Savory Sunday is proving that community care does not need a spotlight to be powerful. For twenty years they have shown up every single Sunday feeding people at the Capitol with dignity and intention. On February 7th Grilling for Peace turns that mission into a movement. Seventy Weber grills on Lake Wingra fueling hope warmth and real impact. This fundraiser keeps free meals coming during the coldest stretch of the year. Five thousand dollars keeps the mission alive and Madison already knows how to show up. This is love with smoke and seasoning.

Savory Sunday is proving that community care does not need a spotlight to be powerful. For twenty years they have shown up every single Sunday feeding people at the Capitol with dignity and intention. On February 7th Grilling for Peace turns that mission into a movement. Seventy Weber grills on Lake Wingra fueling hope warmth and real impact. This fundraiser keeps free meals coming during the coldest stretch of the year. Five thousand dollars keeps the mission alive and Madison already knows how to show up. This is love with smoke and seasoning.

On demand from DJ Fusion on 93.1 JAMZ.  

Live Monday - Friday 3pm - 7pm cst & Sunday nights 10pm. 

On demand from DJ Fusion on 93.1 JAMZ.  
Live Monday - Friday 3pm - 7pm cst &amp; Sunday nights 10pm.

Fusion Afternoon's

93.1 Jamz! <a href="http://www.madtownjamz.com">www.madtownjamz.com</a>&nbsp;

93.1 Jamz

Grilling for Peace Shows How Madison Takes Care of Its Own

For decades, the global music industry has looked to the East and West Coasts for the blueprint of hip-hop. But according to Manku and Jinx of Pyramidal Productions, the real "foundation" of the genre has a deep, often overlooked connection to the Badger State.

In a recent sit-down with DJ Fusion on 93.1 Jams, the duo discussed their mission to spotlight Wisconsin’s monumental contributions to music history through their latest project: "Hip-Hop in Madison: Our Story, Our Culture, Our Future."

More Than a Coast: Wisconsin’s Influence Behind the Scenes

While Wisconsin might not always get the "on-camera" credit, its influence is woven into the fabric of the industry. From the 608 to the 414, Wisconsin artists and producers have been "getting busy" since the culture first figured itself out in the 80s and 90s.

"Even though our coast isn't represented, we are influential behind the scenes in a great way," says Manku. "From Beyoncé to Dr. Dre, Wisconsin is in the midst of it all."

Local Legends and Global Hits

This highlights a "who’s who" of Wisconsin talent that has shaped the Billboard charts and the evolution of rap:


Clyde Stubblefield: Often called the "foundation of hip-hop," his drumming remains the most sampled in music history.


Speech (Arrested Development): While many associate the group with Atlanta, Speech got his start as a DJ for Khali Tribe in Milwaukee and Madison.


Koo Koo Cal: Representing Milwaukee with a #1 hit on the Billboard charts.


Fresh Force & Def Khali: Early pioneers who took Wisconsin hip-hop to national screens like BET.


Rico Love & Skylar Gray: Powerhouses who have penned and produced hits for the world’s biggest superstars.

Preserving the History: The Wisconsin Historical Society Exhibit

To celebrate 50 years of hip-hop, Pyramidal Productions has curated an immersive experience at the Wisconsin Historical Society. This isn't just a collection of facts; it’s a tactile journey through time.

The exhibit features:


Vintage Tech: From cassettes and Walkmans to VHS tapes, giving the next generation a hands-on look at how the music was originally consumed.


Interactive Art: A community graffiti board and a custom 3D lenticular poster.


"Lead Between the Rhymes": Insights into the upcoming movie produced by Pyramidal Productions that documents this rich history.

The Movement: Past, Present, and Future

The goal of the movement—and the upcoming community town hall—is to stabilize the culture. By discussing the past and envisioning the future, Pyramidal Productions aims to ensure the Wisconsin hip-hop scene has longevity for the next 50 years and beyond.

As DJ Fusion noted, "This isn't just about Madison; Madison is a piece of the puzzle. This is about the culture that our entire state—the 608, the 715, the 920—brings together."

How to Get Involved

If you want to learn more about the documentary, the exhibit, or the future of the local scene, stay connected with the architects of this movement.


Visit the Website:PyramidalProductions.com


Follow the Movement: Join the community town halls to help shape the future of Wisconsin music.

