window.__IS_SSR__=true
window.__INITIAL_STATE__={
"attachmentsReducer": {
"audio_0": {
"type": "attachments",
"id": "audio_0",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background0.jpg"
}
}
},
"audio_1": {
"type": "attachments",
"id": "audio_1",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background1.jpg"
}
}
},
"audio_2": {
"type": "attachments",
"id": "audio_2",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background2.jpg"
}
}
},
"audio_3": {
"type": "attachments",
"id": "audio_3",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background3.jpg"
}
}
},
"audio_4": {
"type": "attachments",
"id": "audio_4",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background4.jpg"
}
}
},
"placeholder": {
"type": "attachments",
"id": "placeholder",
"imgSizes": {
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-160x107.jpg",
"width": 160,
"height": 107,
"mimeType": "image/jpeg"
},
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-800x533.jpg",
"width": 800,
"height": 533,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-768x512.jpg",
"width": 768,
"height": 512,
"mimeType": "image/jpeg"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1020x680.jpg",
"width": 1020,
"height": 680,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1536x1024.jpg",
"width": 1536,
"height": 1024,
"mimeType": "image/jpeg"
},
"fd-lrg": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1536x1024.jpg",
"width": 1536,
"height": 1024,
"mimeType": "image/jpeg"
},
"fd-med": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1020x680.jpg",
"width": 1020,
"height": 680,
"mimeType": "image/jpeg"
},
"fd-sm": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-800x533.jpg",
"width": 800,
"height": 533,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"xxsmall": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-160x107.jpg",
"width": 160,
"height": 107,
"mimeType": "image/jpeg"
},
"xsmall": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"small": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"xlarge": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1020x680.jpg",
"width": 1020,
"height": 680,
"mimeType": "image/jpeg"
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1920x1280.jpg",
"width": 1920,
"height": 1280,
"mimeType": "image/jpeg"
},
"guest-author-32": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 32,
"height": 32,
"mimeType": "image/jpeg"
},
"guest-author-50": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 50,
"height": 50,
"mimeType": "image/jpeg"
},
"guest-author-64": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 64,
"height": 64,
"mimeType": "image/jpeg"
},
"guest-author-96": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 96,
"height": 96,
"mimeType": "image/jpeg"
},
"guest-author-128": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 128,
"height": 128,
"mimeType": "image/jpeg"
},
"detail": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 160,
"height": 160,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1.jpg",
"width": 2000,
"height": 1333
}
}
},
"arts_13853399": {
"type": "attachments",
"id": "arts_13853399",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13853399",
"found": true
},
"parent": 0,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/Brick-and-Mortar-Music-Hall-2-Feb-18-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/Brick-and-Mortar-Music-Hall-2-Feb-18-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/Brick-and-Mortar-Music-Hall-2-Feb-18-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/Brick-and-Mortar-Music-Hall-2-Feb-18.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/Brick-and-Mortar-Music-Hall-2-Feb-18-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/Brick-and-Mortar-Music-Hall-2-Feb-18-1200x675.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 675
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/Brick-and-Mortar-Music-Hall-2-Feb-18-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/Brick-and-Mortar-Music-Hall-2-Feb-18-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/Brick-and-Mortar-Music-Hall-2-Feb-18-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/Brick-and-Mortar-Music-Hall-2-Feb-18-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/Brick-and-Mortar-Music-Hall-2-Feb-18-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/Brick-and-Mortar-Music-Hall-2-Feb-18-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/Brick-and-Mortar-Music-Hall-2-Feb-18-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/Brick-and-Mortar-Music-Hall-2-Feb-18-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1553124879,
"modified": 1581465417,
"caption": "The Brick & Mortar Music Hall in San Francisco.",
"description": "The Brick & Mortar Music Hall in San Francisco.",
"title": "Jason-Perkins-Brick-and-Mortar-Music-Hall",
"credit": "Sam Lefebvre/KQED",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13874497": {
"type": "attachments",
"id": "arts_13874497",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13874497",
"found": true
},
"parent": 13874305,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/02/KQED_The_Hustle_Savage_Mind_hires_9-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/02/KQED_The_Hustle_Savage_Mind_hires_9-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/02/KQED_The_Hustle_Savage_Mind_hires_9-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/02/KQED_The_Hustle_Savage_Mind_hires_9.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/02/KQED_The_Hustle_Savage_Mind_hires_9-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/02/KQED_The_Hustle_Savage_Mind_hires_9-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/02/KQED_The_Hustle_Savage_Mind_hires_9-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/02/KQED_The_Hustle_Savage_Mind_hires_9-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1581013278,
"modified": 1581013332,
"caption": "Savage Mind, aka Abraham Padilla, at his home studio in Oakland.",
"description": "Savage Mind, aka Abraham Padilla, at his home studio in Oakland.",
"title": "KQED_The_Hustle_Savage_Mind_hires_9",
"credit": "Graham Holoch ",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13874400": {
"type": "attachments",
"id": "arts_13874400",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13874400",
"found": true
},
"parent": 0,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/02/john-cameron-mitchell-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/02/john-cameron-mitchell-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/02/john-cameron-mitchell-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/02/john-cameron-mitchell.jpg",
"width": 1100,
"height": 619
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/02/john-cameron-mitchell-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/02/john-cameron-mitchell-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/02/john-cameron-mitchell-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1580919422,
"modified": 1580919499,
"caption": "John Cameron Mitchell.",
"description": "John Cameron Mitchell.",
"title": "john-cameron-mitchell",
"credit": "via Cal Performances",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13852997": {
"type": "attachments",
"id": "arts_13852997",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13852997",
"found": true
},
"parent": 13852820,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/npr-tiny-desk-fantastic-negrito-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/npr-tiny-desk-fantastic-negrito-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/npr-tiny-desk-fantastic-negrito-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/npr-tiny-desk-fantastic-negrito.jpg",
"width": 1280,
"height": 720
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/npr-tiny-desk-fantastic-negrito-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/npr-tiny-desk-fantastic-negrito-1200x675.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 675
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/npr-tiny-desk-fantastic-negrito-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/npr-tiny-desk-fantastic-negrito-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/npr-tiny-desk-fantastic-negrito-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/npr-tiny-desk-fantastic-negrito-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/npr-tiny-desk-fantastic-negrito-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/npr-tiny-desk-fantastic-negrito-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/npr-tiny-desk-fantastic-negrito-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1552613220,
"modified": 1552613352,
"caption": "Fantastic Negrito performs at NPR's Tiny Desk Concert.",
"description": "Fantastic Negrito performs at NPR's Tiny Desk Concert.",
"title": "npr tiny desk fantastic negrito",
"credit": "NPR/YouTube",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13874399": {
"type": "attachments",
"id": "arts_13874399",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13874399",
"found": true
},
"parent": 0,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/02/Miranda-Lambert.BenTusi-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/02/Miranda-Lambert.BenTusi-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/02/Miranda-Lambert.BenTusi-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/02/Miranda-Lambert.BenTusi.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/02/Miranda-Lambert.BenTusi-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/02/Miranda-Lambert.BenTusi-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/02/Miranda-Lambert.BenTusi-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/02/Miranda-Lambert.BenTusi-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1580919414,
"modified": 1580919483,
"caption": "Miranda Lambert.",
"description": "Miranda Lambert.",
"title": "Miranda-Lambert.BenTusi",
"credit": "Ben Tusi",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13874403": {
"type": "attachments",
"id": "arts_13874403",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13874403",
"found": true
},
"parent": 0,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/02/TheCookers-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/02/TheCookers-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/02/TheCookers-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/02/TheCookers.jpg",
"width": 1180,
"height": 664
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/02/TheCookers-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/02/TheCookers-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/02/TheCookers-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1580919447,
"modified": 1580919578,
"caption": "The Cookers.",
"description": "The Cookers.",
"title": "TheCookers",
"credit": "Artist photo",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13874402": {
"type": "attachments",
"id": "arts_13874402",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13874402",
"found": true
},
"parent": 0,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/02/Brian-Pohsen-Grandpa-Metal-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/02/Brian-Pohsen-Grandpa-Metal-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/02/Brian-Pohsen-Grandpa-Metal.jpg",
"width": 800,
"height": 450
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/02/Brian-Pohsen-Grandpa-Metal-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/02/Brian-Pohsen-Grandpa-Metal-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1580919440,
"modified": 1580919542,
"caption": "Brian Posehn's 'Grandpa Metal.'",
"description": "Brian Posehn's 'Grandpa Metal.'",
"title": "Brian-Pohsen-Grandpa-Metal",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13874323": {
"type": "attachments",
"id": "arts_13874323",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13874323",
"found": true
},
"parent": 13874322,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/02/gettyimages-55945828_wide-084d614343517883364a7b4b838d9b43be3ae882-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/02/gettyimages-55945828_wide-084d614343517883364a7b4b838d9b43be3ae882-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/02/gettyimages-55945828_wide-084d614343517883364a7b4b838d9b43be3ae882-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/02/gettyimages-55945828_wide-084d614343517883364a7b4b838d9b43be3ae882-e1580849260503.jpg",
"width": 1920,
"height": 1079
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/02/gettyimages-55945828_wide-084d614343517883364a7b4b838d9b43be3ae882-1020x573.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 573
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/02/gettyimages-55945828_wide-084d614343517883364a7b4b838d9b43be3ae882-1920x1079.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1079
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/02/gettyimages-55945828_wide-084d614343517883364a7b4b838d9b43be3ae882-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/02/gettyimages-55945828_wide-084d614343517883364a7b4b838d9b43be3ae882-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1580848871,
"modified": 1580849289,
"caption": "Guitarist Andy Gill of Gang Of Four, performing on Oct. 17, 2005 in Los Angeles.",
"description": "Guitarist Andy Gill of Gang Of Four, performing on Oct. 17, 2005 in Los Angeles.",
"title": "Guitarist Andy Gill of Gang Of Four, performing on Oct. 17, 2005 in Los Angeles.",
