mentions Ray Kurzweil and calls him prescient.

<blockquote>Ray Kurzweil was prescient about many things, and one of them is this: the merger has started. He predicted the outer layers of our neocortex would be wired to the cloud by the 2030s, extending human thought the way the last round of neocortical expansion produced us. But think carefully about what consumer technology alone already does. (And that’s just CONSUMER technology.) We have built ourselves a second nervous system.</blockquote>

“We have built ourselves a second nervous system”! This is the kind of sentence that sounds like revelation and means, on inspection, that you can look things up very quickly on your phone. We have indeed built ourselves a very fast library. That library has caused a lot of unhappiness, but certainly it’s a remarkable technological achievement. That achievement did not, however, eliminate tuberculosis.

And while we’re talking about Kurzweil and nervous systems, we should take time to point out his fundamental misapprehension of that system. Kurzweil has always had one goal, above all others: to avoid death. As a means to achieve this ambitious project, he has repeatedly invoked the desire to “upload” his consciousness to a computer. But this is folly: there is no consciousness that is distinct from the brain that houses it. Consciousness is brain, is tissue, is cells, is wetware. There is no discrete program that is the self that can be extracted from the brain and deposited into a conveniently durable chassis. To imagine a consciousness that can be housed on a floppy disc is to participate in a dualist fantasy of the kind that should have died out hundreds of years ago. Kurzweil has had this pointed out to him many times, but his desire to live forever apparently overwhelms his more rational faculties. The fantasy wins.

Dee dismisses “techno-pessimists” as people trying to stop something that has already happened. (Jasmine Sun goes with “AI populists,” a term I find a little inscrutable.) Perhaps I am a techno-pessimist, but if so, it’s only because I’ve been alive for most of the dispiriting past 50 years. “We were promised flying cars,” goes the cliche. But flying cars are at least possible; it’s just that they’re hideously inefficient and offer no advantage over our current boring-but-effective combination of cars and airplanes. We also were told to dream of time travel and faster-than-light travel, both of which are forever forbidden by elementary physics, and of colonizing distant worlds, which is forever forbidden by more factors than I can list. As Kim Stanley Robinson and others have pointed out, that last bit is essential, because if we recognize that we only have one world to live in, we might become better stewards of it. And that’s why I’m a techno-pessimist in general. Though I’m frequently accused of hoeing this particular row because I like disillusioning other people, I am instead trying to make this reality clear: we cannot sit back and wait for technological progress to save us. The only solutions to our problems - the problems of hunger, of poverty, of injustice, of disillusionment, of alienation - are political solutions. I understand feeling totally defeated by that idea, given what politics is like on this planet. But it’s all we have. We start to build the political structures that can enable humanity to take care of all of us or we drown. There is no fate but what we make.

Whatever you think of my motives, I will not stop pointing out that we are still here, still in this boring muck, still circling the parking lot at Target looking for a space. And until and unless the usual suspects can produce actual evidence of something happening right now, the skeptic’s work is not over. They promise AI will cure all disease; AI has not cured a single disease. Ezra Klein routinely throws around 20% economic growth as a baseline for the AI age; these few years with LLMs have produced the same anemic ~2% growth as we’ve been used to in this, the digital century. And I still say, wake me up when that changes. My techno-pessimism is a pessimism grounded in a fact derived from the historical record: that civilizational-scale technological transformation is extraordinarily rare, that it happened once in a rapidly-receding extraordinary century, and that we have been living in its long shadow ever since. And now some mistake that shadow for the sun."]]></description>
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<item rdf:about="https://press.uchicago.edu/ucp/books/book/chicago/F/bo25094688.html">
    <title>Flavor and Soul: Italian America at Its African American Edge, by John Gennari (2017)</title>
    <dc:date>2026-04-19T01:55:34+00:00</dc:date>
    <link>https://press.uchicago.edu/ucp/books/book/chicago/F/bo25094688.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In the United States, African American and Italian cultures have been intertwined for more than a hundred years. From as early as nineteenth-century African American opera star Thomas Bowers—“The Colored Mario”—all the way to hip-hop entrepreneur Puff Daddy dubbing himself “the Black Sinatra,” the affinity between black and Italian cultures runs deep and wide. Once you start looking, you’ll find these connections everywhere. Sinatra croons bel canto over the limousine swing of the Count Basie band. Snoop Dogg deftly tosses off the line “I’m Lucky Luciano ’bout to sing soprano.” Like the Brooklyn pizzeria and candy store in Spike Lee’s Do the Right Thing and Jungle Fever, or the basketball sidelines where Italian American coaches Rick Pitino and John Calipari mix it up with their African American players, black/Italian connections are a thing to behold—and to investigate.

In Flavor and Soul, John Gennari spotlights this affinity, calling it “the edge”—now smooth, sometimes serrated—between Italian American and African American culture. He argues that the edge is a space of mutual emulation and suspicion, a joyous cultural meeting sometimes darkened by violent collision. Through studies of music and sound, film and media, sports and foodways, Gennari shows how an Afro-Italian sensibility has nourished and vitalized American culture writ large, even as Italian Americans and African Americans have fought each other for urban space, recognition of overlapping histories of suffering and exclusion, and political and personal rispetto.

Thus, Flavor and Soul is a cultural contact zone—a piazza where people express deep feelings of joy and pleasure, wariness and distrust, amity and enmity. And it is only at such cultural edges, Gennari argues, that America can come to truly understand its racial and ethnic dynamics."]]></description>
<dc:subject>johngennari italianamericans 2017 history us culture music film spikelee snoopdogg franksinatra pyffdaddy thomasbowers seancombs rickpitino johncalipari media sports food suffering exclusion emulation suspition wariness distrust amity enmity race</dc:subject>
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    <title>The Music Video Is Dead, Long Live The Music Video (Season Premiere) - YouTube</title>
    <dc:date>2026-04-18T22:46:27+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=pQB2mvUvROw</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>patrickwillems film filmmaking 2026 1990s mikemills spikejonze michelgondry musicvideos music mtv jamiroquai jonathanglazer heelys biggiesmalls smashingpumpkins backstreetboys georgesméliès moby davidfincher michaelbay antoinefuqua jonathandayton valeriefaris markromanek francislawrence zacksnyder simonwest conair rickrolling memes russellmulcahy sightonsound buggles hanszimmer stevebarron direstraights marylambert jean-baptistemondino tobehooper bobrafelson briandepalma johnlandis martinscorsese johnsingleton 1980s lassehallström hollywood goreverbinski ridleyscott tonyscott alanparker adrianlyne propagandafilms creativity dominicsena davidlynch maximililianpotter stevegolin alexproyas fgarygray charlesstoneiii paulhunter josephkahn hypewilliams internet web online okgo napster markwebb markfischbach palmpictures chriscunningham davemeyers gusvansant trishsie sarahboardman ads advertising promotion cinema video audio imagery art shortfilm productplacement samuelbayer melinamatsoukas daniels danielkw</dc:subject>
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<item rdf:about="https://www.youtube.com/watch?v=CK5y9N1kuNk">
    <title>Ten years of &quot;Alaska&quot;: Maggie Rogers on going viral and singing for 200,000 protestors - YouTube</title>
    <dc:date>2026-04-18T04:31:04+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=CK5y9N1kuNk</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Ten years ago, Maggie Rogers was a senior at NYU, scrambling to finish a song for a music production class she was close to failing. The guest critic that week happened to be Pharrell Williams. She played him "Alaska," a track she'd written in about fifteen minutes. It is a bit of folk songwriting crossed with the electronic music she'd fallen for studying abroad. Pharrell told her he'd never heard anything that sounded like it. Someone was filming. The clip went viral, and it launched Maggie into pop stardom. 

