Diana Ratsamee is a Lao-American musician, producer, and DJ based out of Seattle, Washington. Her passions lie in connecting people through storytelling, sound, and movement. She’s played at events and festivals throughout the Seattle underground dance scene and led experience design and programming for the Seattle Chinatown International Block Party and festivals throughout Washington. Diana grew up between the CID and south Seattle. Her musical inspiration comes from her father, a Lao refugee who fled his home country of Laos to Seattle with dreams of becoming a musician. Navigating this new life in America, her father found refuge in music by playing in both an American and Lao rock band. Diana grew up watching her father take the stage in concert halls and small venues in the Lao community. This inspired her to explore the music and sounds that brought joy and unity to her community. Her musical loves range from everything between disco to psychedelic Southeast Asian rock, city pop to traditional morlum music. Her musical diversity mirrors her dedication to celebrating unity and inclusivity through music.
SEA to SEA w/ Diana Ratsamee
Seattle DJ and collector Diana Ratsamee digs out musical discoveries from across the world, notably sharing music from Lao and Thailand and Southeast Asia - airing rock, disco, soul and psychedelic records, as well as diving into present day musical movements in the region.
Global Pop Fusion, City Pop, Japanese Jazz-Funk, J-Pop & MPB [Vinyl Studio Session] Diana Ratsamee
Party Music by Rickey Vincent | East Bay Booksellers
Connecting the black music tradition with the black activist tradition, Party Music brings both into greater focus than ever before and reveals just how strongly the black power movement was felt on the streets of black America.
FWAAMFest
Tufara Waller Muhammad's presents her interactive session "Soundtrack of Resistance: Music and Social Movements in the U.S. South." Photo by Justin Ikpo.
Susie Ibarra: Hybrid Culture - New Music USA
Susie Ibarra's collaborative approach has informed her work with jazz, classical, indie rock, and traditional Philippine musicians.
DJs
I am a Seattle native, raised by some pretty hip parents who had me listening to everything from Dead Can Dance to Queen Latifah. I’ve been furiously putting together playlists and mixtapes since I was old enough to open cassettes and record songs off the radio. My journey with KEXP started in 2006, as a DJ assistant to Michele Myers on Friday nights, and I continued working off and on with her, and in events, on pledge drives and more for the next seven years. In 2014, I stepped behind the mic for my first show on air as a DJ and fell right in love with live radio and music curation, and the connection with listeners across the world. These days I am your Drive Time host, every Tuesday-Friday, from 4-7 PM Pacific time. Expect to hear some of my all-time favorites in the mix, from Daft Punk to Japanese Breakfast, and Dan the Automator’s many projects. And tons of new music, too! Every time I’m on air I make it a point to dig deep for music I’ve never heard or played, to make sure I’m always finding and sharing something new. KEXP is such a special part of our global music community – I’m honored to have the opportunity to go on air and curate your soundtrack. I also love getting to know KEXP listeners, so feel free to reach out with requests or hello’s via @djeviestokes on Instagram. Have a music submission? Please send it to evie@kexp.org.
Frost Children (DJ Set) - Elevator Music
Toward an Anti-Racist Music Education: A Critical Pedagogy of Popular Music Teacher Education
In this article, we propose a framework for a critical pedagogy of popular music for teacher education to better prepare music teachers to enact anti-racist praxis within their classrooms. Although a growing body of literature in music education addresses issues of racism within the field, fewer scholars have studied this within teacher education. Drawing from critical pedagogy, our framework centers popular music as a means for music teacher educators to interrogate issues of identity and power and (re)contextualize pedagogy, considering the socio-political contexts and communities from which music practices originate. These processes facilitate reflection on how racisms shape taken-for-granted practices within music education by centering the socio-political contexts of popular music. Through our framework, music teacher educators could prompt pre-service music educators to consider the multiple racialized epistemologies of musical value students and teachers bring to the classroom, working toward the possibility of enacting a multicentric approach to music education.
Life Forms with Music: On Susie Ibarra — United States Artists
Anne Ishii on Susie Ibarra's impactful practice
The Ascendance of Bay Area Dance Music
The contemporary sound of Bay Area dance music is high-energy, omnivorous, and life-affirming.
"Last night I got an email from someone who said 'I'm 46, is it okay to start producing music?' I said 'yes, start now!'": How a 67-year-old pensioner went viral performing industrial techno at home
What started as a post-retirement hobby has led The Last DJ to runaway success and his first gig in 40 years. Now he's on a mission to inspire others to do the same
Bay Area Hip-Hop | That’s My Word | KQED
A Year-Long Exploration of Bay Area Hip-Hop History
ongaku.club - Discover Independent Music
Discover and stream independent music - Your gateway to underground albums, emerging artists, and hidden gems