"credit": "Frazer Harrison/Getty Images",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13874187": {
"type": "attachments",
"id": "arts_13874187",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13874187",
"found": true
},
"parent": 13874024,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/01/Jacka-Hands-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/01/Jacka-Hands-160x78.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 78
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/01/Jacka-Hands-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/01/Jacka-Hands.jpg",
"width": 1920,
"height": 940
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/01/Jacka-Hands-1020x499.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 499
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/01/Jacka-Hands-1200x588.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 588
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/01/Jacka-Hands-1920x940.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 940
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/01/Jacka-Hands-800x392.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 392
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/01/Jacka-Hands-768x376.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 376
}
},
"publishDate": 1580500583,
"modified": 1580500771,
"caption": "One of the Bay Area's most respected lyricists, The Jacka gave voice to the complexities and contradictions of following a spiritual path while doing what it took to survive. ",
"description": "One of the Bay Area's most respected lyricists, The Jacka gave voice to the complexities and contradictions of following a spiritual path while doing what it took to survive. ",
"title": "Jacka Hands",
"credit": "Still from The Jacka's forthcoming \"Ask God\" music video",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13874155": {
"type": "attachments",
"id": "arts_13874155",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13874155",
"found": true
},
"parent": 13874146,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/01/RS40989_viora-1-1024x5751-qut-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/01/RS40989_viora-1-1024x5751-qut-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/01/RS40989_viora-1-1024x5751-qut.jpg",
"width": 1000,
"height": 563
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/01/RS40989_viora-1-1024x5751-qut-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/01/RS40989_viora-1-1024x5751-qut-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1580431825,
"modified": 1580432214,
"caption": "A sampling of the Holocaust-era violins collected by Israeli luthiers Amnon and Avshalom Weinstein. The men and the violins are on tour throughout the San Francisco Bay Area as part of \"Violins of Hope,\" running through March 15, 2020.",
"description": "A sampling of the Holocaust-era violins collected by Israeli luthiers Amnon and Avshalom Weinstein. The men and the violins are on tour throughout the San Francisco Bay Area as part of \"Violins of Hope,\" running through March 15, 2020.",
"title": "RS40989_viora-1-1024x575+(1)-qut",
"credit": "Courtesy of Amnon Weinstein",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13874177": {
"type": "attachments",
"id": "arts_13874177",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13874177",
"found": true
},
"parent": 13874070,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/01/Swift-1024x576.jpg",
"width": 1024,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/01/Swift-160x111.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 111
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/01/Swift-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/01/Swift.jpg",
"width": 1024,
"height": 712
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/01/Swift-1020x709.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 709
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/01/Swift-800x556.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 556
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/01/Swift-768x534.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 534
}
},
"publishDate": 1580463160,
"modified": 1580463312,
"caption": "Taylor Swift attends the 2019 American Music Awards in Los Angeles. ",
"description": "Taylor Swift attends the 2019 American Music Awards in Los Angeles. ",
"title": "Taylor Swift attends the 2019 American Music Awards in Los Angeles.",
"credit": "Matt Winkelmeyer/Getty Images for dcp",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13874106": {
"type": "attachments",
"id": "arts_13874106",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13874106",
"found": true
},
"parent": 13874104,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/01/0-160x120.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 120
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/01/0-600x372.jpg",
"width": 600,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/01/0.jpg",
"width": 600,
"height": 450
}
},
"publishDate": 1580401235,
"modified": 1580401260,
"caption": "PK & The Jacka",
"description": "PK & The Jacka",
"title": "PK & The Jacka",
"credit": "PK",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
}
},
"audioPlayerReducer": {
"postId": "stream_live",
"isPaused": true,
"isPlaying": false,
"pfsActive": false,
"pledgeModalIsOpen": true,
"playerDrawerIsOpen": false,
"liveAudioPlayStartedAt": 0,
"liveAudioPlayContext": ""
},
"authorsReducer": {
"byline_arts_13874435": {
"type": "authors",
"id": "byline_arts_13874435",
"meta": {
"override": true
},
"slug": "byline_arts_13874435",
"name": "Bob Boilen",
"isLoading": false
},
"byline_arts_13874322": {
"type": "authors",
"id": "byline_arts_13874322",
"meta": {
"override": true
},
"slug": "byline_arts_13874322",
"name": "Andrew Flanagan",
"isLoading": false
},
"gmeline": {
"type": "authors",
"id": "185",
"meta": {
"index": "authors_1716337520",
"id": "185",
"found": true
},
"name": "Gabe Meline",
"firstName": "Gabe",
"lastName": "Meline",
"slug": "gmeline",
"email": "gmeline@kqed.org",
"display_author_email": true,
"staff_mastheads": [
"arts"
],
"title": "Senior Editor, KQED Arts & Culture",
"bio": "Gabe Meline entered journalism at age 15 making photocopied zines, and has since earned awards from the Edward R. Murrow Awards, the Society for Professional Journalists, the Online Journalism Awards, the Association of Alternative Newsweeklies and the California Newspaper Publishers Association. Prior to KQED, he was the editor of the \u003cem>North Bay Bohemian\u003c/em> and a touring musician. He lives with his wife and daughter in his hometown of Santa Rosa, CA.",
"avatar": "https://secure.gravatar.com/avatar/5bebe57be0d8bc2dd318934feb47299e2d2d10cba28d09d8d7afb389a2ce2bdd?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "",
"roles": [
"editor"
]
},
{
"site": "arts",
"roles": [
"administrator"
]
},
{
"site": "artschool",
"roles": [
"editor"
]
},
{
"site": "news",
"roles": [
"author"
]
},
{
"site": "pop",
"roles": [
"editor"
]
},
{
"site": "bayareabites",
"roles": [
"editor"
]
},
{
"site": "food",
"roles": [
"editor"
]
},
{
"site": "liveblog",
"roles": [
"editor"
]
},
{
"site": "hiphop",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Gabe Meline | KQED",
"description": "Senior Editor, KQED Arts & Culture",
"ogImgSrc": "https://secure.gravatar.com/avatar/5bebe57be0d8bc2dd318934feb47299e2d2d10cba28d09d8d7afb389a2ce2bdd?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/5bebe57be0d8bc2dd318934feb47299e2d2d10cba28d09d8d7afb389a2ce2bdd?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/gmeline"
},
"rachael-myrow": {
"type": "authors",
"id": "251",
"meta": {
"index": "authors_1716337520",
"id": "251",
"found": true
},
"name": "Rachael Myrow",
"firstName": "Rachael",
"lastName": "Myrow",
"slug": "rachael-myrow",
"email": "rmyrow@kqed.org",
"display_author_email": true,
"staff_mastheads": [
"news"
],
"title": "Senior Editor of KQED's Silicon Valley News Desk",
"bio": "• I write and edit stories about how Silicon Valley power and policies shape everyday life in California. I’m also passionate about making Bay Area history and culture more accessible to a broad public. • I’ve been a journalist for most of my life, starting in high school with The Franklin Press in Los Angeles, where I grew up. While earning my first degree in English at UC Berkeley, I got my start in public radio at KALX-FM. After completing a second degree in journalism at Cal, I landed my first professional job at Marketplace, then moved on to KPCC (now LAist), and then KQED, where I hosted The California Report for more than seven years. • My reporting has appeared on NPR, The World, WBUR’s \u003ci>Here & Now\u003c/i>, and the BBC. I also guest host for KQED’s \u003ci>Forum\u003c/i>, as well as the Commonwealth Club in San Francisco. • I speak periodically on media, democracy and technology issues, and do voiceover work for documentaries and educational video projects. • Outside of the studio, you'll find me hiking Bay Area trails and whipping up Insta-ready meals in my kitchen. • I do not accept gifts, money, or favors from anyone connected to my reporting, I don't pay people for information, and I do not support or donate to political causes. • I strive to treat the people I report on with fairness, honesty, and respect. I also recognize there are often multiple sides to a story and work to verify information through multiple sources and documentation. If I get something wrong, I correct it.",
"avatar": "https://secure.gravatar.com/avatar/3ed8a3c5f26025e4a805ba634cda8cd764906b97438a6d9ce216b044e340da4e?s=600&d=blank&r=g",
"twitter": "rachaelmyrow",
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": "https://www.linkedin.com/in/rachaelmyrow/",
"sites": [
{
"site": "arts",
"roles": [
"administrator"
]
},
{
"site": "news",
"roles": [
"edit_others_posts",
"editor"
]
},
{
"site": "futureofyou",
"roles": [
"editor"
]
},
{
"site": "bayareabites",
"roles": [
"editor"
]
},
{
"site": "stateofhealth",
"roles": [
"editor"
]
},
{
"site": "science",
"roles": [
"editor"
]
},
{
"site": "food",
"roles": [
"editor"
]
},
{
"site": "forum",
"roles": [
"editor"
]
},
{
"site": "liveblog",
"roles": [
"author"
]
}
],
"headData": {
"title": "Rachael Myrow | KQED",
"description": "Senior Editor of KQED's Silicon Valley News Desk",
"ogImgSrc": "https://secure.gravatar.com/avatar/3ed8a3c5f26025e4a805ba634cda8cd764906b97438a6d9ce216b044e340da4e?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/3ed8a3c5f26025e4a805ba634cda8cd764906b97438a6d9ce216b044e340da4e?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/rachael-myrow"
},
"slefebvre": {
"type": "authors",
"id": "11091",
"meta": {
"index": "authors_1716337520",
"id": "11091",
"found": true
},
"name": "Sam Lefebvre",
"firstName": "Sam",
"lastName": "Lefebvre",
"slug": "slefebvre",
"email": "sdlefebvre@gmail.com",
"display_author_email": false,
"staff_mastheads": [],
"title": null,
"bio": "Sam Lefebvre is an award-winning reporter at KQED Arts. He has worked as an editor and columnist at the \u003cem>East Bay Express\u003c/em>, \u003cem>SF Weekly \u003c/em>and Impose Magazine, and his journalism and criticism has appeared in \u003cem>The New York Times\u003c/em>, the Guardian and Pitchfork.",
"avatar": "https://secure.gravatar.com/avatar/143b570c3dec13ae74c6aa2369b04fc8?s=600&d=blank&r=g",
"twitter": "Lefebvre_Sam",
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"editor"
]
},
{
"site": "news",
"roles": [
"author"
]
}
],
"headData": {
"title": "Sam Lefebvre | KQED",
"description": null,
"ogImgSrc": "https://secure.gravatar.com/avatar/143b570c3dec13ae74c6aa2369b04fc8?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/143b570c3dec13ae74c6aa2369b04fc8?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/slefebvre"
},
"ralexandra": {
"type": "authors",
"id": "11242",
"meta": {
"index": "authors_1716337520",
"id": "11242",
"found": true
},
"name": "Rae Alexandra",
"firstName": "Rae",
"lastName": "Alexandra",
"slug": "ralexandra",
"email": "ralexandra@kqed.org",
"display_author_email": true,
"staff_mastheads": [
"arts"
],
"title": "Reporter/Producer",
"bio": "Rae Alexandra is a Reporter/Producer for KQED Arts & Culture, and the creator/author of the \u003ca href=\"https://www.kqed.org/arts/program/rebel-girls-from-bay-area-history\">Rebel Girls From Bay Area History\u003c/a> and \u003ca href=\"https://www.kqed.org/bizarrebayarea\">Bizarre Bay Area\u003c/a> series. Her debut book, \u003ca href=\"https://citylights.com/politics-current-events-history/unsung-heroines35-women-who-changed/\">Unsung Heroines: 35 Women Who Changed the Bay Area\u003c/a> was published by City Lights in March 2026. In 2023, Rae was awarded an SPJ Excellence in Journalism Award for Arts & Culture. Rae was born and raised in Wales and subsequently — even after two decades in Northern California — still uses phrases that regularly baffle her coworkers.",
"avatar": "https://secure.gravatar.com/avatar/edfee8176c80cc0a382b051190f5341997df378a934a5774dcb0977732dfd401?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"editor"
]
},
{
"site": "news",
"roles": [
"editor"
]
},
{
"site": "pop",
"roles": [
"editor"
]
},
{
"site": "bayareabites",
"roles": [
"editor"
]
},
{
"site": "science",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Rae Alexandra | KQED",
"description": "Reporter/Producer",