For decades, the global music industry has looked to the East and West Coasts for the blueprint of hip-hop. But according to Manku and Jinx of Pyramidal Productions, the real "foundation" of the genre has a deep, often overlooked connection to the Badger State.
In a recent sit-down with DJ Fusion on 93.1 Jams, the duo discussed their mission to spotlight Wisconsin&rsquo;s monumental contributions to music history through their latest project: "Hip-Hop in Madison: Our Story, Our Culture, Our Future."
<hr data-path-to-node="3">
More Than a Coast: Wisconsin&rsquo;s Influence Behind the Scenes
While Wisconsin might not always get the "on-camera" credit, its influence is woven into the fabric of the industry. From the 608 to the 414, Wisconsin artists and producers have been "getting busy" since the culture first figured itself out in the 80s and 90s.
<blockquote data-path-to-node="6">
"Even though our coast isn't represented, we are influential behind the scenes in a great way," says Manku. "From Beyonc&eacute; to Dr. Dre, Wisconsin is in the midst of it all."
</blockquote>
Local Legends and Global Hits
This highlights a "who&rsquo;s who" of Wisconsin talent that has shaped the Billboard charts and the evolution of rap:
<ul data-path-to-node="9">
<li>
Clyde Stubblefield: Often called the "foundation of hip-hop," his drumming remains the most sampled in music history.
</li>
<li>
Speech (Arrested Development): While many associate the group with Atlanta, Speech got his start as a DJ for Khali Tribe in Milwaukee and Madison.
</li>
<li>
Koo Koo Cal: Representing Milwaukee with a #1 hit on the Billboard charts.
</li>
<li>
Fresh Force &amp; Def Khali: Early pioneers who took Wisconsin hip-hop to national screens like BET.
</li>
<li>
Rico Love &amp; Skylar Gray: Powerhouses who have penned and produced hits for the world&rsquo;s biggest superstars.
</li>
</ul>
<hr data-path-to-node="10">
Preserving the History: The Wisconsin Historical Society Exhibit
To celebrate 50 years of hip-hop, Pyramidal Productions has curated an immersive experience at the Wisconsin Historical Society. This isn't just a collection of facts; it&rsquo;s a tactile journey through time.
The exhibit features:
<ul data-path-to-node="14">
<li>
Vintage Tech: From cassettes and Walkmans to VHS tapes, giving the next generation a hands-on look at how the music was originally consumed.
</li>
<li>
Interactive Art: A community graffiti board and a custom 3D lenticular poster.
</li>
<li>
"Lead Between the Rhymes": Insights into the upcoming movie produced by Pyramidal Productions that documents this rich history.
</li>
</ul>
The Movement: Past, Present, and Future
The goal of the movement&mdash;and the upcoming community town hall&mdash;is to stabilize the culture. By discussing the past and envisioning the future, Pyramidal Productions aims to ensure the Wisconsin hip-hop scene has longevity for the next 50 years and beyond.
As DJ Fusion noted, "This isn't just about Madison; Madison is a piece of the puzzle. This is about the culture that our entire state&mdash;the 608, the 715, the 920&mdash;brings together."
<hr data-path-to-node="18">
How to Get Involved
If you want to learn more about the documentary, the exhibit, or the future of the local scene, stay connected with the architects of this movement.
<ul data-path-to-node="21">
<li>
Visit the Website: <a href="http://pyramidalproductions.com/">PyramidalProductions.com</a>
</li>
<li>
Follow the Movement: Join the community town halls to help shape the future of Wisconsin music.
</li>
</ul>

Wisconsin’s Hip-Hop Legacy: Celebrating 50 Years of Culture and Innovation

Fusion sits down with Siobhan from the Nehemiah Center to talk about the Justified Anger courses and the Black History for a New Day program in Madison, Wisconsin.

The community driven course has reached more than 5,000 participants and is now part of a full learning platform focused on Black history, racial justice, and systems change. The nine week course explores Black history from before the Atlantic slave trade to present day and is designed for individuals, organizations, and community leaders.

Learn how the program started, who it is for, and how you can get involved.

Classes run from February 16 through April 27 with weekly Monday sessions.

Learn more or sign up:
courses.justifiedanger.com
nehemiah.org/jacourses

Subscribe for more interviews, community stories, and culture from Madison.