Maggie Rogers has released three studio albums, earned a Grammy nomination for Best New Artist, and gone back to school to pick up a master's from Harvard Divinity School, where she studied the spirituality of public gatherings. And in the last few months she's been as visible offstage as on — advocating for free speech in DC, performing for 200,000 people at a protest in Minneapolis alongside Joan Baez, and delivering a haunting performance during the final run of The Late Show with Stephen Colbert, which CBS is ending in May.

This week host Charlie Harding got to sit down with Maggie live at Chelsea Studios, in front of a room of current NYU students. It’s the same school, ten years later, now with Charlie in the professor's chair and Maggie as the visiting artist.

VIDEO: Caleb Hinojosa https://www.calebhinojosa.com/

CHAPTERS
00:00 Introduction
01:14 Alaska Origin Story
03:50 Lyrics Then And Now
05:50 Can Viral Happen Again
06:30 Choosing Slow Growth
10:08 Advice For Sudden Fame
11:29 Writing After Pharrell
13:20 Colbert Finale Performance
15:55 Free Speech And Protest Era
17:31 Activism as Art
18:11 Protesting a Broken System
19:25 Fear into Music
22:07 What Makes a Protest Song
24:28 Starting the Foundation
25:23 Rest and Record Making
28:11 Creative Rest Time
30:24 Writing vs Collaboration

SONGS DISCUSSED
Maggie Rogers "Alaska"
Maggie Rogers "Better"
Maggie Rogers "One for My Baby (and One More for the Road)" (cover of Fred Astaire original)
Maggie Rogers "Different Kind of World"
Marvin Gaye "What's Going On"
Bob Dylan "The Times They Are a-Changin'"
USA for Africa "We Are the World""]]></description>
<dc:subject>maggierogers 2026 music songwriting musicmaking pharrell charlieharding switchedonpop fame lyrics virality stephencolbert activism art fear protest rest creativity writing collaboration howwewrite howwework protestsongs hope artmaking courage well-being wellbeing oppression donaldtrump freespeech utopia resistance dancing community solidarity togetherness social meaning meaningmaking systems change adaptability innovation growth life living meditation slow time productivity stockandflow rejuvenation goals work divinityschool gradschool society education conviviality solitude process prince spirituality joanbaez</dc:subject>
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<item rdf:about="https://www.trainjazz.com/">
    <title>Every train, a note.</title>
    <dc:date>2026-04-11T06:39:36+00:00</dc:date>
    <link>https://www.trainjazz.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Every dot is a real subway train. Eight hundred of them, give or take, form a small jazz combo (walking bass, piano, sax, vibes, brushes) that has been playing without pause for over a hundred years. On the platforms they are hot, screaming, full of complaint. This is the music inside the noise.

The harmony moves through a slow chorus. A note is placed precisely where the train happens to be along its route. Rush hour fills the band with held tones; at 3 a.m. the silences grow longer. Whatever is playing now has not played before and will not play again.

Share your location and the trains nearest you grow louder. The piece rearranges itself around your body. You are listening to a portrait of where you stand, played by the city you are standing in."]]></description>
<dc:subject>nyc trains subways music jazz maps</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:2e2c61e4ec83/</dc:identifier>
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<item rdf:about="https://www.audubon.org/magazine/meet-musical-artists-who-are-paying-royalties-nature">
    <title>Meet the Musical Artists Who Are Paying Royalties to Nature | Audubon</title>
    <dc:date>2026-04-11T03:00:17+00:00</dc:date>
    <link>https://www.audubon.org/magazine/meet-musical-artists-who-are-paying-royalties-nature</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A lot of musicians use wild sounds in their work. Some are now splitting their profits with the planet."]]></description>
<dc:subject>music nature sound multispecies morethanhuman 2026 maddieburakoff personhood</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:40ff9afa1723/</dc:identifier>
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    <title>Whatever Happens to Music Will Happen to AI (2026) | by Bruce Sterling | Mar, 2026 | Medium</title>
    <dc:date>2026-04-08T06:55:53+00:00</dc:date>
    <link>https://bruces.medium.com/whatever-happens-to-music-will-happen-to-ai-2026-9a4482a2a012</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>brucesterling 2026 ai artificialintelligence future music art technology trends jazzage aiethics</dc:subject>
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<item rdf:about="https://www.youtube.com/watch?v=vSWsJL8_RZ0">
    <title>40,000 photos that never saw the light of day in his lifetime - YouTube</title>
    <dc:date>2026-04-07T21:05:31+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=vSWsJL8_RZ0</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["W. Eugene Smith’s Jazz Loft Project is one of the most obsessive and overwhelming bodies of work ever created in photography. In this video, I break down how Smith documented life inside a New York loft filled with musicians, artists, and constant movement, capturing over 40,000 images and recording thousands of hours of audio. This wasn’t just street photography or documentary work, it was total immersion. Living inside the space he photographed, Smith blurred the line between observer and participant, building a project that feels alive decades later. If you’re interested in long-term projects, commitment to a single idea, and what it actually means to dedicate your life to photography, this is one of the most important projects you can study."

[See also:
https://www.themarginalian.org/2009/11/25/the-jazz-loft-project/ ]]]></description>
<dc:subject>weugenesmith photography 2026 jazz stangetz theloniousmonk robertfrank music doncherry alicecoltrane sonnyrollins billevans rolandkirk paulblay eddiecosta sonnyclark henrygrimes edgarbateman eddielistengart billcrow ronniefree royhayes zootsims linhallday haloverton royhaynes</dc:subject>
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<item rdf:about="https://www.coyotemedia.org/an-open-letter-to-larussell/">
    <title>An Open Letter to LaRussell</title>
    <dc:date>2026-04-06T19:51:15+00:00</dc:date>
    <link>https://www.coyotemedia.org/an-open-letter-to-larussell/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The rapper made an error with the song “Heaven Sent,” writes fellow Bay Area emcee Rocky Rivera. But not listening to his community was the bigger mistake."

...

"Ed. note: Up until this year, Vallejo rapper LaRussell had been enjoying something of an unprecedented ascent. Known for his independent, community-centered approach to the music industry, LaRussell spent the first weeks of 2026 on a well-received promotional campaign for his song “I’m From the Bay.” In February, shortly after announcing a somewhat controversial deal with Jay-Z’s Roc Nation, he headlined the Super Bowl’s official tailgate party. 

Then, in March, LaRussell released a song called “Heaven Sent,” with lyrics that describe Donald Trump, Jeffrey Epstein, and Hitler, among others, as being “heaven sent.” Did he mean that they’re gifts from heaven? Or that we are all capable of being pedophiles and dictators? 

Despite widespread backlash on social media, LaRussell has declined to apologize. Instead, he called anyone who disagreed with him “haters” and blocked those who left critical comments — then deactivated his social media accounts entirely. Veteran Bay Area emcee and journalist Rocky Rivera is among those who was blocked for offering her feedback before LaRussell’s Instagram account was deactivated. We invited her to expand on her thoughts for COYOTE."

...

"Dear LaRussell,

I hope this message, well, finds you. You are currently away from all socials: the first break I’ve seen you take since you came onto the Bay Area music scene nearly a decade ago.

You don’t know me, but I am a huge supporter of what you’ve done in and for the Bay Area. I’m a veteran hip-hop journalist with a track record of supporting local artists. I’m also an artist, myself. I was raised in San Francisco and now live in Oakland; I’m deeply connected to my communities in both. 

What you’ve done in your short amount of time on the scene must be applauded, including your “pay what you want” economic model and backyard shows, which have brought joy and a sense of community to so many. And your run-up to the Super Bowl this year was revolutionary. Since the beginning, I’ve championed your unconventional strategy, your obvious connection to your fans, and your commitment to doing things your way. That will always stand. But on the way to carving out your fanbase and community, you created a fortress. An echo chamber. I, and many others, tried to warn you, but you’ve made it clear you’re not listening.

We all can agree that the first mistake was not listening to your engineer when he told you not to release this song. But the cascading events that followed point to an even bigger issue: an inability to hear feedback from the fans who put you where you are today. 