"ogImgSrc": "https://secure.gravatar.com/avatar/edfee8176c80cc0a382b051190f5341997df378a934a5774dcb0977732dfd401?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/edfee8176c80cc0a382b051190f5341997df378a934a5774dcb0977732dfd401?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/ralexandra"
},
"nvoynovskaya": {
"type": "authors",
"id": "11387",
"meta": {
"index": "authors_1716337520",
"id": "11387",
"found": true
},
"name": "Nastia Voynovskaya",
"firstName": "Nastia",
"lastName": "Voynovskaya",
"slug": "nvoynovskaya",
"email": "nvoynovskaya@kqed.org",
"display_author_email": false,
"staff_mastheads": [
"arts"
],
"title": "Editor and reporter",
"bio": "Nastia Voynovskaya is a reporter, editor and host at KQED Arts & Culture. She's been covering the arts in the Bay Area for over a decade, with a focus on music, queer culture, labor issues and grassroots organizing. She has edited KQED story series such as Trans Bay: A History of San Francisco's Gender-Diverse Community, and co-created KQED's Bay Area hip-hop history project, That's My Word. Nastia's work has been recognized by the Society of Professional Journalists and San Francisco Press Club. She regularly appears on podcasts and radio programs, including NPR's All Songs Considered, and hosts live events where music, culture and conversation meet.",
"avatar": "https://secure.gravatar.com/avatar/5025ee460e5a85d69ca20ea6c6f2f80d7e17795c828f61ea3aecfcd924e9042e?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": "https://www.instagram.com/nananastia/",
"linkedin": null,
"sites": [
{
"site": "",
"roles": [
"editor"
]
},
{
"site": "arts",
"roles": [
"administrator"
]
},
{
"site": "news",
"roles": [
"editor"
]
},
{
"site": "pop",
"roles": [
"administrator"
]
},
{
"site": "bayareabites",
"roles": [
"editor"
]
},
{
"site": "podcasts",
"roles": [
"editor"
]
},
{
"site": "hiphop",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Nastia Voynovskaya | KQED",
"description": "Editor and reporter",
"ogImgSrc": "https://secure.gravatar.com/avatar/5025ee460e5a85d69ca20ea6c6f2f80d7e17795c828f61ea3aecfcd924e9042e?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/5025ee460e5a85d69ca20ea6c6f2f80d7e17795c828f61ea3aecfcd924e9042e?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/nvoynovskaya"
},
"ogpenn": {
"type": "authors",
"id": "11491",
"meta": {
"index": "authors_1716337520",
"id": "11491",
"found": true
},
"name": "Pendarvis Harshaw",
"firstName": "Pendarvis",
"lastName": "Harshaw",
"slug": "ogpenn",
"email": "ogpenn@gmail.com",
"display_author_email": false,
"staff_mastheads": [
"arts"
],
"title": "Community Engagement Reporter",
"bio": "Pendarvis Harshaw is an educator, host and writer with KQED Arts.",
"avatar": "https://secure.gravatar.com/avatar/972b77ee8e3f346ae2b00622661187fbfabd059b5693bbdc1475ea7a722fd4cd?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": "ogpenn",
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"administrator"
]
},
{
"site": "news",
"roles": [
"editor"
]
},
{
"site": "bayareabites",
"roles": [
"author"
]
},
{
"site": "hiphop",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Pendarvis Harshaw | KQED",
"description": "Community Engagement Reporter",
"ogImgSrc": "https://secure.gravatar.com/avatar/972b77ee8e3f346ae2b00622661187fbfabd059b5693bbdc1475ea7a722fd4cd?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/972b77ee8e3f346ae2b00622661187fbfabd059b5693bbdc1475ea7a722fd4cd?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/ogpenn"
}
},
"pagesReducer": {
"arts_category_music": {
"type": "terms",
"id": "arts_69",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "69",
"score": 10.84819
},
"featImg": null,
"name": "Music",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Music Archives | KQED Arts",
"ogDescription": null
},
"ttid": 70,
"slug": "music",
"isLoading": false,
"title": "Music",
"pageMeta": {
"site": "arts",
"WpPageTemplate": "page-topic-editorial",
"currentPage": 125
},
"blocks": [
{
"blockName": "kqed/post-list",
"attrs": {
"layout": "cardArticle2",
"query": "posts/arts?category=music",
"seeMore": false,
"paginated": true,
"page": 125
}
},
{
"blockName": "kqed/ad"
}
]
}
},
"pfsSessionReducer": {},
"postsReducer": {
"stream_live": {
"type": "live",
"id": "stream_live",
"audioUrl": "https://streams.kqed.org/kqedradio",
"title": "Live Stream",
"excerpt": "Live Stream information currently unavailable.",
"link": "/radio",
"featImg": "",
"label": {
"name": "KQED Live",
"link": "/"
}
},
"stream_kqedNewscast": {
"type": "posts",
"id": "stream_kqedNewscast",
"audioUrl": "https://www.kqed.org/.stream/anon/radio/RDnews/newscast.mp3?_=1",
"title": "KQED Newscast",
"featImg": "",
"label": {
"name": "88.5 FM",
"link": "/"
}
},
"arts_13874540": {
"type": "posts",
"id": "arts_13874540",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13874540",
"score": null,
"sort": [
1581357624000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1581357624,
"format": "standard",
"title": "Brick & Mortar Music Hall Cuts Ties With Controversial Co-Owner, Signs Ten-Year Lease",
"headTitle": "Brick & Mortar Music Hall Cuts Ties With Controversial Co-Owner, Signs Ten-Year Lease | KQED",
"content": "\u003cp>\u003cem>This report contains a correction.\u003c/em>\u003c/p>\n\u003cp>Controversial Bay Area nightlife figure Jason Perkins no longer co-owns the Brick & Mortar Music Hall, and the independent music venue has secured a ten-year lease extension on its 250-capacity Mission District location, according to the new partnership group at the helm. [aside postID=arts_13853477,arts_10973414,arts_13873227]\u003c/p>\n\u003cp>Michael Rosen in January notified the San Francisco Entertainment Commission of the change in ownership, as required by the venue’s entertainment permit, saying the Brick & Mortar is now run by Michael O’Connor, Barry Smyth of the Crafty Fox Ale House and himself.\u003c/p>\n\u003cp>“We’re looking to get a new sense of goodwill in the community,” Rosen said, without mentioning Perkins. Rosen described “initiatives that can communicate a different approach to running the business than in the past,” including flyering for an informational community event.\u003c/p>\n\u003cp>O’Connor, previously Perkins’ partner in several businesses under the now-defunct Parish Entertainment Group, said the venue renewed its lease for ten years in December and declined to comment further. The extension runs against a trend of small- to mid-sized independent venues \u003ca href=\"https://www.kqed.org/arts/13873227/amnesia-is-the-latest-san-francisco-music-venue-to-close\">closing\u003c/a> or \u003ca href=\"https://www.kqed.org/arts/13850185/slims-great-american-music-hall-workers-axed-as-goldenvoice-expands\">ceding booking\u003c/a> to the corporate promoters Live Nation and Goldenvoice.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Brick & Mortar Music Hall’s \u003ca href=\"https://www.brickandmortarmusic.com/\">calendar\u003c/a> currently lists near-daily indie rock, hip-hop and soul events presented by promoters such as Noise Pop and Sean Healy.\u003c/p>\n\u003cp>Perkins was once the co-owner of several venues, bars and restaurants in the Bay Area and Northern California, and \u003ca href=\"https://www.kqed.org/arts/10973414/entertainment-commission-nightlife-heroes-or-instrument-of-destruction\">styled himself as a crusader\u003c/a> against public corruption while also appearing to use his short-lived music magazine to impugn local artists in unsigned editorials.\u003c/p>\n\u003cp>In recent years, however, Perkins faced costly breach-of-contract litigation as well as accusations, including from a former employee who leaked video evidence, that he harassed and accosted homeless people in the Mission District. Perkins, who didn’t respond to a request for comment, has declared in court filings that he now lives with his family in Israel.\u003c/p>\n\u003cp>The security footage showed a 2018 altercation between Perkins and a homeless man that, according to the former employee, followed Perkins leaving threatening notes on tents. (Perkins has denied leaving the notes, and said the video showed self-defense.) After the outcry, news outlets reported that Allen Scott, an executive at Another Planet Entertainment, had earlier bought Perkins’ stake in the New Parish in Oakland.\u003c/p>\n\u003cp>In the background, \u003ca href=\"https://www.kqed.org/arts/13853477/how-a-club-owner-raised-ticket-fees-pocketed-bonuses-and-lost-big-in-court\">as KQED previously reported\u003c/a>, Perkins faced lawsuits from ticketing service providers Ticketfly and Crowdtorch alleging he sought and received hundreds of thousands of dollars in signing bonuses for Brick & Mortar before deliberately reneging on the contracts.\u003c/p>\n\u003cp>Crowdtorch won judgment against Perkins and O’Connor in 2017 for $323,000. Last year a judge dismissed the defendants’ appeal of a ruling favoring Ticketfly, which is now owned by Eventbrite. Ticketfly’s attorney recently filed a request for default judgment totaling $824,824.\u003c/p>\n\u003cp>Perkins’ businesses Place Pigalle in San Francisco, Leo’s Music Club in Oakland and Sierra Valley Lodge in Calpine all closed following his conflicts with city officials and property owners.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Feb. 11: The original version of this story contained an inaccurate timeline of Perkins’ divestment from the New Parish. Perkins sold his stake in the Oakland club before, not after, public outcry over his altercation with a homeless man. The story has been edited to correct the inaccuracy. An original headline also alluded to Perkins being removed from the ownership of Brick & Mortar Music Hall by his partners in the venture; one of the club’s current owners has since stated this is not the case. \u003c/em>\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 619,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 15
},
"modified": 1705021324,
"excerpt": "Jason Perkins once co-owned several venues, bars and restaurants in the Bay Area and Northern California.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Jason Perkins once co-owned several venues, bars and restaurants in the Bay Area and Northern California.",
"title": "Brick & Mortar Music Hall Cuts Ties With Controversial Co-Owner, Signs Ten-Year Lease | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Brick & Mortar Music Hall Cuts Ties With Controversial Co-Owner, Signs Ten-Year Lease",
"datePublished": "2020-02-10T10:00:24-08:00",
"dateModified": "2024-01-11T17:02:04-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "brick-mortar-music-hall-ousts-controversial-co-owner-signs-ten-year-lease",
"status": "publish",
"templateType": "standard",
"featuredImageType": "standard",
"sticky": false,
"path": "/arts/13874540/brick-mortar-music-hall-ousts-controversial-co-owner-signs-ten-year-lease",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This report contains a correction.\u003c/em>\u003c/p>\n\u003cp>Controversial Bay Area nightlife figure Jason Perkins no longer co-owns the Brick & Mortar Music Hall, and the independent music venue has secured a ten-year lease extension on its 250-capacity Mission District location, according to the new partnership group at the helm. \u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13853477,arts_10973414,arts_13873227",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Michael Rosen in January notified the San Francisco Entertainment Commission of the change in ownership, as required by the venue’s entertainment permit, saying the Brick & Mortar is now run by Michael O’Connor, Barry Smyth of the Crafty Fox Ale House and himself.\u003c/p>\n\u003cp>“We’re looking to get a new sense of goodwill in the community,” Rosen said, without mentioning Perkins. Rosen described “initiatives that can communicate a different approach to running the business than in the past,” including flyering for an informational community event.\u003c/p>\n\u003cp>O’Connor, previously Perkins’ partner in several businesses under the now-defunct Parish Entertainment Group, said the venue renewed its lease for ten years in December and declined to comment further. The extension runs against a trend of small- to mid-sized independent venues \u003ca href=\"https://www.kqed.org/arts/13873227/amnesia-is-the-latest-san-francisco-music-venue-to-close\">closing\u003c/a> or \u003ca href=\"https://www.kqed.org/arts/13850185/slims-great-american-music-hall-workers-axed-as-goldenvoice-expands\">ceding booking\u003c/a> to the corporate promoters Live Nation and Goldenvoice.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Brick & Mortar Music Hall’s \u003ca href=\"https://www.brickandmortarmusic.com/\">calendar\u003c/a> currently lists near-daily indie rock, hip-hop and soul events presented by promoters such as Noise Pop and Sean Healy.\u003c/p>\n\u003cp>Perkins was once the co-owner of several venues, bars and restaurants in the Bay Area and Northern California, and \u003ca href=\"https://www.kqed.org/arts/10973414/entertainment-commission-nightlife-heroes-or-instrument-of-destruction\">styled himself as a crusader\u003c/a> against public corruption while also appearing to use his short-lived music magazine to impugn local artists in unsigned editorials.\u003c/p>\n\u003cp>In recent years, however, Perkins faced costly breach-of-contract litigation as well as accusations, including from a former employee who leaked video evidence, that he harassed and accosted homeless people in the Mission District. Perkins, who didn’t respond to a request for comment, has declared in court filings that he now lives with his family in Israel.