#MadisonWI #NehemiahCenter #JustifiedAnger #BlackHistory #FusionAfternoons

Fusion sits down with Siobhan from the Nehemiah Center to talk about the Justified Anger courses and the Black History for a New Day program in Madison, Wisconsin.
The community driven course has reached more than 5,000 participants and is now part of a full learning platform focused on Black history, racial justice, and systems change. The nine week course explores Black history from before the Atlantic slave trade to present day and is designed for individuals, organizations, and community leaders.
Learn how the program started, who it is for, and how you can get involved.
Classes run from February 16 through April 27 with weekly Monday sessions.
Learn more or sign up: courses.justifiedanger.com nehemiah.org/jacourses
Subscribe for more interviews, community stories, and culture from Madison.
#MadisonWI #NehemiahCenter #JustifiedAnger #BlackHistory #FusionAfternoons

Justified Anger Courses at Nehemiah Center Bring Black History for a New Day to Madison

Welcome To The Show!

Community Calendar 

Bunny Halftime

Kenny 27

Ice Bunny

Bad Bunny Makes Super Bowl 60 Halftime History

The Super Bowl halftime show has always been about more than music. It is about moments that define eras and reflect where culture is headed. Super Bowl 60 selecting Bad Bunny as its headliner does exactly that. This is not a trend move or a safe pick. This is the NFL recognizing a global superstar who reshaped the industry without compromising identity or language.

Born Benito Antonio Martínez Ocasio in Bayamón Puerto Rico Bad Bunny rose from SoundCloud releases to worldwide dominance in under a decade. His music rooted in reggaeton Latin trap and Caribbean rhythm has topped charts across continents without relying on English language singles. That alone makes this halftime booking historic.

This will be Bad Bunny second Super Bowl appearance following his role in the Super Bowl 54 halftime show alongside Shakira and Jennifer Lopez. This time there is no shared spotlight. Super Bowl 60 belongs to him alone. That distinction matters especially considering this marks his first continental US performance since May 2024.

The halftime show is famously unpaid for performers but the exposure is unmatched. Hundreds of millions of viewers a permanent place in pop culture history and a platform that elevates an artist legacy instantly. Bad Bunny already holds six Grammy Awards including Album of the Year and Best Música Urbana Album which positions him as more than a performer. He is a cultural force. Fans can expect a setlist blending new material from Debí Tirar Más Fotos with defining hits like Tití Me Preguntó Callaita and DtMF.

The visuals the energy and the message will be unmistakable. This is representation at the highest level delivered with confidence not explanation. Super Bowl 60 halftime will not be remembered as a gamble. It will be remembered as the moment the stage finally caught up with the culture. #FusionAfternoons #BadBunny #SuperBowl60 #HalftimeShow #LatinMusic

Bad Bunny Put ICE on the Grammys Mic and Forced Everyone to Pick a Side

The sharp update here is that the message was not abstract and the target was not hidden. Bad Bunny used the Grammys stage to challenge ICE directly, and that choice does two things at once. It rips the comfort blanket off celebrity activism and it puts institutions in the blast radius, not just the artist.

When somebody says something political in an interview, it is easy to scroll past it. When it happens in the biggest awards broadcast, it becomes a stress test for everyone who benefits from the night. The Academy, the producers, the brands attached to the show, and the artists sitting in that room are suddenly part of the story whether they like it or not. They all got handed a moment where silence looks like consent and commentary looks like risk.

This is where the positioning starts to matter. Bad Bunny is not just asking fans to agree with him. He is daring gatekeepers to show what they actually stand for when money is involved. If you are a sponsor, do you keep your name on a broadcast that carried a direct shot at ICE without flinching, or do you scramble for distance and signal to your customers that you do not want that heat. If you are a producer, do you keep the camera steady and let it land, or do you tighten the leash on every performer after him.

And if you are an artist watching from the seats, you are doing the math in real time. Do you follow his lead and risk getting labeled a problem, or do you clap politely and let him be the one person absorbing the blowback. That is the kind of moment that exposes who is willing to cash the check and who is willing to take the hit.

There is also a real consequence lane here that people avoid saying out loud. A speech is not a crime, but it can activate pressure campaigns that work like enforcement without a courtroom. Promoters get calls. Venues get threatened with boycotts. Brand partnerships get renegotiated. Radio decisions get explained as format choices. And on the other side, supporters will demand that anyone who stayed quiet prove they are not just benefiting from the culture while dodging the fight.

What to watch next is not whether Bad Bunny doubles down with another headline line. It is whether institutions respond with policy or punishment. If the Academy tightens live speech controls, that is the tell. If brands quietly back away, that is the tell. If other winners start taking similarly direct shots, that is the tell.