From an industry standpoint, the way you handled this controversy also brings up questions about your team. Had they been truly looking out for you, they would have advised you to a) take a second before responding and really listen to what your fans are saying; b) issue an apology, therefore ending the discussion; and c) use this experience to inform the next time you write a bar that could be misconstrued or a song that may be irresponsible to release. Save. Yourself. The Trouble. Or just, Save Yourself.

None of this needed to happen. It definitely didn’t need to be doubled down on (then tripled, then quadrupled).

What I won’t do is argue over semantics: I don’t care whether there’s a dash between “heaven” and “sent,” nor how Merriam-Webster defines it. That part was just lazy writing. I won’t do a back-and-forth with your Christian followers and their platitudes of creationism either; we will have to agree to disagree. As a peer, I will gently advise you to re-examine the circle you keep around you. From your manager’s responses, to your mom’s rally in your honor, to your fans’ blind loyalty, it’s all beginning to look like cultish behavior. Behavior that is preventing you from learning, or from being vulnerable with the community you created — a community to whom you do owe an apology. Because whether it was intentional or not, you hurt people. 

As an artist who has learned to deal with being a public figure, I can also appreciate that it’s hard to drown out the noise. When you’re young and famous, you don’t realize how powerful you can be, so you cast critics as “haters.” And, yes, many of them are. They’ve been wanting to criticize you, waiting for you to fuck up your “community” angle and call you performative. They say things like, “I always thought he was corny…” and find this moment vindicating as another misstep on your end: a way to say you didn’t read the proverbial room. 

But not everybody is a hater. Many of us have been rooting for you, the way you’ve put on for Vallejo, for the youth in your recent school campus videos for “I’m From the Bay.” Hell, I wasn’t even that mad when you signed to Roc Nation and said those things about Lil’ Wayne. However, it was around then that I started seeing you address your “haters” more frequently — who were, to be clear, people accurately pointing out that your proud “independent hustle” was at odds with your signing to a corporate label owned by the most famous Black capitalist of our generation, Jay-Z. 

In retrospect, the storm was building from this moment on, as you adopted a defensive stance that inoculated you from future criticisms, constructive or not. 

The Latin root word for “accountability” is “to reckon,” which we have come to associate with Biblical terms.  And your fans are doing just that: reckoning.  People are weighing your recent actions against the real good you’ve done — what you’ve given the Bay in terms of entrepreneurial spirit and independent hustle — and they’re conflicted about it. 

These fans are also giving you vital information: Because it’s not always immediately apparent when you’ve caused harm, you need indicators. Ideally, your loved ones are people who you can trust to be honest. They’re not enablers. Fans and peers giving you thoughtful, critical feedback are not misunderstanding you on purpose. They are doing what good friends should do and urging you to reconsider your perspective — to place yourself in a nonbeliever’s shoes, a survivor’s shoes, and consider the impact of your words. 

There is no injustice in what you did to yourself. There is only self-sabotage. You, being Icarus. The Sun being, well … Heaven Sent.

Please don’t take a page from the book of the president when it comes to damage control. Nor Epstein. Nor “Adolf.” They were not accountable. They were never truly punished — not made to understand how they’ve harmed so many. They did not face their reckoning and make it to the other side a changed person. 

But I still believe you can, if you are brave enough to listen and reflect. To use this time to ask the important question: Who do I trust enough to tell the truth to me, even when I cannot tell it to myself? That is a philosophical question. That takes shadow work — not spiritual bypassing. If you want to know if you’re wrong, you have to pay attention to the rationale of your critics. If they start making more sense than your followers, then you have your answer in front of you, where it has always been. 

Still in your corner,

Rocky"]]></description>
<dc:subject>rockrivera larussell 2026 hiphop music donaldtrump jeffreyepstein martinlutherkingjr mlk behavior christianity performance rocnation vallejo bayarea accountability reckoning feedback community adolfhitler culture mistakes jay-z blackcapitalism capitalism criticism hitler</dc:subject>
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<item rdf:about="https://millennialsarekillingcapitalism.libsyn.com/the-revolt-eclipses-all-the-world-has-to-offer-by-idris-robinson">
    <title>Millennials Are Killing Capitalism: The Revolt Eclipses Whatever The World Has to Offer with Idris Robinson</title>
    <dc:date>2026-04-04T18:20:59+00:00</dc:date>
    <link>https://millennialsarekillingcapitalism.libsyn.com/the-revolt-eclipses-all-the-world-has-to-offer-by-idris-robinson</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In this episode, we are joined by Idris Robinson to unpack his book, The Revolt Eclipses Whatever the World Has to Offer [https://massivebookshop.com/products/9781635902433?_pos=1&_sid=db620e222&_ss=r ], a searing meditation on race, revolt, civil war, and the psychic wreckage of American life.

Reflecting on the 2020 uprisings, Robinson challenges the myth of Black leadership, reframes racial violence through the lens of a “morbid libidinal economy,” and argues that revolution is as much a transformation of the human spirit as it is a political event. Drawing on the legacies of Black insurgency, Robinson interrogates liberalism, identity politics, and the hollowing out of American cities—while pondering on what it would take to make life human again in a society built to dehumanize. He argues that racial violence, especially spectacular acts of white supremacist brutality. cannot be adequately explained by frameworks like identity politics, intersectionality, or privilege theory. Instead, these acts emerge from repressed desires and psychic forces intrinsic to white supremacy. The 2020 uprisings, in this sense, exposed both emancipatory and repressive violence rooted in these deeper libidinal dynamics.

Robinson also reflects on his personal trajectory, from Occupy Wall Street through development as a theorist, where he grounds his meditation on revolt as humanizing forces. He argues that American capitalism produces profound isolation, psychic damage, and undead social beings, hollowed out by commodification. Uprisings momentarily restore humanity by breaking atomization and re‑creating collective meaning.
 
On strategy, Robinson challenges traditional socialist models of seizing the “means of production,” arguing instead that modern revolt must focus on logistics and infrastructure: transport hubs, electrical grids, supply chains, and urban circulation. He emphasizes blockades, control of space, and understanding the built environment as key to sustaining insurrection in a post‑industrial economy. We devote substantial attention to Robinson’s provocative argument that civil war is not a future possibility but a current condition in the United States. Drawing on classical theory, Black radical thought, and historical analogy, he frames civil war as the collision of public (political) and private (libidinal, racial, familial) spheres. While acknowledging its violence and trauma, Robinson argues that fracture and decentralization may paradoxically make revolutionary transformation more achievable, pointing to Reconstruction after the U.S. Civil War as the most emancipatory period in American history.

Idris Robinson is a philosopher from the New York hinterlands. For over a decade, he has written extensively on crisis and revolt. He is the author of The Revolt Eclipses Whatever the World Has to Offer (MIT Press / Semiotext(e)) and Escritos desde la tierra baldía (Irrupción Ediciones). He is currently an Assistant Professor of Philosophy at Texas State University, where he is completing a monograph-length study on the progression of Ludwig Wittgenstein’s philosophy. He is currently undergoing a legal battle with TSU after the school violated his constitutional rights by ending his contract after he gave an off-campus Pro-Palestine talk [https://www.theguardian.com/us-news/2026/mar/25/professor-texas-state-university-israel-palestine ]. 
 
If you like what we do and want to support our ability to have more conversations like this. Please consider becoming a Patron at patreon.com/millennialsarekillingcapitalism. You can do so for as little as a 1 Dollar a month. 
 