\u003c/p>\n\u003cp>The security footage showed a 2018 altercation between Perkins and a homeless man that, according to the former employee, followed Perkins leaving threatening notes on tents. (Perkins has denied leaving the notes, and said the video showed self-defense.) After the outcry, news outlets reported that Allen Scott, an executive at Another Planet Entertainment, had earlier bought Perkins’ stake in the New Parish in Oakland.\u003c/p>\n\u003cp>In the background, \u003ca href=\"https://www.kqed.org/arts/13853477/how-a-club-owner-raised-ticket-fees-pocketed-bonuses-and-lost-big-in-court\">as KQED previously reported\u003c/a>, Perkins faced lawsuits from ticketing service providers Ticketfly and Crowdtorch alleging he sought and received hundreds of thousands of dollars in signing bonuses for Brick & Mortar before deliberately reneging on the contracts.\u003c/p>\n\u003cp>Crowdtorch won judgment against Perkins and O’Connor in 2017 for $323,000. Last year a judge dismissed the defendants’ appeal of a ruling favoring Ticketfly, which is now owned by Eventbrite. Ticketfly’s attorney recently filed a request for default judgment totaling $824,824.\u003c/p>\n\u003cp>Perkins’ businesses Place Pigalle in San Francisco, Leo’s Music Club in Oakland and Sierra Valley Lodge in Calpine all closed following his conflicts with city officials and property owners.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Feb. 11: The original version of this story contained an inaccurate timeline of Perkins’ divestment from the New Parish. Perkins sold his stake in the Oakland club before, not after, public outcry over his altercation with a homeless man. The story has been edited to correct the inaccuracy. An original headline also alluded to Perkins being removed from the ownership of Brick & Mortar Music Hall by his partners in the venture; one of the club’s current owners has since stated this is not the case. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13874540/brick-mortar-music-hall-ousts-controversial-co-owner-signs-ten-year-lease",
"authors": [
"11091"
],
"categories": [
"arts_1",
"arts_69",
"arts_235"
],
"tags": [
"arts_1118",
"arts_6387",
"arts_1220",
"arts_746",
"arts_596",
"arts_1146"
],
"featImg": "arts_13853399",
"label": "arts"
},
"arts_13874305": {
"type": "posts",
"id": "arts_13874305",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13874305",
"score": null,
"sort": [
1581019243000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 4525
},
"blocks": [],
"publishDate": 1581019243,
"format": "image",
"title": "Launching a Music Career in the Bay Area Takes Sacrifice—Just Ask Savage Mind",
"headTitle": "Launching a Music Career in the Bay Area Takes Sacrifice—Just Ask Savage Mind | KQED",
"content": "\u003cp>Over the past year, Oakland-based musician Abraham Padilla, who performs under the moniker \u003ca href=\"https://savagemindmusic.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Savage Mind\u003c/a>, has been in incubation mode, studying, practicing and securing opportunities to turn his creative practice into a viable business.\u003c/p>\n\u003cp>The 24-year-old rapper, trumpeter and pianist self-released his most ambitious album to date, \u003cem>1995\u003c/em>, a soulful collection of tracks with a West Coast bounce, jazz refrains and meditations on the pressures of life as a son of Filipino immigrants trying to make it in music. Padilla produced, arranged and engineered the record himself. And he put it out through his own label, \u003ca href=\"https://soulvisionmusic.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Soul Vision\u003c/a>; he and co-founder, J. RAP, recently formed an LLC to turn their loose collective into a legit operation.\u003c/p>\n\u003cp>[pullquote align='right' size='small']\u003cb>By the numbers…\u003c/b>\u003c/p>\n\u003cul>\n\u003cli>2019 income: $28,000\u003c/li>\n\u003cli>2019 earnings from music: Around $3,000\u003c/li>\n\u003cli>Home and studio rent: $850/month\u003c/li>\n\u003cli>Royalties from streaming: $150\u003c/li>\n\u003c/ul>\n\u003cp>\u003cbr>\n[/pullquote]\u003c/p>\n\u003cp>The last year has been fruitful for Padilla. He successfully booked his first big concert last summer, a release show for \u003cem>1995\u003c/em> at the Uptown Nightclub in Oakland. (With around 84 tickets sold, the show brought in around $1,000—most of which went to paying openers and recouping merch-production costs.) He also composed and performed an original score for a play, \u003ca href=\"http://www.zspace.org/schooled\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Schooled\u003c/em>\u003c/a>, at San Francisco’s Z Space. (This paid about $2,000 for three months of work, including attending rehearsals and performing the score live during the show’s run.) And he’s been getting booked for university campus gigs that pay anywhere from $100 to $360.\u003c/p>\n\u003cp>“These successes mean a lot, the fact that I could independently host a show and make that amount of money, pay out my performers and bring that revenue back to the business—it was unbelievable to me,” he says. “But thinking in the long term, $1,000 can barely cover any type of rent. And $500 isn’t a lot in the grand scheme of things, with the debt that I owe or basic overhead costs of just living.”\u003c/p>\n\u003cfigure id=\"attachment_13874498\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13874498\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/KQED_The_Hustle_Savage_Mind_hires_1-800x533.jpg\" alt=\"A rapper, producer, trumpeter, pianist and engineer, Savage Mind takes inspiration from the Bay Area's legacy of entrepreneurial independent musicians.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/KQED_The_Hustle_Savage_Mind_hires_1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/KQED_The_Hustle_Savage_Mind_hires_1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/KQED_The_Hustle_Savage_Mind_hires_1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/KQED_The_Hustle_Savage_Mind_hires_1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/KQED_The_Hustle_Savage_Mind_hires_1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A rapper, producer, trumpeter, pianist and engineer, Savage Mind takes inspiration from the Bay Area’s legacy of entrepreneurial independent musicians. \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To facilitate this growth in his burgeoning music career, Padilla has made immense sacrifices. After graduating from UC Berkeley with a bachelor’s degree in rhetoric in 2016, Padilla has juggled multiple part-time jobs to sustain himself as an artist. Last summer, he felt himself burning out after working a 14-day stretch of coffee shop shifts and after-school teaching gigs with no days off.\u003c/p>\n\u003cp>Born in the Philippines, Padilla was raised in the mostly working-class East Bay town of Pittsburg. His family is supportive, but he doesn’t have any sort of trust fund to fall back on—so he knows it’s on him to make his dreams happen.\u003c/p>\n\u003cp>“While I was creating the album, I was—and still am—getting used to the fact that this is what I want to do as a career,” he says. “The expectation is always that you’re a doctor or lawyer or engineer, and that carries for a lot of immigrant families. Even when I graduated college, my mom was kind of confused: ‘What is rhetoric and what do you do,’ or ‘what can you do?’ But it’s great now because [my parents] actually support me as a rapper.”\u003c/p>\n\u003cp>In June, things stabilized when Padilla quit his other jobs and settled into a part-time position at Red Bay Coffee’s Richmond location. The local coffee roaster, wholesaler and cafe has become known as a creative hub since it opened in 2014. Its Oakland store hosts events such as singer-songwriter showcases from \u003ca href=\"https://womensoundoff.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Women Sound Off\u003c/a>, and most of Padilla’s coworkers are artists, which helps with networking.\u003c/p>\n\u003cp>But perhaps the biggest plus is that Red Bay Coffee provides full-time benefits for part-time workers. This is a major boon for Padilla, who was worried about what he’d do for health insurance after he turned 26 and would no longer be covered by his parents’ plan.\u003c/p>\n\u003cp>“They’re taking a very progressive approach,” he says of Red Bay. “Me not being dependent on my parents for medical care was one of my worries, especially because it’s expensive. Being able to work for that company now … has helped and elevated me to be in a better place than I was a few years ago.”\u003c/p>\n\u003cfigure id=\"attachment_13874499\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13874499\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/KQED_The_Hustle_Savage_Mind_hires_13-800x450.jpg\" alt=\"Motivational reminders in Savage Mind's studio.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/KQED_The_Hustle_Savage_Mind_hires_13-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/KQED_The_Hustle_Savage_Mind_hires_13-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/KQED_The_Hustle_Savage_Mind_hires_13-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/KQED_The_Hustle_Savage_Mind_hires_13-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/KQED_The_Hustle_Savage_Mind_hires_13.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Motivational reminders in Savage Mind’s studio. \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Bay Area’s brutal housing market is notoriously challenging for artists, and Padilla is no exception: he had to move three times over the course of the last year, from Berkeley back home to his parents’ place in Pittsburg, then briefly to Vallejo before settling down in North Oakland. While living in Vallejo, he woke up at 5:30am to fight traffic and make it to work in Richmond by 8am.\u003c/p>\n\u003cp>From his new place, his commute is much shorter, 25 to 45 minutes depending on traffic. To make living in Oakland work, he shares a room with his partner, a fellow musician. (Padilla’s half of their rent is $850 a month.) They have two other housemates in their well-lit, three-bedroom apartment. The place is filled with verdant house plants, and their French bulldog Sunny sunbathes on the deck. Padilla’s studio set-up is nestled in a nook between the living room couch and the dining area—a huge cost-saving measure that allows him to produce and engineer all his music at home.\u003c/p>\n\u003cp>Of Padilla’s roughly $28,000 in income over the past year, about $3,000 came from music. That includes $150 in streaming royalties for about 5,000 streams on Spotify and other platforms. He knows that streaming will never pay the bills: the commonly held estimate in the industry, he says, is that a million streams roughly equal just $4,000. The real money comes from brand endorsements and licensing opportunities in film and television once an artist attracts enough streaming fans.\u003c/p>\n\u003cfigure id=\"attachment_13874500\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13874500\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/KQED_The_Hustle_Savage_Mind_hires_5-800x534.jpg\" alt=\"Savage Mind is a jazz trumpeter and pianist, which lends his production a unique sound. \" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/KQED_The_Hustle_Savage_Mind_hires_5-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/KQED_The_Hustle_Savage_Mind_hires_5-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/KQED_The_Hustle_Savage_Mind_hires_5-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/KQED_The_Hustle_Savage_Mind_hires_5-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/KQED_The_Hustle_Savage_Mind_hires_5.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Savage Mind is a jazz trumpeter and pianist, which lends his production a unique sound. \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Padilla is inspired by the many entrepreneurial Bay Area artists like \u003ca href=\"https://www.eastbayexpress.com/oakland/my-afternoon-with-e-40-a-day-in-the-life-of-the-bay-areas-most-prolific-and-respected-rapper/Content?oid=5072523\" target=\"_blank\" rel=\"noopener noreferrer\">E-40\u003c/a>, who recently became a business partner in the Filipino takeout spot the Lumpia Company, and who has his own liquor company in addition to running Sick Wid It Records. \u003ca href=\"https://www.kqed.org/arts/13874024/five-years-after-his-death-the-jackas-collaborators-remember-his-complex-legacy\" target=\"_blank\" rel=\"noopener noreferrer\">The Jacka\u003c/a>, who hails from Padilla’s hometown of Pittsburg, also comes to mind with his Artist Records, as well as \u003ca href=\"https://www.kqed.org/arts/13854043/when-nipsey-hussle-brought-his-marathon-mindset-to-oakland\" target=\"_blank\" rel=\"noopener noreferrer\">Nipsey Hussle\u003c/a>, whose Marathon Clothing company created jobs in his Los Angeles community.\u003c/p>\n\u003cp>[aside label='Side Gigs and Successes' link1='https://www.kqed.org/arts/13861452/talk-to-us-bay-area-artists-whats-your-hustle,Are you a Bay Area artist? Tell us about your hustle.' target=_blank]\u003c/p>\n\u003cp>“In Pittsburg, a lot of people don’t have access to the industry, period,” he says of his desire to give back. “I want to be able to offer the things I’m learning here.” Pittsburg and Bay Point have rich hip-hop and rap communities, he notes, and that history is shaped by people like his family, who moved from Daly City, Richmond or Oakland to cheaper housing markets. For Padilla, the Bay Area’s musical landscape is also a story of affordability.\u003c/p>\n\u003cp>Padilla is still in the early stages of his career, and for now he’s laying the groundwork for his big vision. He drives his dad’s hand-me-down 1996 Toyota, and cooks enough to last through the week so he doesn’t have to eat out.\u003c/p>\n\u003cp>“To say you’re doing something else that isn’t the presupposed norm, it’s always the hardest rope to jump,” he says. “But once you’re doing it, I’ve found that you believe in yourself more. I may not be this or that, but none of that matters because I’m trying to do something much bigger.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1404,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 22