This was not a feel good mic drop. It was a dare with receipts built into the broadcast, and now everybody connected to that stage has to decide what matters more, values or volatility.

#BadBunny #Grammys #ICE #Immigration #FusionAfternoons

Kendrick Hits 27 Grammys and the Room Felt It When JID Realized It

This stopped being about one more trophy and turned into a public power measurement.

Kendrick and SZA taking Record of the Year for Luther puts a different kind of stamp on his run. That category is the big table, where the industry pretends genre lines do not matter. Kendrick stepping into that space with SZA and walking out with the award is a signal that his music is being treated as the central story, not a rap side quest.

Then the numbers hit harder. Kendrick added Best Rap Album and Best Melodic Rap Performance to bring his Grammy total to 27, clearing Jay Z and setting the new high water mark for hip hop. That is not trivia. It is leverage. It influences how voters hear the next project before it even drops, how booking agents pitch festivals, how brands justify budgets, and how labels frame every comparison conversation for the next decade. Once the record sits on one name, every challenger gets measured against a scoreboard, not a vibe.

The sharpest detail is not Kendrick smiling on stage. It is JID being in the same two rap categories Kendrick won and getting captured reacting in the room. That clip hit because it is honest and unfiltered, a peer processing the gap widening live. Not everyone gets a clean moment like that on camera. It turns an awards headline into a career mirror for the whole tier behind Kendrick.

That is why the JID angle matters beyond the meme value. JID is not some random face in the crowd. He was directly competing for Best Rap Album and Best Melodic Rap Performance. When Kendrick sweeps those lanes and simultaneously grabs Record of the Year with SZA, the message to every elite rapper is brutal. The path to recognition can be perfect and still end in second place if Kendrick is in the same room.

There is also a taste clue inside Luther. Kendrick shouted out Luther Vandross as one of his favorite artists, and that tells you what kind of respect he is aiming for. Not just technical rapping, not just cultural dominance, but timeless songwriting and vocal era tradition filtered through a modern record with SZA. That choice is strategic because it makes it harder to box him into one lane and easier for voters to keep rewarding him outside rap categories.

What to watch next is who adjusts. Do artists like JID keep submitting into the same categories and accept the risk, or do they pivot sonically to avoid direct collision. And on Kendricks side, the question is whether he keeps stacking genre awards or goes even heavier into records built for the biggest categories. Either way, the scoreboard just got reset, and everybody else has to play against it.

#KendrickLamar #SZA #JID #Grammys #FusionAfternoons

 