Links:

Order the book from Massive Bookshop
https://massivebookshop.com/pages/about-us

IdrisRobinson.me 
https://idrisrobinson.me/

About Idris Robinson's case against Texas State University
https://www.theguardian.com/us-news/2026/mar/25/professor-texas-state-university-israel-palestine

Support Idris Robinson's Legal Fund
https://www.givesendgo.com/GKRFR "]]></description>
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<item rdf:about="https://anotherthoughtanotherthought.substack.com/p/ive-been-thinking-about-you-small">
    <title>I’ve Been Thinking About You: Small Thoughts on Flea</title>
    <dc:date>2026-04-03T17:49:54+00:00</dc:date>
    <link>https://anotherthoughtanotherthought.substack.com/p/ive-been-thinking-about-you-small</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>redhotchilipeppers rhcp flea anthonykiedis hillelslovak 2026 1988 music frankocean dustyhenry johnfrusciante</dc:subject>
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    <title>MTV REWIND - Watch 65,000+ Music Videos from Music's Golden Era</title>
    <dc:date>2026-04-03T05:45:16+00:00</dc:date>
    <link>https://wantmymtv.vercel.app/player.html</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>mtv music nostalgia tv television musicvideo</dc:subject>
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    <title>Flea in conversation with Alex Cohen at Live Talks Los Angeles - YouTube</title>
    <dc:date>2026-03-31T09:12:43+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=n2t5Uv0-dT4</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Flea in conversation with Alex Cohen at Live Talks Los Angeles discussing his memoir, "Acid for the Children."  Talk took place at the Aratani Theatre in Los Angeles on Dec 9, 2019."]]></description>
<dc:subject>flea 2019 alexcohen reading howweread rhcp redhotchilipeppers music writing howwewrite books</dc:subject>
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<item rdf:about="https://www.youtube.com/watch?v=gI1fLxx7UTM">
    <title>Flea on new memoir, &quot;Acid for the Children&quot; - YouTube</title>
    <dc:date>2026-03-31T05:27:35+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=gI1fLxx7UTM</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Flea is best known as the bassist for the Red Hot Chili Peppers, but next week he'll add another title to his resume: published author. His new memoir, "Acid for the Children," details his unconventional childhood and relationship with Red Hot Chili Peppers frontman Anthony Kiedis. "CBS This Morning" co-host Anthony Mason sat down with Flea and joined CBSN to preview his interview with the musician."

[See also (interview):
https://www.youtube.com/watch?v=chIujHJHo78 ]]]></description>
<dc:subject>flea rhcp redhotchilipeppers 2019 anthonykiedis hillelslovak memoirs childhood music anthonymason jazz walterurbanjr</dc:subject>
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<item rdf:about="https://www.youtube.com/watch?v=chIujHJHo78">
    <title>Flea on his memoir, &quot;Acid For the Children&quot; - YouTube</title>
    <dc:date>2026-03-31T05:25:00+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=chIujHJHo78</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In his autobiography, the Red Hot Chili Peppers bass player writes not of rock star glory, but of a vulnerable childhood when he discovered the magic of music. Anthony Mason reports."

[See also:
https://www.youtube.com/watch?v=gI1fLxx7UTM ]]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=m9jHZ_pa2PM">
    <title>Meridian Brothers: Tiny Desk Concert - YouTube</title>
    <dc:date>2026-03-30T00:47:03+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=m9jHZ_pa2PM</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Felix Contreras | July 7, 2023
You gotta love a band that names itself after siblings that don't exist, and under a name that doesn't match anyone in the band. At least I do.

I've been a fan of the edgy sonic traditions of the Meridian Brothers for a while now, and jumped at the chance to bring the duo's space age cumbia direct from Bogotá, Colombia to the Tiny Desk. And band leader Eblis Alvarez did not disappoint.

Right from the start, the band's cumbia-infused grooves floated beneath almost otherworldly electronic keyboard sounds in "Guaracha U.F.O.," eventually incorporating Alvarez's signature, sly "I know something you don't"-style vocals. It's easy to be tricked by the eccentricities of the instrumentation and the offbeat vocal stylings, but Alvarez is a man with a vision, using his vast knowledge of Colombian folk and pop music to do things like pay tribute to an imaginary salsa band that never existed, as he did on its last album.

Things were very real during the group's turn behind the Desk, as he and his band challenged the audience to bring along what they knew to meet him in his world of recycled beats — played by his dedicated crew of Colombian musicians — off-kilter vocals and imaginative storytelling lyrics on "¿Dónde Estás María?"

He and his band pulled off a powerful version of "Bomba Atómica", a sort of calling card that speaks to Alvarez being influenced by the rich history of Colombian cumbia and surf rock guitar, for a song that is essentially a frantic warning of the end of the world. Alvarez acknowledged the audience's appreciation with two raised fists, as if to celebrate how the real world dipped their toes into his realm of the imaginary, and everyone was better for it.

SET LIST
"Guaracha U.F.O."
"¿Dónde Estás María?"
"Bomba Atómica"

MUSICIANS
Eblis Javier Alvarez Vargas: guitar, keyboard, cello, vocals
Alejandro Forero: keyboards
Cesar Quevedo Barrero: bass
María Angélica Valencia Sanchez: saxophone, percussion 
Mauricio Ramírez Echeverri: drums
Alejandro Araujo Larrahondo: percussion, vocals"]]></description>
<dc:subject>2023 tinydesk tinydeskconcerts music meridianbrothers cumbia</dc:subject>
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<item rdf:about="https://www.npr.org/2026/03/26/nx-s1-5759281/jazz-night-flea-honora-album">
    <title>Flea on jazz, trumpet and his new album ‘Honora’ : NPR</title>
    <dc:date>2026-03-29T17:34:39+00:00</dc:date>
    <link>https://www.npr.org/2026/03/26/nx-s1-5759281/jazz-night-flea-honora-album</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Flea returns to his first love: jazz

You probably know Flea as the bassist of the Red Hot Chili Peppers (or his numerous side projects and collaborations, not to mention his roles in movies and TV going back to the early 1980s). But did you know jazz was his first love?

"When I was a kid, I wanted to be a jazz trumpet player. I wanted to be Dizzy Gillespie," he tells Christian McBride. In this conversation, Flea traces his musical path from bebop sessions in his stepfather's living room to a chance encounter with Dizzy backstage at UCLA, and eventually back to the trumpet decades later, with his debut solo album, Honora."]]></description>
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<item rdf:about="https://www.instagram.com/flea333/reel/DWWzP0Hkey3/">
    <title>Flea shows his record collection while &quot;unboxing&quot; his new record Honora - Flea (@flea333) on Instagram</title>
    <dc:date>2026-03-29T17:28:19+00:00</dc:date>
    <link>https://www.instagram.com/flea333/reel/DWWzP0Hkey3/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["flea333 on March 26, 2026: “HONORA❤️❤️❤️4 U on the morrow”."

[re-posted here:
https://www.youtube.com/watch?v=WAq7m9ME38c ]]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=suecLU2nN-w">
    <title>Red Hot Chili Peppers' Flea | JCCSF - YouTube</title>
    <dc:date>2026-03-29T17:27:10+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=suecLU2nN-w</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Acid for the Children 
With Joel Selvin

Los Angeles street rat turned world-famous rock star Flea, the iconic bassist and co-founder of the Red Hot Chili Peppers, tells his fascinating origin story, complete with dizzying highs and gutter lows. In his new book, Acid for the Children, Flea offers a deeply personal and revealing tour of his formative years, spanning Australia, the New York City suburbs and, finally, Los Angeles. Hear about the experiences that forged him as an artist, a musician and a young man, and explore the gritty, glorious life of LA in the 1970s and ’80s, bursting with potential for fun, danger, mayhem and inspiration around every corner. It is here that young Flea, hoping to escape a turbulent home, found family in a community of musicians, artists and junkies who also lived on the fringe. He spent most of his time partying and committing petty crimes. But it was in music where he found a place to channel his frustration, loneliness and love. This left him open to the life-changing moment when he and his soul brother and partner-in-mischief came up with the idea to start their own band."]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=oM402KmkXOk">
    <title>Flea | Where Everybody Knows Your Name - YouTube</title>
    <dc:date>2026-03-29T16:03:38+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=oM402KmkXOk</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Flea of Red Hot Chili Peppers drops in on his good friend Woody Harrelson and new friend Ted Danson! They’re going deep: creativity and spirituality, overcoming substance abuse, the words from Flea’s daughter that changed his life, his relationship with Los Angeles, and much more. Bonus: Flea hints at some compromising footage of Woody."