},
"modified": 1705021341,
"excerpt": "The Oakland-based rapper, producer and multi-instrumentalist hopes to follow in the footsteps of entrepreneurial artists like E-40. ",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The Oakland-based rapper, producer and multi-instrumentalist hopes to follow in the footsteps of entrepreneurial artists like E-40. ",
"title": "Launching a Music Career in the Bay Area Takes Sacrifice—Just Ask Savage Mind | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Launching a Music Career in the Bay Area Takes Sacrifice—Just Ask Savage Mind",
"datePublished": "2020-02-06T12:00:43-08:00",
"dateModified": "2024-01-11T17:02:21-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "launching-a-music-career-in-the-bay-area-takes-sacrifice-just-ask-savage-mind",
"status": "publish",
"templateType": "standard",
"featuredImageType": "standard",
"sticky": false,
"path": "/arts/13874305/launching-a-music-career-in-the-bay-area-takes-sacrifice-just-ask-savage-mind",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Over the past year, Oakland-based musician Abraham Padilla, who performs under the moniker \u003ca href=\"https://savagemindmusic.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Savage Mind\u003c/a>, has been in incubation mode, studying, practicing and securing opportunities to turn his creative practice into a viable business.\u003c/p>\n\u003cp>The 24-year-old rapper, trumpeter and pianist self-released his most ambitious album to date, \u003cem>1995\u003c/em>, a soulful collection of tracks with a West Coast bounce, jazz refrains and meditations on the pressures of life as a son of Filipino immigrants trying to make it in music. Padilla produced, arranged and engineered the record himself. And he put it out through his own label, \u003ca href=\"https://soulvisionmusic.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Soul Vision\u003c/a>; he and co-founder, J. RAP, recently formed an LLC to turn their loose collective into a legit operation.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "\u003cb>By the numbers…\u003c/b>\u003c/p>\n\u003cul>\n\u003cli>2019 income: $28,000\u003c/li>\n\u003cli>2019 earnings from music: Around $3,000\u003c/li>\n\u003cli>Home and studio rent: $850/month\u003c/li>\n\u003cli>Royalties from streaming: $150\u003c/li>\n\u003c/ul>\n\u003cp>\u003cbr>\n",
"name": "pullquote",
"attributes": {
"named": {
"align": "right",
"size": "small",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The last year has been fruitful for Padilla. He successfully booked his first big concert last summer, a release show for \u003cem>1995\u003c/em> at the Uptown Nightclub in Oakland. (With around 84 tickets sold, the show brought in around $1,000—most of which went to paying openers and recouping merch-production costs.) He also composed and performed an original score for a play, \u003ca href=\"http://www.zspace.org/schooled\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Schooled\u003c/em>\u003c/a>, at San Francisco’s Z Space. (This paid about $2,000 for three months of work, including attending rehearsals and performing the score live during the show’s run.) And he’s been getting booked for university campus gigs that pay anywhere from $100 to $360.\u003c/p>\n\u003cp>“These successes mean a lot, the fact that I could independently host a show and make that amount of money, pay out my performers and bring that revenue back to the business—it was unbelievable to me,” he says. “But thinking in the long term, $1,000 can barely cover any type of rent. And $500 isn’t a lot in the grand scheme of things, with the debt that I owe or basic overhead costs of just living.”\u003c/p>\n\u003cfigure id=\"attachment_13874498\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13874498\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/KQED_The_Hustle_Savage_Mind_hires_1-800x533.jpg\" alt=\"A rapper, producer, trumpeter, pianist and engineer, Savage Mind takes inspiration from the Bay Area's legacy of entrepreneurial independent musicians.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/KQED_The_Hustle_Savage_Mind_hires_1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/KQED_The_Hustle_Savage_Mind_hires_1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/KQED_The_Hustle_Savage_Mind_hires_1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/KQED_The_Hustle_Savage_Mind_hires_1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/KQED_The_Hustle_Savage_Mind_hires_1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A rapper, producer, trumpeter, pianist and engineer, Savage Mind takes inspiration from the Bay Area’s legacy of entrepreneurial independent musicians. \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To facilitate this growth in his burgeoning music career, Padilla has made immense sacrifices. After graduating from UC Berkeley with a bachelor’s degree in rhetoric in 2016, Padilla has juggled multiple part-time jobs to sustain himself as an artist. Last summer, he felt himself burning out after working a 14-day stretch of coffee shop shifts and after-school teaching gigs with no days off.\u003c/p>\n\u003cp>Born in the Philippines, Padilla was raised in the mostly working-class East Bay town of Pittsburg. His family is supportive, but he doesn’t have any sort of trust fund to fall back on—so he knows it’s on him to make his dreams happen.\u003c/p>\n\u003cp>“While I was creating the album, I was—and still am—getting used to the fact that this is what I want to do as a career,” he says. “The expectation is always that you’re a doctor or lawyer or engineer, and that carries for a lot of immigrant families. Even when I graduated college, my mom was kind of confused: ‘What is rhetoric and what do you do,’ or ‘what can you do?’ But it’s great now because [my parents] actually support me as a rapper.”\u003c/p>\n\u003cp>In June, things stabilized when Padilla quit his other jobs and settled into a part-time position at Red Bay Coffee’s Richmond location. The local coffee roaster, wholesaler and cafe has become known as a creative hub since it opened in 2014. Its Oakland store hosts events such as singer-songwriter showcases from \u003ca href=\"https://womensoundoff.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Women Sound Off\u003c/a>, and most of Padilla’s coworkers are artists, which helps with networking.\u003c/p>\n\u003cp>But perhaps the biggest plus is that Red Bay Coffee provides full-time benefits for part-time workers. This is a major boon for Padilla, who was worried about what he’d do for health insurance after he turned 26 and would no longer be covered by his parents’ plan.\u003c/p>\n\u003cp>“They’re taking a very progressive approach,” he says of Red Bay. “Me not being dependent on my parents for medical care was one of my worries, especially because it’s expensive. Being able to work for that company now … has helped and elevated me to be in a better place than I was a few years ago.”\u003c/p>\n\u003cfigure id=\"attachment_13874499\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13874499\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/KQED_The_Hustle_Savage_Mind_hires_13-800x450.jpg\" alt=\"Motivational reminders in Savage Mind's studio.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/KQED_The_Hustle_Savage_Mind_hires_13-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/KQED_The_Hustle_Savage_Mind_hires_13-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/KQED_The_Hustle_Savage_Mind_hires_13-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/KQED_The_Hustle_Savage_Mind_hires_13-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/KQED_The_Hustle_Savage_Mind_hires_13.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Motivational reminders in Savage Mind’s studio. \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Bay Area’s brutal housing market is notoriously challenging for artists, and Padilla is no exception: he had to move three times over the course of the last year, from Berkeley back home to his parents’ place in Pittsburg, then briefly to Vallejo before settling down in North Oakland. While living in Vallejo, he woke up at 5:30am to fight traffic and make it to work in Richmond by 8am.\u003c/p>\n\u003cp>From his new place, his commute is much shorter, 25 to 45 minutes depending on traffic. To make living in Oakland work, he shares a room with his partner, a fellow musician. (Padilla’s half of their rent is $850 a month.) They have two other housemates in their well-lit, three-bedroom apartment. The place is filled with verdant house plants, and their French bulldog Sunny sunbathes on the deck. Padilla’s studio set-up is nestled in a nook between the living room couch and the dining area—a huge cost-saving measure that allows him to produce and engineer all his music at home.\u003c/p>\n\u003cp>Of Padilla’s roughly $28,000 in income over the past year, about $3,000 came from music. That includes $150 in streaming royalties for about 5,000 streams on Spotify and other platforms. He knows that streaming will never pay the bills: the commonly held estimate in the industry, he says, is that a million streams roughly equal just $4,000. The real money comes from brand endorsements and licensing opportunities in film and television once an artist attracts enough streaming fans.\u003c/p>\n\u003cfigure id=\"attachment_13874500\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13874500\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/KQED_The_Hustle_Savage_Mind_hires_5-800x534.jpg\" alt=\"Savage Mind is a jazz trumpeter and pianist, which lends his production a unique sound. \" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/KQED_The_Hustle_Savage_Mind_hires_5-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/KQED_The_Hustle_Savage_Mind_hires_5-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/KQED_The_Hustle_Savage_Mind_hires_5-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/KQED_The_Hustle_Savage_Mind_hires_5-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/KQED_The_Hustle_Savage_Mind_hires_5.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Savage Mind is a jazz trumpeter and pianist, which lends his production a unique sound. \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Padilla is inspired by the many entrepreneurial Bay Area artists like \u003ca href=\"https://www.eastbayexpress.com/oakland/my-afternoon-with-e-40-a-day-in-the-life-of-the-bay-areas-most-prolific-and-respected-rapper/Content?oid=5072523\" target=\"_blank\" rel=\"noopener noreferrer\">E-40\u003c/a>, who recently became a business partner in the Filipino takeout spot the Lumpia Company, and who has his own liquor company in addition to running Sick Wid It Records. \u003ca href=\"https://www.kqed.org/arts/13874024/five-years-after-his-death-the-jackas-collaborators-remember-his-complex-legacy\" target=\"_blank\" rel=\"noopener noreferrer\">The Jacka\u003c/a>, who hails from Padilla’s hometown of Pittsburg, also comes to mind with his Artist Records, as well as \u003ca href=\"https://www.kqed.org/arts/13854043/when-nipsey-hussle-brought-his-marathon-mindset-to-oakland\" target=\"_blank\" rel=\"noopener noreferrer\">Nipsey Hussle\u003c/a>, whose Marathon Clothing company created jobs in his Los Angeles community.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"label": "Side Gigs and Successes ",
"link1": "https://www.kqed.org/arts/13861452/talk-to-us-bay-area-artists-whats-your-hustle,Are you a Bay Area artist? Tell us about your hustle.",
"target": "_blank"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“In Pittsburg, a lot of people don’t have access to the industry, period,” he says of his desire to give back. “I want to be able to offer the things I’m learning here.” Pittsburg and Bay Point have rich hip-hop and rap communities, he notes, and that history is shaped by people like his family, who moved from Daly City, Richmond or Oakland to cheaper housing markets. For Padilla, the Bay Area’s musical landscape is also a story of affordability.\u003c/p>\n\u003cp>Padilla is still in the early stages of his career, and for now he’s laying the groundwork for his big vision. He drives his dad’s hand-me-down 1996 Toyota, and cooks enough to last through the week so he doesn’t have to eat out.\u003c/p>\n\u003cp>“To say you’re doing something else that isn’t the presupposed norm, it’s always the hardest rope to jump,” he says. “But once you’re doing it, I’ve found that you believe in yourself more. I may not be this or that, but none of that matters because I’m trying to do something much bigger.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13874305/launching-a-music-career-in-the-bay-area-takes-sacrifice-just-ask-savage-mind",