Bad Bunny Makes Super Bowl 60 Halftime History
The Super Bowl halftime show has always been about more than music. It is about moments that define eras and reflect where culture is headed. Super Bowl 60 selecting Bad Bunny as its headliner does exactly that. This is not a trend move or a safe pick. This is the NFL recognizing a global superstar who reshaped the industry without compromising identity or language.
Born Benito Antonio Mart&iacute;nez Ocasio in Bayam&oacute;n Puerto Rico Bad Bunny rose from SoundCloud releases to worldwide dominance in under a decade. His music rooted in reggaeton Latin trap and Caribbean rhythm has topped charts across continents without relying on English language singles. That alone makes this halftime booking historic.
This will be Bad Bunny second Super Bowl appearance following his role in the Super Bowl 54 halftime show alongside Shakira and Jennifer Lopez. This time there is no shared spotlight. Super Bowl 60 belongs to him alone. That distinction matters especially considering this marks his first continental US performance since May 2024.
The halftime show is famously unpaid for performers but the exposure is unmatched. Hundreds of millions of viewers a permanent place in pop culture history and a platform that elevates an artist legacy instantly. Bad Bunny already holds six Grammy Awards including Album of the Year and Best M&uacute;sica Urbana Album which positions him as more than a performer. He is a cultural force. Fans can expect a setlist blending new material from Deb&iacute; Tirar M&aacute;s Fotos with defining hits like Tit&iacute; Me Pregunt&oacute; Callaita and DtMF.
The visuals the energy and the message will be unmistakable. This is representation at the highest level delivered with confidence not explanation. Super Bowl 60 halftime will not be remembered as a gamble. It will be remembered as the moment the stage finally caught up with the culture. #FusionAfternoons #BadBunny #SuperBowl60 #HalftimeShow #LatinMusic
<hr>
Bad Bunny Put ICE on the Grammys Mic and Forced Everyone to Pick a Side
The sharp update here is that the message was not abstract and the target was not hidden. Bad Bunny used the Grammys stage to challenge ICE directly, and that choice does two things at once. It rips the comfort blanket off celebrity activism and it puts institutions in the blast radius, not just the artist.
When somebody says something political in an interview, it is easy to scroll past it. When it happens in the biggest awards broadcast, it becomes a stress test for everyone who benefits from the night. The Academy, the producers, the brands attached to the show, and the artists sitting in that room are suddenly part of the story whether they like it or not. They all got handed a moment where silence looks like consent and commentary looks like risk.
This is where the positioning starts to matter. Bad Bunny is not just asking fans to agree with him. He is daring gatekeepers to show what they actually stand for when money is involved. If you are a sponsor, do you keep your name on a broadcast that carried a direct shot at ICE without flinching, or do you scramble for distance and signal to your customers that you do not want that heat. If you are a producer, do you keep the camera steady and let it land, or do you tighten the leash on every performer after him.
And if you are an artist watching from the seats, you are doing the math in real time. Do you follow his lead and risk getting labeled a problem, or do you clap politely and let him be the one person absorbing the blowback. That is the kind of moment that exposes who is willing to cash the check and who is willing to take the hit.
There is also a real consequence lane here that people avoid saying out loud. A speech is not a crime, but it can activate pressure campaigns that work like enforcement without a courtroom. Promoters get calls. Venues get threatened with boycotts. Brand partnerships get renegotiated. Radio decisions get explained as format choices. And on the other side, supporters will demand that anyone who stayed quiet prove they are not just benefiting from the culture while dodging the fight.
What to watch next is not whether Bad Bunny doubles down with another headline line. It is whether institutions respond with policy or punishment. If the Academy tightens live speech controls, that is the tell. If brands quietly back away, that is the tell. If other winners start taking similarly direct shots, that is the tell.
This was not a feel good mic drop. It was a dare with receipts built into the broadcast, and now everybody connected to that stage has to decide what matters more, values or volatility.
#BadBunny #Grammys #ICE #Immigration #FusionAfternoons
<hr>
Kendrick Hits 27 Grammys and the Room Felt It When JID Realized It
This stopped being about one more trophy and turned into a public power measurement.
Kendrick and SZA taking Record of the Year for Luther puts a different kind of stamp on his run. That category is the big table, where the industry pretends genre lines do not matter. Kendrick stepping into that space with SZA and walking out with the award is a signal that his music is being treated as the central story, not a rap side quest.
Then the numbers hit harder. Kendrick added Best Rap Album and Best Melodic Rap Performance to bring his Grammy total to 27, clearing Jay Z and setting the new high water mark for hip hop. That is not trivia. It is leverage. It influences how voters hear the next project before it even drops, how booking agents pitch festivals, how brands justify budgets, and how labels frame every comparison conversation for the next decade. Once the record sits on one name, every challenger gets measured against a scoreboard, not a vibe.
The sharpest detail is not Kendrick smiling on stage. It is JID being in the same two rap categories Kendrick won and getting captured reacting in the room. That clip hit because it is honest and unfiltered, a peer processing the gap widening live. Not everyone gets a clean moment like that on camera. It turns an awards headline into a career mirror for the whole tier behind Kendrick.
That is why the JID angle matters beyond the meme value. JID is not some random face in the crowd. He was directly competing for Best Rap Album and Best Melodic Rap Performance. When Kendrick sweeps those lanes and simultaneously grabs Record of the Year with SZA, the message to every elite rapper is brutal. The path to recognition can be perfect and still end in second place if Kendrick is in the same room.
There is also a taste clue inside Luther. Kendrick shouted out Luther Vandross as one of his favorite artists, and that tells you what kind of respect he is aiming for. Not just technical rapping, not just cultural dominance, but timeless songwriting and vocal era tradition filtered through a modern record with SZA. That choice is strategic because it makes it harder to box him into one lane and easier for voters to keep rewarding him outside rap categories.
What to watch next is who adjusts. Do artists like JID keep submitting into the same categories and accept the risk, or do they pivot sonically to avoid direct collision. And on Kendricks side, the question is whether he keeps stacking genre awards or goes even heavier into records built for the biggest categories. Either way, the scoreboard just got reset, and everybody else has to play against it.
#KendrickLamar #SZA #JID #Grammys #FusionAfternoons
&nbsp;

Grilling for Peace Shows How Madison Takes Care of Its Own

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