[happens to be wearing his F.P.Journe Octa Lune]]]></description>
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<item rdf:about="https://www.christianitytoday.com/2026/03/whats-the-point-of-education-in-an-age-of-ai/">
    <title>What’s the Point of Education in an Age of AI?  - Christianity Today</title>
    <dc:date>2026-03-29T02:44:16+00:00</dc:date>
    <link>https://www.christianitytoday.com/2026/03/whats-the-point-of-education-in-an-age-of-ai/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[via:
https://www.frontporchrepublic.com/2026/03/baseball-gardening-and-the-metaverse/

"Carrie McKean responds thoughtfully to the bleak landscape facing students today: there’s “an increasingly inescapable new cultural message: Artificial intelligence will soon do everything you do, and it’ll do it faster and better than you ever could. That message is difficult enough to challenge if you’re an adult. Imagine hearing it when you’re 15 and bored in class, fully aware that you can answer any question your teacher asks in milliseconds using Google Gemini on your school-district-issued Chromebook. Why not outsource your thinking to a machine? It’s easy, frictionless, and—it seems—inevitable in this brave new world. . . . American teenagers are getting a crash course in nihilism, and their apathy is a rational response to a demoralizing situation.”"]]]></description>
<dc:subject>carriemckean education ai artificialintelligence 2026 christianity learning howwelearn chromebooks gemini google schools schooling claude anthropic memorization reading howweread nihilism children youth teens caitlinflanagan writing howwewrite music training cheating thinking howwethink criticalthinking culture jeffreybilbro wendellberry attention humility patience formation human humans soul</dc:subject>
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    <title>Flea: The World Cafe Interview - YouTube</title>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA[[See also:
https://www.npr.org/2026/03/27/nx-s1-5762876/flea-album-honora 

"We all have those things that we're going to get around to learning one day, like knitting or Spanish or karate.

For Flea, it was the trumpet. He first picked it up as a child before putting it down for a bass guitar, an instrument that would serve him well for decades with the Red Hot Chili Peppers.

But all along, Flea was obsessed with jazz. His debut solo album, Honora, is the result of a decades-long promise and years of practice. Today, we're going deep with Flea, from growing up in New York in a jazz-filled household to taking lessons from saxophonist Rickey Washington — Kamasi Washington's dad — plus the opportunity to work with one of his musical heroes, who very famously made fun of his band: Nick Cave."]]]></description>
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    <title>The long, overlooked history of jazz in Los Angeles - Los Angeles Times</title>
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<item rdf:about="https://www.clashmusic.com/reviews/flea-honora/">
    <title>Flea - Honora | Reviews | Clash Magazine Music News, Reviews &amp; Interviews</title>
    <dc:date>2026-03-27T08:50:23+00:00</dc:date>
    <link>https://www.clashmusic.com/reviews/flea-honora/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Flea finds funk and feeling in debut album ‘Honora’..."

...

"One of the most eccentric and enduring figures in modern music, Flea has never been one to shy away from bold statements, music and fashion-wise, if you know, you know. As the rhythmic backbone of Red Hot Chili Peppers and a wildly gifted multi-instrumentalist, his creative restlessness and free-flowing nature has long been part of the appeal. Unable to sit still for long, in his next grand adventure with his debut album ‘Honora’, Flea steps decisively out of the funk-drenched chaos and into something more intimate, more reflective, and ultimately more revealing than ever before.

Long before the stadium tours and LA high-life, Flea – born Michael Balzary – was immersed in jazz. Raised by his stepfather, a devoted jazz aficionado, he was introduced early to the likes of Miles Davis, Louis Armstrong, and Chet Baker, leading Balzary to choose the trumpet as his first step into music. Years later, as he approached his sixtieth birthday, while on tour, Flea found himself drawn back to that origin point, driven by the emerging fear that, without repetition, that part of his musical identity might fade entirely. What followed was two years of daily practice and a quiet, disciplined recalibration that birthed ‘Honora’.

Prior to ‘Honora’, Flea had never been scared of making music. Whilst the Chili Peppers had grown a reputation as one of the best band’s in the world with an incredibly devout fanbase, on this occasion, he was all out on his own… but not entirely. He had assembled an all-star band, which would only deepen his concerns that the listening public would think he was a  “a non-playing motherf*cker, charlatan, rock poseur or fan.” However, it turned out to be quite the opposite, with his selected champions being an elite crew of modern music visionaries who shared his values. 

Named after a beloved family member, ‘Honora’ opens with ‘Golden Wingship’, a sprawling, slightly unhinged introduction that nods to the sonic interplay Flea shares with John Frusciante, yet firmly establishes this as his own domain. It’s loose, exploratory, and alive with intent. From there, ‘A Plea’ leans fully into his jazz lineage, rich brass tones weaving through an unmistakable bassline, underpinned by delicate strings. Lyrically, it taps into Flea’s long-standing political activism, as his voice cuts through with raw clarity: “there’s hate all around… Human beings, we’re here together.” 

—

[photo]

—

‘Frailed’ fractures the mood entirely, its glitchy synths and static textures recalling the experimental electronics of Frusciante’s ‘Maya’, before horns pull it back into ‘Honora’. There’s a psychedelic haze to it all, unsurprising given Flea’s well-documented affinity for altered states, as explored in his memoir Acid for the Children. ‘Morning Cry’ follows with a smoky, late-night jazz swagger, the kind that feels lifted straight from a dimly lit speakeasy, brimming with improvisational confidence. 

The album’s reinterpretations are equally telling. A reimagining of ‘Maggot Brain’ channels the spirit of George Clinton and Eddie Hazel through a more meditative lens, while Frank Ocean’s ‘Thinkin Bout You’ is stripped back to a singular, aching trumpet line that floats weightlessly among ambient textures. Here is where Flea flexes his eclectical musical array of knowledge with legends old and new. Collaborations with Thom Yorke and Nick Cave add further depth as ‘Traffic Lights’ pairs Flea and Yorke in a delicate, Latin-tinged exchange, with their chemistry subtle but undeniable. Meanwhile, ‘Wichita Lineman’ sees Cave’s baritone manner glide over a velvety arrangement, held down by a warm, rolling double bass.

As the record draws to a close, ‘Willow Weep For Me’ reintroduces warped synth textures beneath Flea’s expressive trumpet, before ‘Free As I Want To Be’ brings everything full circle. Its shifting structure opens with chaotic beginnings, a searching middle, and a resolved, calming finale mirroring the arc of Flea’s own life. From turbulent youth to excess-fuelled fame, to clarity found in personal belonging, it feels less like an ending and more like a statement of intent.

In ‘Honora’, Flea has found a way to redefine his humble musical roots, far from a vanity project, it’s a deeply considered, richly textured body of work. His debut project is a captivating moment from a musician reconnecting with the very essence of why he started in the first place, and an artist still chasing new meanings in his rich age.

8/10

Words: Ben Broyd"]]></description>
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    <title>How Did Flea Make a Jazz Album? Practice, Practice, Practice. - The New York Times</title>
    <dc:date>2026-03-27T08:48:22+00:00</dc:date>
    <link>https://www.nytimes.com/2026/03/19/arts/music/flea-honora-jazz-album.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The Red Hot Chili Peppers bassist returned to the trumpet, for a new record featuring Nick Cave, Thom Yorke and a core cast of contemporary jazz luminaries."

...

"For two years, the musician known as Flea led a double life.

From 2022 through 2024, he spent his nights headlining stadiums on five continents with his band the Red Hot Chili Peppers, thrilling tens of thousands of fans at each gig with his funk-meets-punk bass playing and hyperactive performances. Back in the hotel rooms, though, he filled his mornings with a more private pursuit: religious daily practice on the trumpet, an instrument he first picked up as a child.