"authors": [
"11387"
],
"series": [
"arts_4525"
],
"categories": [
"arts_69"
],
"tags": [
"arts_1118",
"arts_4213"
],
"featImg": "arts_13874497",
"label": "arts_4525"
},
"arts_13874505": {
"type": "posts",
"id": "arts_13874505",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13874505",
"score": null,
"sort": [
1581018061000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 140
},
"blocks": [],
"publishDate": 1581018061,
"format": "standard",
"title": "Stories and Songs From 'Hedwig' By the Star of the Film",
"headTitle": "Stories and Songs From ‘Hedwig’ By the Star of the Film | KQED",
"content": "\u003cp>I remember seeing a movie in 2001 and thinking afterward that I’d just watched a \u003cem>Rocky Horror Picture Show\u003c/em> for a new generation. The songs were better, the story more tender, and I knew it would last and last in cult screenings for decades. The film, of course, was \u003cem>Hedwig and the Angry Inch\u003c/em>, which as it turns out, has lasted for nearly 20 years. Since 2001, it’s lived on in midnight screenings, a hit Broadway revival, and in various stagings around the world.\u003c/p>\n\u003cp>But one person has been largely absent from the stage throughout it all: Hedwig co-creator and original star, John Cameron Mitchell. This week, Mitchell comes to the Bay Area for a night called \u003cem>The Origin of Love\u003c/em>, and with his Hedwig co-creator Stephan Trask, he tells stories about the film, sings a handful of its beautiful songs, and brings the spirit of Hedwig to life as only he can. That’s on Saturday, Feb. 29, at Zellerbach Hall in Berkeley.—\u003cem>Gabe Meline\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 176,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 4
},
"modified": 1705021343,
"excerpt": "John Cameron Mitchell comes to Berkeley in a night of songs and storytelling based on 'Hedwig and the Angry Inch.'",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "John Cameron Mitchell comes to Berkeley in a night of songs and storytelling based on 'Hedwig and the Angry Inch.'",
"title": "Stories and Songs From 'Hedwig' By the Star of the Film | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Stories and Songs From 'Hedwig' By the Star of the Film",
"datePublished": "2020-02-06T11:41:01-08:00",
"dateModified": "2024-01-11T17:02:23-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "stories-and-songs-from-hedwig-by-the-star-of-the-film",
"status": "publish",
"templateType": "event",
"venueName": "Zellerbach Hall",
"featuredImageType": "standard",
"sticky": false,
"startTime": 1583028000,
"endTime": 1583046000,
"startTimeString": "Feb. 29, 2020",
"venueAddress": "101 Zellerbach Hall, Berkeley",
"eventLink": "https://calperformances.org/performances/2019-20/theater/john-cameron-mitchell-the-origin-of-love-tour.php",
"path": "/arts/13874505/stories-and-songs-from-hedwig-by-the-star-of-the-film",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I remember seeing a movie in 2001 and thinking afterward that I’d just watched a \u003cem>Rocky Horror Picture Show\u003c/em> for a new generation. The songs were better, the story more tender, and I knew it would last and last in cult screenings for decades. The film, of course, was \u003cem>Hedwig and the Angry Inch\u003c/em>, which as it turns out, has lasted for nearly 20 years. Since 2001, it’s lived on in midnight screenings, a hit Broadway revival, and in various stagings around the world.\u003c/p>\n\u003cp>But one person has been largely absent from the stage throughout it all: Hedwig co-creator and original star, John Cameron Mitchell. This week, Mitchell comes to the Bay Area for a night called \u003cem>The Origin of Love\u003c/em>, and with his Hedwig co-creator Stephan Trask, he tells stories about the film, sings a handful of its beautiful songs, and brings the spirit of Hedwig to life as only he can. That’s on Saturday, Feb. 29, at Zellerbach Hall in Berkeley.—\u003cem>Gabe Meline\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13874505/stories-and-songs-from-hedwig-by-the-star-of-the-film",
"authors": [
"185"
],
"programs": [
"arts_140"
],
"categories": [
"arts_74",
"arts_69",
"arts_967"
],
"tags": [
"arts_1270",
"arts_5654",
"arts_2880"
],
"featImg": "arts_13874400",
"label": "arts_140"
},
"arts_13874435": {
"type": "posts",
"id": "arts_13874435",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13874435",
"score": null,
"sort": [
1580936146000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1580936146,
"format": "standard",
"title": "The Tiny Desk Contest is Back for 2020",
"headTitle": "The Tiny Desk Contest is Back for 2020 | KQED",
"content": "\u003cp>In the past year, NPR has had some pretty big names come perform at the Tiny Desk: \u003ca href=\"https://www.npr.org/2019/07/29/732097345/lizzo-tiny-desk-concert\">Lizzo\u003c/a>, \u003ca href=\"https://www.npr.org/2020/01/29/800256839/jimmy-eat-world-tiny-desk-concert\">Jimmy Eat World\u003c/a> and \u003ca href=\"https://www.npr.org/2019/10/16/770318649/taylor-swift-tiny-desk-concert\">Taylor Swift\u003c/a>, to name a few.\u003c/p>\n\u003cp>While seeing these artists’ stripped-down sets is impressive, that’s not all the Tiny Desk is about. For me, what’s really magical and memorable about Tiny Desk concerts is discovering and connecting with musicians our audience likely doesn’t know and then getting to share them with our listeners.\u003c/p>\n\u003cp>We started the Tiny Desk Contest in 2014 in an effort to do even more of that: discover and share great unknown artists. Since the Contest’s launch, we’ve had \u003ca href=\"http://tinydeskcontest.npr.org/#previous-winner\">five outstanding winners\u003c/a>, invited \u003ca href=\"https://www.youtube.com/playlist?list=PLy2PCKGkKRVbn9Rsn99a4VhSGWI4SQrm5\">even more Contest artists\u003c/a> to play at the Desk and heard from countless \u003ca href=\"https://www.npr.org/sections/allsongs/2019/05/22/725412654/tiny-desk-top-shelf\">artists we love\u003c/a> along the way. We’re excited today to announce that the 2020 Tiny Desk Contest is here.\u003c/p>\n\u003cp>Here’s what you need to know:\u003c/p>\n\u003cul>\n\u003cli>We’ll start accepting Contest entries next Tuesday, Feb. 11 at 10 a.m. ET. Entries close at midnight ET on Monday, March 30.\u003c/li>\n\u003cli>To be eligible to win, you must be an unsigned musician and at least 18 years old.\u003c/li>\n\u003cli>To enter, record a video of yourself playing one original song at a desk (any desk will do!) and upload it to YouTube.\u003c/li>\n\u003cli>Send us your song by submitting your video at \u003ca href=\"http://npr.org/tinydeskcontest\">npr.org/tinydeskcontest\u003c/a>.\u003c/li>\n\u003cli>The winner will be chosen by a panel of judges. I’ll be joined by some great Tiny Desk alums: \u003ca href=\"https://www.npr.org/2019/10/15/768439696/brittany-howard-tiny-desk-concert\">Brittany Howard\u003c/a>, \u003ca href=\"https://www.npr.org/2015/09/22/441220834/gina-chavez-tiny-desk-concert\">Gina Chavez\u003c/a> and last year’s winner, \u003ca href=\"https://www.npr.org/2019/06/03/728694436/quinn-christopherson-tiny-desk-concert\">Quinn Christopherson\u003c/a>. Bobby Carter, Tiny Desk concert producer extraordinaire, will be part of the team, plus \u003ca href=\"https://www.npr.org/people/774752634/raina-douris\">Raina Douris\u003c/a> of \u003ca href=\"https://xpn.org/\">WXPN\u003c/a>‘s \u003cem>World Cafe\u003c/em> and \u003ca href=\"https://radiomilwaukee.org/about-us/station-staff/tarik-moody/\">Tarik Moody\u003c/a> of \u003ca href=\"https://radiomilwaukee.org/\">88Nine Radio Milwaukee\u003c/a>.\u003c/li>\n\u003c/ul>\n\u003cp>If you want to make sure your video is eligible to win, you can take this \u003ca href=\"https://tinydeskcontest.npr.org/2020/rules-quiz\">easy quiz\u003c/a> or read the \u003ca href=\"https://tinydeskcontest.npr.org/rules\">official rules\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>If you win, you’ll play a Tiny Desk concert and then go on tour across the U.S. with NPR Music. And even though we only choose one winner, we feature artists from the \u003ca href=\"https://www.facebook.com/groups/tinydeskcontest/\">Contest community\u003c/a> in plenty of other ways: on \u003ca href=\"https://www.npr.org/sections/allsongs/\">our blog\u003c/a>, in a Contest \u003ca href=\"https://www.youtube.com/watch?v=RtrRzQLxWP0\">supercut video\u003c/a>, on NPR’s \u003ca href=\"https://www.npr.org/sections/allsongs/2019/06/29/736747407/these-tiny-desk-contest-entrants-bring-mini-symphonies-to-the-nyc-subway\">newsmagazines\u003c/a> and at the Tiny Desk Contest On The Road tour stops.\u003c/p>\n\u003cp>Speaking of tour stops, this year, we’re expanding our tour to 10 cities! We’ll be visiting Atlanta, Chicago, Denver, Los Angeles, Nashville, New York, Philadelphia, Phoenix and Seattle. We hope to see you there.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>We can’t wait to discover even more great music this year and are looking forward to meeting our winner. Could it be you?\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 \u003ca href=\"http://npr.org\">NPR\u003c/a>. \u003c/em>\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 460,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 10
},
"modified": 1705021349,
"excerpt": "Submissions for NPR's annual music contest open on Feb. 11. ",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Submissions for NPR's annual music contest open on Feb. 11. ",
"title": "The Tiny Desk Contest is Back for 2020 | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "The Tiny Desk Contest is Back for 2020",
"datePublished": "2020-02-05T12:55:46-08:00",
"dateModified": "2024-01-11T17:02:29-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "the-tiny-desk-contest-is-back-for-2020",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=802281228&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprStoryDate": "Tue, 04 Feb 2020 10:00:00 -0500",
"nprLastModifiedDate": "Tue, 04 Feb 2020 17:40:56 -0500",
"featuredImageType": "standard",
"nprHtmlLink": "https://www.npr.org/sections/allsongs/2020/02/04/802281228/the-tiny-desk-contest-is-back-for-2020?ft=nprml&f=802281228",
"nprAudio": "https://ondemand.npr.org/anon.npr-mp3/npr/atc/2020/02/20200204_atc_the_tiny_desk_contest_is_back_for_2020.mp3?orgId=1&topicId=1039&d=193&p=2&story=802281228&ft=nprml&f=802281228",
"nprImageAgency": "NPR",
"nprAudioM3u": "http://api.npr.org/m3u/1802737839-45b1ff.m3u?orgId=1&topicId=1039&d=193&p=2&story=802281228&ft=nprml&f=802281228",
"nprStoryId": "802281228",
"nprByline": "Bob Boilen",
"sticky": false,
"nprRetrievedStory": "1",
"nprPubDate": "Tue, 04 Feb 2020 20:04:00 -0500",
"path": "/arts/13874435/the-tiny-desk-contest-is-back-for-2020",
"audioUrl": "https://ondemand.npr.org/anon.npr-mp3/npr/atc/2020/02/20200204_atc_the_tiny_desk_contest_is_back_for_2020.mp3?orgId=1&topicId=1039&d=193&p=2&story=802281228&ft=nprml&f=802281228",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the past year, NPR has had some pretty big names come perform at the Tiny Desk: \u003ca href=\"https://www.npr.org/2019/07/29/732097345/lizzo-tiny-desk-concert\">Lizzo\u003c/a>, \u003ca href=\"https://www.npr.org/2020/01/29/800256839/jimmy-eat-world-tiny-desk-concert\">Jimmy Eat World\u003c/a> and \u003ca href=\"https://www.npr.org/2019/10/16/770318649/taylor-swift-tiny-desk-concert\">Taylor Swift\u003c/a>, to name a few.\u003c/p>\n\u003cp>While seeing these artists’ stripped-down sets is impressive, that’s not all the Tiny Desk is about. For me, what’s really magical and memorable about Tiny Desk concerts is discovering and connecting with musicians our audience likely doesn’t know and then getting to share them with our listeners.\u003c/p>\n\u003cp>We started the Tiny Desk Contest in 2014 in an effort to do even more of that: discover and share great unknown artists. Since the Contest’s launch, we’ve had \u003ca href=\"http://tinydeskcontest.npr.org/#previous-winner\">five outstanding winners\u003c/a>, invited \u003ca href=\"https://www.youtube.com/playlist?list=PLy2PCKGkKRVbn9Rsn99a4VhSGWI4SQrm5\">even more Contest artists\u003c/a> to play at the Desk and heard from countless \u003ca href=\"https://www.npr.org/sections/allsongs/2019/05/22/725412654/tiny-desk-top-shelf\">artists we love\u003c/a> along the way. We’re excited today to announce that the 2020 Tiny Desk Contest is here.\u003c/p>\n\u003cp>Here’s what you need to know:\u003c/p>\n\u003cul>\n\u003cli>We’ll start accepting Contest entries next Tuesday, Feb. 11 at 10 a.m. ET. Entries close at midnight ET on Monday, March 30.\u003c/li>\n\u003cli>To be eligible to win, you must be an unsigned musician and at least 18 years old.\u003c/li>\n\u003cli>To enter, record a video of yourself playing one original song at a desk (any desk will do!) and upload it to YouTube.\u003c/li>\n\u003cli>Send us your song by submitting your video at \u003ca href=\"http://npr.org/tinydeskcontest\">npr.org/tinydeskcontest\u003c/a>.\u003c/li>\n\u003cli>The winner will be chosen by a panel of judges. I’ll be joined by some great Tiny Desk alums: \u003ca href=\"https://www.npr.org/2019/10/15/768439696/brittany-howard-tiny-desk-concert\">Brittany Howard\u003c/a>, \u003ca href=\"https://www.npr.org/2015/09/22/441220834/gina-chavez-tiny-desk-concert\">Gina Chavez\u003c/a> and last year’s winner, \u003ca href=\"https://www.npr.org/2019/06/03/728694436/quinn-christopherson-tiny-desk-concert\">Quinn Christopherson\u003c/a>. Bobby Carter, Tiny Desk concert producer extraordinaire, will be part of the team, plus \u003ca href=\"https://www.npr.org/people/774752634/raina-douris\">Raina Douris\u003c/a> of \u003ca href=\"https://xpn.org/\">WXPN\u003c/a>‘s \u003cem>World Cafe\u003c/em> and \u003ca href=\"https://radiomilwaukee.org/about-us/station-staff/tarik-moody/\">Tarik Moody\u003c/a> of \u003ca href=\"https://radiomilwaukee.org/\">88Nine Radio Milwaukee\u003c/a>.\u003c/li>\n\u003c/ul>\n\u003cp>If you want to make sure your video is eligible to win, you can take this \u003ca href=\"https://tinydeskcontest.npr.org/2020/rules-quiz\">easy quiz\u003c/a> or read the \u003ca href=\"https://tinydeskcontest.npr.org/rules\">official rules\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>If you win, you’ll play a Tiny Desk concert and then go on tour across the U.S. with NPR Music. And even though we only choose one winner, we feature artists from the \u003ca href=\"https://www.facebook.com/groups/tinydeskcontest/\">Contest community\u003c/a> in plenty of other ways: on \u003ca href=\"https://www.npr.org/sections/allsongs/\">our blog\u003c/a>, in a Contest \u003ca href=\"https://www.youtube.com/watch?v=RtrRzQLxWP0\">supercut video\u003c/a>, on NPR’s \u003ca href=\"https://www.npr.org/sections/allsongs/2019/06/29/736747407/these-tiny-desk-contest-entrants-bring-mini-symphonies-to-the-nyc-subway\">newsmagazines\u003c/a> and at the Tiny Desk Contest On The Road tour stops.\u003c/p>\n\u003cp>Speaking of tour stops, this year, we’re expanding our tour to 10 cities! We’ll be visiting Atlanta, Chicago, Denver, Los Angeles, Nashville, New York, Philadelphia, Phoenix and Seattle. We hope to see you there.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>We can’t wait to discover even more great music this year and are looking forward to meeting our winner. Could it be you?\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 \u003ca href=\"http://npr.org\">NPR\u003c/a>. \u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13874435/the-tiny-desk-contest-is-back-for-2020",
"authors": [
"byline_arts_13874435"
],
"categories": [
"arts_69"
],
"tags": [
"arts_1118",
"arts_1377"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13852997",
"label": "arts_137"
},
"arts_13874418": {
"type": "posts",
"id": "arts_13874418",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13874418",
"score": null,
"sort": [
1580921932000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 140
},
"blocks": [],
"publishDate": 1580921932,
"format": "standard",
"title": "A Mainstream Country Star Even Americana Fans Can Love",
"headTitle": "A Mainstream Country Star Even Americana Fans Can Love | KQED",
"content": "\u003cp>As listeners, and as media, we sure like to divide music up into subgenres. There’s not simply rap—there’s gangsta rap and backback hip-hop, and a hundred shades in between. There’s not just punk—there’s hardcore and pop-punk, completely at odds with each other. Some of these dividing lines are the source of arguments, perhaps none more bitter than the one that pits “new country” against “Americana.”\u003c/p>\n\u003cp>Among those rare singers who can appease both sides, and bridge the two, is Miranda Lambert, a stadium country star who could fit comfortably on any Americana playlist. It’s not unusual to hear her singing a John Prine song, and she’s covered the renegade folk performer Fred Eaglesmith, too. And yet, because she’s on the covers of supermarket tabloids, she gets lumped in with “new country,” which I think is unfair to her immense talent as a songwriter. Live, she’s one of the most electrifying country singers I’ve ever seen, and she returns to the Bay Area on Friday, Feb. 28, at the SAP Center in San Jose.—\u003cem>Gabe Meline\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 208,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 4
},
"modified": 1705021352,
"excerpt": "Miranda Lambert sells out stadiums with heartfelt songwriting and covers of folk heroes.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Miranda Lambert sells out stadiums with heartfelt songwriting and covers of folk heroes.",
"title": "A Mainstream Country Star Even Americana Fans Can Love | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "A Mainstream Country Star Even Americana Fans Can Love",
"datePublished": "2020-02-05T08:58:52-08:00",
"dateModified": "2024-01-11T17:02:32-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "a-mainstream-country-star-even-americana-fans-can-love",
"status": "publish",
"templateType": "event",
"venueName": "SAP Center",
"featuredImageType": "standard",
"sticky": false,
"startTime": 1582941600,
"endTime": 1582959600,
"startTimeString": "Feb. 28, 2020",
"venueAddress": "525 W. Santa Clara St., San Jose",
"eventLink": "http://www.sapcenter.com/events/detail/miranda-lambert",
"path": "/arts/13874418/a-mainstream-country-star-even-americana-fans-can-love",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As listeners, and as media, we sure like to divide music up into subgenres. There’s not simply rap—there’s gangsta rap and backback hip-hop, and a hundred shades in between. There’s not just punk—there’s hardcore and pop-punk, completely at odds with each other. Some of these dividing lines are the source of arguments, perhaps none more bitter than the one that pits “new country” against “Americana.”\u003c/p>\n\u003cp>Among those rare singers who can appease both sides, and bridge the two, is Miranda Lambert, a stadium country star who could fit comfortably on any Americana playlist. It’s not unusual to hear her singing a John Prine song, and she’s covered the renegade folk performer Fred Eaglesmith, too. And yet, because she’s on the covers of supermarket tabloids, she gets lumped in with “new country,” which I think is unfair to her immense talent as a songwriter. Live, she’s one of the most electrifying country singers I’ve ever seen, and she returns to the Bay Area on Friday, Feb. 28, at the SAP Center in San Jose.—\u003cem>Gabe Meline\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13874418/a-mainstream-country-star-even-americana-fans-can-love",
"authors": [
"185"
],
"programs": [
"arts_140"
],
"categories": [
"arts_69"
],
"tags": [
"arts_7534",
"arts_2415"
],
"featImg": "arts_13874399",
"label": "arts_140"
},
"arts_13874407": {
"type": "posts",
"id": "arts_13874407",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13874407",
"score": null,
"sort": [
1580920437000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 140
},
"blocks": [],
"publishDate": 1580920437,
"format": "standard",
"title": "The Best Hard Bop Supergroup Working Today",
"headTitle": "The Best Hard Bop Supergroup Working Today | KQED",
"content": "\u003cp>The golden age of Blue Note Records produced some of the most enduring jazz styles of the 20th century. Chief among them was a sound known as hard bop—an approach that took the innovations of Charlie Parker and Dizzy Gillespie and gave them a slower but more biting edge. One of the best groups performing this style today comes to Oakland this week: The Cookers, named after a 1965 Blue Note album. This is an all-star lineup of players who’ve straddled the avant-garde, like Billy Harper and Billy Hart, and even New Orleans music, like Donald Harrison. Which is to say they take the music in inspiring new directions every time they perform. I’ve seen them twice and they are simply an incomparable force. The Cookers play on Thursday, Feb. 20, at Yoshi’s in Oakland.—\u003cem>Gabe Meline\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 150,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 3
},
"modified": 1705021355,
"excerpt": "The Cookers take the music in inspiring new directions every time they perform.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The Cookers take the music in inspiring new directions every time they perform.",
"title": "The Best Hard Bop Supergroup Working Today | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "The Best Hard Bop Supergroup Working Today",
"datePublished": "2020-02-05T08:33:57-08:00",
"dateModified": "2024-01-11T17:02:35-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "the-best-hard-bop-supergroup-working-today",
"status": "publish",
"templateType": "event",
"venueName": "Yoshi's",
"featuredImageType": "standard",
"sticky": false,
"startTime": 1582250400,
"endTime": 1582268400,
"startTimeString": "Feb. 20, 2020",
"venueAddress": "510 Embarcadero West, Oakland",
"eventLink": "https://www.yoshis.com/e/the-cookers-67943580077/",
"path": "/arts/13874407/the-best-hard-bop-supergroup-working-today",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The golden age of Blue Note Records produced some of the most enduring jazz styles of the 20th century. Chief among them was a sound known as hard bop—an approach that took the innovations of Charlie Parker and Dizzy Gillespie and gave them a slower but more biting edge. One of the best groups performing this style today comes to Oakland this week: The Cookers, named after a 1965 Blue Note album. This is an all-star lineup of players who’ve straddled the avant-garde, like Billy Harper and Billy Hart, and even New Orleans music, like Donald Harrison. Which is to say they take the music in inspiring new directions every time they perform. I’ve seen them twice and they are simply an incomparable force. The Cookers play on Thursday, Feb. 20, at Yoshi’s in Oakland.—\u003cem>Gabe Meline\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13874407/the-best-hard-bop-supergroup-working-today",
"authors": [
"185"
],
"programs": [
"arts_140"
],
"categories": [
"arts_69"
],
"tags": [
"arts_1420",
"arts_1143",
"arts_4107"
],
"featImg": "arts_13874403",
"label": "arts_140"
},
"arts_13874404": {
"type": "posts",
"id": "arts_13874404",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13874404",
"score": null,
"sort": [
1580920051000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 140
},
"blocks": [],
"publishDate": 1580920051,
"format": "standard",
"title": "When Standup Comedy Meets Speed Metal",
"headTitle": "When Standup Comedy Meets Speed Metal | KQED",
"content": "\u003cp>A big part of stand-up comedy is about being misunderstood. And part of being misunderstood often means blasting heavy, fast, loud music. So while on the surface, a collaboration album between comedian Brian Posehn and Anthrax guitarist Scott Ian may sound bizarre, it’s really a natural fit. Posehn, raised in Sonoma, is standup comedy’s resident expert on all things metal, a diehard fan who still scours message boards and record stores to stay up on new metal bands. And Ian’s always had a smile and a laugh that’s a little rare among his colleagues in bands like Slayer or Megadeth. With both of them now over 50, they’ve called their album \u003cem>Grandpa Metal\u003c/em>. Posehn and Ian appear together in a free mini-concert and album signing on Thursday, Feb. 13, at Amoeba Music in San Francisco.—\u003cem>Gabe Meline\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 152,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 3
},
"modified": 1705021356,
"excerpt": "Brian Posehn and Scott Ian team up for a free show at Amoeba Music in San Francisco.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Brian Posehn and Scott Ian team up for a free show at Amoeba Music in San Francisco.",
"title": "When Standup Comedy Meets Speed Metal | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "When Standup Comedy Meets Speed Metal",
"datePublished": "2020-02-05T08:27:31-08:00",
"dateModified": "2024-01-11T17:02:36-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "when-standup-comedy-meets-speed-metal",
"status": "publish",
"templateType": "event",
"venueName": "Amoeba Music",
"featuredImageType": "standard",
"sticky": false,
"startTime": 1581591600,
"endTime": 1581667200,
"startTimeString": "Feb. 13, 2020",
"venueAddress": "1855 Haight St., San Francisco",
"eventLink": "https://www.amoeba.com/live-shows/upcoming/index.html",
"path": "/arts/13874404/when-standup-comedy-meets-speed-metal",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A big part of stand-up comedy is about being misunderstood. And part of being misunderstood often means blasting heavy, fast, loud music. So while on the surface, a collaboration album between comedian Brian Posehn and Anthrax guitarist Scott Ian may sound bizarre, it’s really a natural fit. Posehn, raised in Sonoma, is standup comedy’s resident expert on all things metal, a diehard fan who still scours message boards and record stores to stay up on new metal bands. And Ian’s always had a smile and a laugh that’s a little rare among his colleagues in bands like Slayer or Megadeth. With both of them now over 50, they’ve called their album \u003cem>Grandpa Metal\u003c/em>. Posehn and Ian appear together in a free mini-concert and album signing on Thursday, Feb. 13, at Amoeba Music in San Francisco.—\u003cem>Gabe Meline\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13874404/when-standup-comedy-meets-speed-metal",
"authors": [
"185"
],
"programs": [
"arts_140"
],
"categories": [
"arts_968",
"arts_69"
],
"tags": [
"arts_994",
"arts_1871"
],
"featImg": "arts_13874402",
"label": "arts_140"
},
"arts_13874322": {
"type": "posts",
"id": "arts_13874322",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13874322",
"score": null,
"sort": [
1580849383000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1580849383,
"format": "standard",