“I just felt really lucky to have that time,” he said in a video interview last month from his Los Angeles home, a rack of basses visible behind him. He recalled relishing the struggle inherent in the process, feeling “frustrated on the days when I felt like I wasn’t getting any better, really excited on the days where I felt like I got a modicum, [using an expletive of exasperation] centimeter, millimeter better.”

The public-facing result of Flea’s devotion is “Honora,” his full-length solo debut. Out March 27, it finds him on both trumpet and electric bass, supported by a core cast of contemporary jazz luminaries — the guitarist Jeff Parker; the bassist Anna Butterss, playing upright; and the multi-instrumentalist Josh Johnson, who also produced the album — as well as the drummer Deantoni Parks, known for his work with André 3000 and the Mars Volta. In May, the band will play live in the United States and Europe, including dates in Britain and Germany.

“To me, it all goes together so well, ’cause it’s all so me,” Flea, 63, said, wearing a white tank top, thick chain necklace and big black glasses with gold trim. “I never had a conversation with myself about ‘Oh, this fits,’ or, ‘This doesn’t fit.’ It was just, ‘I like this feeling, I like this feeling, I like this feeling,’ create a loose structure for what it could be, get together with musicians who are sensitive and caring, and go for it.”

Largely instrumental, the album features high-profile vocal cameos from Nick Cave and Radiohead’s Thom Yorke, as well as subtle contributions from fellow Chili Peppers Chad Smith and John Frusciante. Originals both buoyant and meditative share space on the track list with an eclectic array of covers. The album is named after the artist’s paternal great-great-grandmother, whose life in Ireland and later Australia, filled with poverty and hardship, Flea learned about while participating in a recent episode of the PBS show “Finding Your Roots.” (A late 1960s photograph of his mother-in-law, who later immigrated from Iran, adorns the cover.)

It’s a hard album to sum up in shorthand, which is, as Johnson, the album’s producer, suggested in a video interview, one of its strengths. “There’s a convenience in describing it as his jazz album or his trumpet album,” Johnson said, noting that he sees Flea’s project more holistically: “I think how it works together is because it’s all different doorways to him.”

During a phone interview, John Lurie, the multi-instrumentalist and composer who formerly led the Lounge Lizards — and the bassist’s friend of more than 40 years — praised “A Plea,” a springy, hypnotic “Honora” jam built around a spiraling Flea bass line. “That’s not rock, that’s not jazz, that’s music,” he said. “Which is as it should be.”

Jazz and trumpet entered Flea’s life long before rock and bass. He recalled entering a state of “absolute awe” when his stepfather, Walter Urban Jr., a jazz bassist, would hold living-room jam sessions in the family home in Larchmont, N.Y. At age 11, after the family moved to Los Angeles, he picked up trumpet in junior high, drawing inspiration from great jazz hornmen.

“My first real love as a trumpet player was Clifford Brown,” he said, “where I was just floored and devastated by the power and beauty of it.”

He played in the school band and took lessons from Jane Sager, a veteran big-band trumpeter, but an invitation to play bass in a rock band featuring his friends and future Chili Peppers bandmates Hillel Slovak and Jack Irons pulled him in another direction. Still, his early trumpet forays gave him a sense of what was possible on the instrument.

“My studies were very remedial, and I never advanced beyond not a very evolved harmonic sense or understanding of the complicated language of jazz, but I knew what beautiful was,” he said, “and I was always reaching for that beauty.”

That quest wouldn’t resume in earnest until around 50 years later, in the Inglewood, Calif., home of Rickey Washington, a longtime musician and educator who had taught his own son, the future saxophone force Kamasi Washington, from a young age. Flea, by then a Grammy-winning, Rock & Roll Hall of Fame–inducted icon, had sought him out through Kamasi, a friend and sometime collaborator, when he felt compelled to pick up the horn again as he neared his 60th birthday. Around this time, he made a two-year vow to practice trumpet “every day, no matter what, period” and then record an album documenting his progress.

Rickey taught him in a hands-on way, guiding him to sing and play tunes in all 12 keys, and internalize scales and licks. In a phone interview, Rickey recalled saying to Flea, “‘We’re going to learn intuitively, and then we’re going to learn academically.’”

“It was very good to see his growth,” added Rickey, who cameos on “Honora,” playing flute. “Some of the things were difficult for him to learn, but he was consistent — persistent. And he continued to learn, and he’s a formidable trumpet player now.”

Studying with Rickey gave Flea a framework he’d long yearned for. “I’d always hear about musicians having mentors, especially jazz musicians,” he said. “But honestly I’ve never had that with anyone in my life.” When he arrived for his first lesson, Flea recalled that Rickey said to him, “‘I’m going to show you these secrets. This is what jazz musicians learn.’ And I remember I was just like, ‘This is what I’ve wanted my whole life. Sitting in a room with a teacher who wanted to help me realize what I wanted to do.’”

He found a similar support system in the group of local musicians that would form the “Honora” band. He met Johnson through Nate Walcott, the Chili Peppers’ touring keyboardist and another collaborator on the new album. Later, at home, as Flea started to put together ideas for what would become “Honora,” he savored two then-recent albums featuring Johnson: Jeff Parker’s “The Way Out of Easy,” which also included Butterss, the bassist — “It’s as free as Ornette and as focused as the ‘Birth of the Cool,’” he said — and “The Omnichord Real Book,” by the bassist, singer and songwriter Meshell Ndegeocello, which Johnson also produced.

Before sessions for “Honora” began last year, Flea felt nervous about playing with jazz musicians, in part because his stepfather had looked down on rock. “I always felt a deep love for jazz, but a deep insecurity around it,” he said. But once they all entered Hollywood’s Sunset Sound studio, his concerns dissipated. “You know that feeling when something’s so emotional and you almost can cry?” he said. “I was kind of in that space all the time with everybody, just listening to them, and me having my simple things and them honoring everything in such a beautiful way.”

“Everyone just showed up for me,” he added.

Amid the guest vocal appearances and an impassioned Flea monologue on “A Plea” calling for unity amid the divisiveness of our current moment, it’s the leader’s trumpet work that stands out. On the album’s more reflective moments, his lines embody a deep pathos — you can hear it as he shadows Cave’s vocal on a rendition of Jimmy Webb’s “Wichita Lineman,” informed by the Meters’ 1970 version; riffs on the somber arpeggios of Funkadelic’s “Maggot Brain,” played in a chamber-like rendition with vibraphone, clarinet and flute; or blows the chorus melody of Frank Ocean’s “Thinkin’ ’Bout You” against a backdrop of strings.

Johnson said that as a producer he wanted to “remove some of the pressure to contend with all of jazz history.” Instead, he encouraged thinking along the lines of, “Let’s make the melody as beautiful as possible. Let’s think about the phrasing, or let’s think about just clarity and beauty, and that being enough.”

In a video interview, Parker recalled first meeting Flea at an event at the school their children attended. He approached Flea and noted that they both appeared, separately, on the same 2005 Joshua Redman album. “He’s a very musical cat,” Parker said. “He plays the trumpet with a beautiful tone and ideas and phrasing and nuance.”

“Morning Cry,” a playful Flea original, is the album’s most stripped-down track, performed in a live take by him on trumpet, with Parker, Butterss and Parks. In a video interview, Butterss, who uses gender-neutral pronouns, likened the piece to the work of Ornette Coleman (a key Flea influence with whom he had shared the stage): “I was like, ‘If you had told me that Ornette wrote this, I would have believed you.’”

Overall, Butterss said, they came away from the project reflecting on “how rare it is, I think, for an artist who’s so established and has such a successful career to do a full 180 and take on this project that’s really meaningful and really vulnerable and way outside of what they’ve been doing.”

“The dedication and commitment and passion he was putting into it really kind of struck me,” they added.

Since finishing the album, daily practice has remained a ritualized part of Flea’s life: “I wake up every day thinking about, ‘Oh, what am I going to work on, on trumpet today?’” (Likewise, of his solo music, he said with a smile, “There’s more coming.”)

He also noted that, these days, playing trumpet reconnects him to his original love of the instrument.

“It gives shape to things without shape,” he said. “Like, all of a sudden you have this tangible sound, and it still feels like the feeling I had when I was a kid, like all that romance and mystery and hope.”

“And there’s also the times, like, ‘God, I sound like [expletive],’” he added with a laugh. “But I’m working on it.”"]]></description>
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    <title>At 63, Flea finally becomes the jazz musician he always dreamed of being - Los Angeles Times</title>
    <dc:date>2026-03-27T08:46:34+00:00</dc:date>
    <link>https://www.latimes.com/entertainment-arts/music/story/2026-03-25/flea-honora-new-album-feature-red-hot-chili-peppers-jazz</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[also here:
https://www.aol.com/articles/63-flea-finally-becomes-jazz-203226745.html ]

"When Michael Peter Balzary, a.k.a. Flea, was a little boy, his attraction to the trumpet was all-consuming and amorous.

He remembers putting the instrument on his bed and walking out of his room just so he could walk back in and see it there, gleaming with possibility, a vessel for escape and expression that he hadn’t yet fully explored.

“I was very undisciplined as a kid,” Flea admits as he recalls the long, sometimes fraught, but ultimately redemptive journey with jazz music that led to his first solo record, "Honora" (out Friday) featuring trumpet front and center. “I was wild and in the streets, not diligent in any way about anything, but I really loved it.”

Notably, he’s in an environment created to help kids just like he used to be. Silverlake Conservatory of Music, the school he co-founded in 2001, is vibrating with its usual joyful jingle on this warm spring morning. After a walk through the facility, passing romping toddlers and their adoring moms gathered for a class of music and movement, we settle into one of the school’s teaching rooms to discuss the project amidst a smattering of guitars, drums and music note-covered dry erase boards.

But before the interview, Flea takes a meditative break to mentally prepare, eyes closed and breaths deep. I join him in the minute-long mind-clearing and appreciate the intention of the moment. “I didn't put in the study or the work to be as good as I could have been back then, but I knew how beautiful it was so when I played it, there was always this feeling of yearning to get a good tone,” he says thoughtfully of his first foray with the horn. “So just by virtue of that alone, it became kind of my identity. You know, Mikey plays trumpet. Plus, I was very shy and weird as a kid, so it was something that I did and had a little notoriety for until I started playing bass.”

As bassist for Red Hot Chili Peppers, the band he formed in L.A. with his Fairfax High School buddies in the '80s, Flea is now considered one of the most powerful instrumentalists in the world. But recording, touring and promoting the six-time multi-platinum group for the past 40+ years left little time for his childhood fancy.

Still, he never forgot about it. He always had the itch to pick it up again. And he would from time to time — in the solitude of a hotel room during a Peppers tour, looking for a distraction after a bad break-up and when he had precious time off.

Despite all his success as a rock star, the trumpet humbled him, and he thought he’d never be good enough.

“I’d feel so inadequate,” he says. “The trumpet is such a demanding instrument. With the bass, you can not play it for a while, and it's OK. You can pick it up and get back into it. With the trumpet, it takes weeks just to get a nice sound, let alone understanding theory and different diminished scales, how a diminished scale relates to a minor seventh coming out of a two-five progression into a key change. There’s the cerebral part of the music and studying, which I'm just doing now, and there’s having a sound and some sort of dexterity and strength to play.”

About three years ago as he was nearing his 60th birthday, inspired by the “revolutionary spirit” of L.A. indie jazz figures like Kamasi Washington and Thundercat, he revisited his first musical love with a new mindset.

“There’s like the feeling of the street in the music, like you can feel it and taste it and hear it,” he explains. ”For a long time, jazz, for me, at least, was sounding real academic. It was like,’ OK, you went to school and you know all your s—, but I'm not feeling anything — you're not making my kidneys dance the Watusi. You're not making me want to go out and scream, cry or laugh.”

But this time it was different. Reinvigorated by what he was hearing from new school jazzsters, he vowed to master the trumpet like never before. ”It's always been in my head, my dream to be good at it and to make music with it in a holistic way,” he says. “I resolved at that moment to pick up the trumpet and practice it every single day for two years… at the end of the two years, I said I’ll go into a recording studio and make a record with where I'm at.”

The result is a daring collection of originals and covers that highlight Flea’s unbridled dedication to both the trumpet and bass, but also his eclectic influences and tastes. Moreover, "Honora" employs some top-tier collaborators including input and vocals from Radiohead’s Thom Yorke (whom he worked with previously as Atoms for Peace) and Nick Cave.

Revered producer and saxophonist Josh Johnson, guitarist Jeff Parker, bassist Anna Butterss and drummer Deantoni Parks also bring their considerable chops to the mix, evoking divergent moods while maintaining a signature exuberance throughout.

The first single, “A Plea,” which came out in December, definitely set the tone for his uplifting new experiment, meshing avant-garde rhythms with rousing beats and chants that feel celebratory and hopeful in these divisive days of the daily doomscroll.

“I care about civil rights, I care about the environment. I care about people that are oppressed,” Flea says of the song’s message, fleshed out by a dance performance and arty video directed by his daughter Clara Balzary. “I care very much about the world and trying to make sense and understand this constant, moving thing. But I feel like in particular, going on social media, the back and forth between right and left is so absurd. It's like, who can do better at making the other person feel bad and who can make the other person feel stupid. It's not productive. If this country can come to a place of peace and harmony and of productivity, helping people who need help and working together to make it a better place, there has to be love. It’s the only answer.

Uniting listeners through a love of different music genres is one way to do it, and Flea pays homage to a multitude of styles on "Honora": George Clinton and Eddie Hazel via a heady and horny rendition of “Maggot Brain,” Jimmy Webb on a rapturous version of his classic “Witchita Lineman” (sung so sublimely by Cave that it makes you yearn to see it live), and even Frank Ocean, on a stirring instrumental cover of the "Channel Orange" gem “Thinkin Bout You.”

Though music nerds will marvel at the impressive amalgamation of sounds and contributors, especially for what’s being classified as a jazz record, it’s pretty clear that Flea took an uncontrived, truly organic approach to putting it all together. "Honora," named after his great-great-grandmother and featuring a gorgeous vintage photo of his mother-in-law on the cover, is obviously highly personal, self-indulgent even, but it’s also accessible to anyone who loves a potent groove, a whimsical melody and an adventurous vibe.

What started as an independent challenge soon grew into a blossoming collaboration with everyone he brought in. “I had no intention of having any singers on the record at first,” Flea recalls, but following his gut in the studio, he says certain artists and friends popped into his head.

For “Traffic Lights” his first thought was, “Oh I want to play this for Thom, he’d dig and it’s up his alley,” he says. “And then, you know, sitting there with Josh, we were like, maybe he’d want to sing on it. He agreed and just did his thing. And, you know, Thom’s the best. Every time he opens his mouth, it's beautiful.”

Though Flea exudes a childlike excitement in pretty much everything he does, with "Honora," there’s also a reflective maturity that’s relatable, especially for longtime fans who’ve grown up with him and his music. From his resolve to finally master his childhood instrument to his explorations of sophisticated soundscapes beyond the RHCP’s rowdy funk-punk, he’s doing exactly what any of us might at 63, given the drive, resources and stature, which he’s earned, sometimes the hard way, the past few decades.

His best-selling 2019 memoir "Acid for the Children" puts a lot of his current ethos into context. Its poetic yet brutal recollections of growing up in his native Australia, then New York and finally Los Angeles outline the troubled home life which set him on a drug-addled musical path. His stepfather, jazz bassist Walter Urban Jr., was mentally abusive, but he was also an influential figure who brought the genre into his life to begin with, hosting bebop jams in the family living room.

“My life was pretty scary at home,” he says. “Something that really kind of crystallized recently — I’ve expressed in interviews that I was nervous about trying to play jazz as a trumpet player and having jazz musicians looking down on me as a rock guy. That’s because jazz musicians know all this music, all this language and theory that I didn't learn when I was a kid. Growing up with my stepfather and his cronies, it was very common amongst them to have the attitude that rock music was garbage and that rock musicians couldn't play. So in my rebellious youth I was like,"‘I'm not gonna play the trumpet, I'm gonna play bass!”

He’s since come to realize that he’d been wrestling with complex feelings, “which were childhood feelings,” and much of the debauchery of his past was about “looking for community and looking for connection.” He found it as a father of three — daughters Clara, 37, and Sunny Bebop, 20, from previous relationships, and son Darius, 3, with wife Melody Ehsani, who was pregnant when he reconnected with the trumpet. He credits his partner with “bringing stability to my life which has really helped me to work in a focused way.”

"Honora" is a grown-up record, but the bassist’s antics and ground-breaking bombastic jams with the Peppers — including their early L.A. club reign performing in crazy costumes or nothing more than socks on their crotches — will never be forgotten. The new documentary, “The Rise of the Red Hot Chili Peppers: Our Brother, Hillel” which debuted on Netflix last week, chronicles their tempestuous trajectory, but the band has distanced themselves from the film, releasing a joint statement that they had “nothing to do with it creatively,” though they did provide the interviews that anchor the project focused on founding member Hillel Slovak, who died of an overdose before they garnered mainstream success.

When asked if he, Anthony Kiedis, John Frusciante and Chad Smith might one day authorize their own doc telling their full story their way, Flea says they’ve talked about it but it’s not something they’re considering. “It comes up from time to time,” he says. “I feel like we've always been so in the moment of creating and evolving and doing our work, it seems strange to sit back and do a sort of retrospective.”

To that end, he reveals that the group have been working on new material even as he’s promoting the solo project. “They're supportive,” he says of his bandmates. “They always want to work and do Chili Pepper stuff, but I think they're happy for me to enjoy doing what I'm doing. We've been going hard with the Chili Peppers for a long time. I think everybody, in their own way, enjoys some time for the other aspects of their life.”

He seems happy and fulfilled right now, at the music school, talking about his family and working with talented friends, though he is still actively pushing himself where the trumpet is concerned, practicing and composing daily. He says there’s a lot of material he didn’t put on "Honora," so hopefully, there’ll be a follow-up. Personal challenges aside, the solo effort (which he’ll tour live beginning in May) is a dynamic listening experience that documents the progressive skill and heart of a musical multi-tasker like no other. It’s intuitive and inspiring.

“Something I'm always talking about is trusting the way that you feel,” Flea says as we finish up. “Everyone has beautiful instincts — everybody — but it's like, how many people trust them? They look for other people’s validation or someone to tell them if their instinct is good or not… At this point, I trust my instincts and I want to be myself. I don't want anything to stop me from being myself.”"]]></description>
<dc:subject>2026 flea music jazz linalecaro rhcp redhotchilipeppers jeffparker annabutterss joshjohnson deantoniparks frankocean kamasiwashington thundercat nickcave thomyorke clarabalzary georgeclinton eddiehazel jimmywebb hillelslovak anthonykiedis johnfrisciante chadsmith honora</dc:subject>
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<item rdf:about="https://www.youtube.com/watch?v=ZxW5KFZ-9CM">
    <title>Flea Introduces the Fender Signature Flea Bass | Artist Signature Series | Fender - YouTube</title>
    <dc:date>2026-03-27T07:19:04+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=ZxW5KFZ-9CM</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Introducing the Fender Signature Flea Bass. 

Modeled after Flea's rare '61 Shell Pink Jazz Bass, the Flea Bass features a beautiful road-worn finish, American Vintage '64 pickups and a custom neck plate that is based on a drawing from the influential bassist. 

Of course, the perfect person to officially welcome this Jazz Bass into the world is Flea himself, as this video goes inside his home and we learn more about what inspired him as an artist. 

For more on the Fender Flea Bass, click here: https://www.fender.com/flea-signature-bass "

[Another Flea + Fender video here:
https://www.youtube.com/watch?v=BxaULgF12es
https://www.youtube.com/watch?v=FyaMrcHY8Ik ]]]></description>
<dc:subject>flea music rhcp 2016 guitars bass redhotchilipeppers</dc:subject>
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    <title>Flea Performs &quot;Maggot Brain&quot; on his Signature Active Jazz Bass | Artist Signature Series | Fender - YouTube</title>
    <dc:date>2026-03-27T07:17:48+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=BxaULgF12es</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The Flea Active Jazz #Bass is an instrument of unusual power – just like its namesake. Co-designed with #Flea of the #RedHotChiliPeppers, this thunderous bass is modern and muscular, featuring a custom pickup and active preamp designed to capture Flea’s hyperkinetic energy both on and off stage. Learn more about The Flea Active Jazz Bass here: http://bit.ly/2T2qIIe "

[Shorter version here:
https://www.youtube.com/watch?v=FyaMrcHY8Ik

Another Flea + Fender video:
https://www.youtube.com/watch?v=ZxW5KFZ-9CM ]]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=eyzEBjc-6DA">
    <title>Flea's Nonesuch Selects - YouTube</title>
    <dc:date>2026-03-27T07:12:06+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=eyzEBjc-6DA</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Flea stopped by for the Nonesuch Selects video series, in which artists visit the Nonesuch office, pick some of their favorite albums from the music library, and share a few words on their choices. Opening music: Flea's "A Plea," from the album 'Honora'

Flea's Nonesuch Selects
0:30 Henryk Górecki's Symphony No. 3 https://henrykgorecki.lnk.to/SymphonyNo3
2:03 Jeff Parker ETA IVtet's 'The Way Out of Easy' https://jeffparker.lnk.to/thewayoutofeasy
3:34 Brian Eno & David Byrne's 'My Life in the Bush of Ghosts' https://enobyrne.lnk.to/MyLifeInTheBushOfGhosts
5:19 'Le Mystère des Voix Bulgares' https://nonesuch.lnk.to/LeMystereDesVoixBulgares
6:45 Ambrose Akinmusire's 'honey from a winter stone' https://ambroseakinmusire.lnk.to/honeyfromawinterstone

You can hear a playlist of music from Flea's Nonesuch Selects at https://flea.lnk.to/nonesuchselects

Video by Robert Edridge-Waks"

[great watch too, which is also worn here:
https://www.youtube.com/watch?v=GmA49M9HwYA ]]]></description>
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    <title>How Bad Is Plagiarism, Really? | The New Yorker</title>
    <dc:date>2026-03-26T06:35:43+00:00</dc:date>
    <link>https://www.newyorker.com/magazine/2026/03/30/strikingly-similar-roger-kreuz-book-review</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["From ancient Rome to the era of A.I., people have prized originality, but the line where influence ends and cribbing begins is notoriously blurry."

[via:
https://social.ayjay.org/2026/03/25/anthony-lane-i-remember-listening.html 

quoting:

"I remember listening to “Bedtime Stories,” Madonna’s 1994 album, and being surprised by a moony track called “Love Tried to Welcome Me,” which contains the lines “But my soul drew back, / Guilty of lust and sin.” This is an unacknowledged but unmistakable nod to George Herbert, one of the most enduring religious poets of the early seventeenth century, who wrote a magnificent poem that begins “Love bade me welcome: yet my soul drew back, / Guilty of dust and sin.” How Herbert, who was an Anglican priest of surpassing gentleness, might have felt about being quoted, three and a half centuries later, by somebody with a Catholic name and a conical bra we shall, alas, never know. The most gratifying irony is that, in changing the mortally ashen “dust” to the cheaper and more obvious “lust,” Madonna proved only that Herbert wrote better lyrics than she did, and I can’t help wishing that she had turned to him more often for guidance both verbal and spiritual. Papa does preach."]]]></description>
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