"title": "Andy Gill, Gang Of Four Guitarist Who Gave Punk Space and Groove, Dead at 64",
"headTitle": "Andy Gill, Gang Of Four Guitarist Who Gave Punk Space and Groove, Dead at 64 | KQED",
"content": "\u003cp>Andy Gill, a guitarist renowned for his sharp, inverted approach to the instrument who founded the post-punk group Gang Of Four and later became a respected producer, died in a London hospital Feb. 1 from a respiratory illness, the group announced \u003ca href=\"https://gangoffour.uk/post/190589274003/andy-gill\" target=\"_blank\" rel=\"noopener noreferrer\">in a statement\u003c/a>. He was 64.\u003c/p>\n\u003cp>As a co-founder of the implacably political Gang Of Four, which formed in Leeds in the late 1970s, Gill’s influence on the silhouette of rock and roll was deep and transformative; if the prevailing winds of style zigged, Gill and his co-founding bandmates—bassist Dave Allen, drummer Hugo Burnham and singer Jon King—could already be found zagging. “Instead of guitar solos, we had anti-solos, where you just stopped playing, left a hole,” Gill says in \u003cem>Rip It Up and Start Again\u003c/em>, a history of post-punk by Simon Reynolds.\u003c/p>\n\u003cp>On its canonical 1979 debut, \u003cem>Entertainment!\u003c/em>, Gang Of Four gave the frenzied sound of punk some breathing room; as Burnham and Allen provided the music’s danceable muscles, Gill’s staticky, stabbing lines—partially inspired by pub-rock group Dr. Feelgood and its guitarist, Wilko Johnson—were the tendons, anchoring and enabling. (Something was in the water in the north of England in 1979—just south of Gang Of Four’s birthplace, Joy Division was releasing its own, drastically different, expansion of punk’s signature squall.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=I_QJwR6D9d4\u003c/p>\n\u003cp>On the single “To Hell With Poverty!” released in 1981, a long, punitive screech from Gill becomes a slap-punch of a passage, before Allen and Burnham jump in at an oblique angle, shaping Gill’s tinny tizzy into a stomping boogie. The lyrics’ central couplet, “To hell with poverty / We’ll get drunk on cheap wine,” encapsulates the grain-of-salt political satire that animated and grounded the band.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Gang Of Four would release three more lauded albums—\u003cem>Solid Gold\u003c/em>, \u003cem>Songs of the Free\u003c/em> and \u003cem>Hard—\u003c/em>through the early ’80s. The quartet slowly shed its original lineup, with other musicians joining the core of Gill and King; following the ’83 release of \u003cem>Hard, \u003c/em>the group took an extended hiatus.\u003c/p>\n\u003cp>In 1984, Gill produced the self-titled debut album of the Red Hot Chili Peppers. Other notable production credits include the monumental self-titled return of Killing Joke in 2004, two recordings from another legendary post-punk group, The Jesus Lizard, and the posthumous solo album of INXS singer Michael Hutchence in 1999. Around that same time, groups like The Rapture began to emerge, faithfully reproducing and building on the tone and serration of the Gang’s early work.\u003c/p>\n\u003cp>As its influence persisted through the end of the 20th century and the start of the 21st, Gang of Four reunited intermittently, beginning in 1991 with the release of \u003cem>Mall\u003c/em> (featuring Gill and King). In 2004 the group’s original lineup came together to re-record earlier material and tour. Afterwards, Gill and singer Jon King released the album \u003cem>Content\u003c/em> in 2011. After King finally left the group , Gill—the only original member—continued to record and tour as Gang Of Four with new bandmates. In 2019, the group released a new album, \u003cem>Happy Now\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We’ll remember him for his kindness and generosity, his fearsome intelligence, bad jokes, mad stories and endless cups of Darjeeling tea,” the band wrote in its statement. “He just so happened to be a bit of a genius too.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Andy+Gill%2C+Gang+of+Four+Guitarist+Who+Gave+Punk+Space+And+Groove%2C+Dead+At+64&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 611,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 10
},
"modified": 1705021364,
"excerpt": "Gill and his bandmates rewrote the playbook for punk in 1979 with the release of 'Entertainment!'—incorporating new angles and room to breathe into the frenzied genre.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Gill and his bandmates rewrote the playbook for punk in 1979 with the release of 'Entertainment!'—incorporating new angles and room to breathe into the frenzied genre.",
"title": "Andy Gill, Gang Of Four Guitarist Who Gave Punk Space and Groove, Dead at 64 | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Andy Gill, Gang Of Four Guitarist Who Gave Punk Space and Groove, Dead at 64",
"datePublished": "2020-02-04T12:49:43-08:00",
"dateModified": "2024-01-11T17:02:44-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "andy-gill-gang-of-four-guitarist-who-gave-punk-space-and-groove-dead-at-64",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=802407363&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprStoryDate": "Tue, 04 Feb 2020 10:48:33 -0500",
"nprLastModifiedDate": "Tue, 04 Feb 2020 10:48:33 -0500",
"featuredImageType": "standard",
"nprHtmlLink": "https://www.npr.org/2020/02/04/802407363/andy-gill-gang-of-four-guitarist-who-gave-punk-space-and-groove-dead-at-64?ft=nprml&f=802407363",
"nprImageAgency": "Getty Images",
"nprStoryId": "802407363",
"nprByline": "Andrew Flanagan",
"sticky": false,
"nprImageCredit": "Frazer Harrison",
"nprRetrievedStory": "1",
"nprPubDate": "Tue, 04 Feb 2020 10:48:00 -0500",
"path": "/arts/13874322/andy-gill-gang-of-four-guitarist-who-gave-punk-space-and-groove-dead-at-64",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Andy Gill, a guitarist renowned for his sharp, inverted approach to the instrument who founded the post-punk group Gang Of Four and later became a respected producer, died in a London hospital Feb. 1 from a respiratory illness, the group announced \u003ca href=\"https://gangoffour.uk/post/190589274003/andy-gill\" target=\"_blank\" rel=\"noopener noreferrer\">in a statement\u003c/a>. He was 64.\u003c/p>\n\u003cp>As a co-founder of the implacably political Gang Of Four, which formed in Leeds in the late 1970s, Gill’s influence on the silhouette of rock and roll was deep and transformative; if the prevailing winds of style zigged, Gill and his co-founding bandmates—bassist Dave Allen, drummer Hugo Burnham and singer Jon King—could already be found zagging. “Instead of guitar solos, we had anti-solos, where you just stopped playing, left a hole,” Gill says in \u003cem>Rip It Up and Start Again\u003c/em>, a history of post-punk by Simon Reynolds.\u003c/p>\n\u003cp>On its canonical 1979 debut, \u003cem>Entertainment!\u003c/em>, Gang Of Four gave the frenzied sound of punk some breathing room; as Burnham and Allen provided the music’s danceable muscles, Gill’s staticky, stabbing lines—partially inspired by pub-rock group Dr. Feelgood and its guitarist, Wilko Johnson—were the tendons, anchoring and enabling. (Something was in the water in the north of England in 1979—just south of Gang Of Four’s birthplace, Joy Division was releasing its own, drastically different, expansion of punk’s signature squall.)\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/I_QJwR6D9d4'\n title='//www.youtube.com/embed/I_QJwR6D9d4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>On the single “To Hell With Poverty!” released in 1981, a long, punitive screech from Gill becomes a slap-punch of a passage, before Allen and Burnham jump in at an oblique angle, shaping Gill’s tinny tizzy into a stomping boogie. The lyrics’ central couplet, “To hell with poverty / We’ll get drunk on cheap wine,” encapsulates the grain-of-salt political satire that animated and grounded the band.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Gang Of Four would release three more lauded albums—\u003cem>Solid Gold\u003c/em>, \u003cem>Songs of the Free\u003c/em> and \u003cem>Hard—\u003c/em>through the early ’80s. The quartet slowly shed its original lineup, with other musicians joining the core of Gill and King; following the ’83 release of \u003cem>Hard, \u003c/em>the group took an extended hiatus.\u003c/p>\n\u003cp>In 1984, Gill produced the self-titled debut album of the Red Hot Chili Peppers. Other notable production credits include the monumental self-titled return of Killing Joke in 2004, two recordings from another legendary post-punk group, The Jesus Lizard, and the posthumous solo album of INXS singer Michael Hutchence in 1999. Around that same time, groups like The Rapture began to emerge, faithfully reproducing and building on the tone and serration of the Gang’s early work.\u003c/p>\n\u003cp>As its influence persisted through the end of the 20th century and the start of the 21st, Gang of Four reunited intermittently, beginning in 1991 with the release of \u003cem>Mall\u003c/em> (featuring Gill and King). In 2004 the group’s original lineup came together to re-record earlier material and tour. Afterwards, Gill and singer Jon King released the album \u003cem>Content\u003c/em> in 2011. After King finally left the group , Gill—the only original member—continued to record and tour as Gang Of Four with new bandmates. In 2019, the group released a new album, \u003cem>Happy Now\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We’ll remember him for his kindness and generosity, his fearsome intelligence, bad jokes, mad stories and endless cups of Darjeeling tea,” the band wrote in its statement. “He just so happened to be a bit of a genius too.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Andy+Gill%2C+Gang+of+Four+Guitarist+Who+Gave+Punk+Space+And+Groove%2C+Dead+At+64&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13874322/andy-gill-gang-of-four-guitarist-who-gave-punk-space-and-groove-dead-at-64",
"authors": [
"byline_arts_13874322"
],
"categories": [
"arts_69",
"arts_1564"
],
"tags": [
"arts_913"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13874323",
"label": "arts_137"
},
"arts_13874024": {
"type": "posts",
"id": "arts_13874024",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13874024",
"score": null,
"sort": [
1580572802000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1580572802,
"format": "standard",
"title": "Five Years After His Death, The Jacka's Collaborators Remember His Complex Legacy",
"headTitle": "Five Years After His Death, The Jacka’s Collaborators Remember His Complex Legacy | KQED",
"content": "\u003cp>In the weeks before his untimely passing in 2015, the Jacka was in a fluid, focused creative mode that his longtime collaborator RobLo can only describe as “God flow.”\u003c/p>\n\u003cp>“Whatever Jack went through that day prior to his session with me, he lived that life and put it in his lyrics that day,” says the producer. “As fast as I came up with the music on the spot, he wanted to deliver the lyrics. We called that real-time writing. … I wanted him to express his feelings on the mic without having to use a pen.” [aside postid='arts_13874104']\u003c/p>\n\u003cp>Just days before the Jacka’s life was taken in an East Oakland shooting on Feb. 2 of that year, he, RobLo and another of the Jacka’s longtime collaborators, Husalah, had made a music video in Oakland for a new track called “Sink Deep Into It” with Houston rap legend Paul Wall. Over celestial synths that shine like sunbeams through the bass-heavy beat, the Jacka raps about his life’s suffocating pressures in half-whispered bars. The track is emblematic of the pensive style that made him one of the Bay Area’s most beloved lyricists.\u003c/p>\n\u003cp>The Jacka is most closely associated with Bay Area mobb music, a street rap movement that percolated in the late ’80s and early ’90s as gangster rap took off in Los Angeles. In the late ’90s, the Jacka was a young artist picking up the mantle, and he joined the group Mob Figaz under the mentorship of Sacramento’s C-Bo, a pioneering gangster rapper who had collaborated with Tupac on the album \u003cem> All Eyez on Me\u003c/em>.\u003c/p>\n\u003cp>In the West Coast street rap scene, the Jacka stood out. He didn’t have a flamboyant persona like the Bay Area’s elder statesmen, E-40 and Too $hort; nor was his flow aggressive or gravelly like peers Keak Da Sneak and J. Stalin. Instead, with a melancholic timbre and lush, heartrending instrumentals, his music made space for sadness amid realist dispatches from the East Bay’s criminal underworld. With his lyrics, he embraced life’s gray areas, and gave voice to the moral quandaries in which he found himself while trying to follow a spiritual path and also do what it took to survive.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://youtu.be/43i2pc9pJa8\u003c/p>\n\u003ch2>An Unreleased ‘Full Body of Work’\u003c/h2>\n\u003cp>“He wanted touch people [who were] like him,” says the Jacka’s longtime manager, PK. PK became part of the rapper’s inner circle when the two met as teenagers. The Jacka used to cut PK’s hair, and they maintained a close relationship until the Jacka’s last days.\u003c/p>\n\u003cp>“Those are people who are in the struggle,” PK continues. “Those are people who are lost. Those are people who don’t know who they are, where they come from, don’t have money, haven’t figured it out, are in jail, are in the streets, are in a life of crime, don’t know their mother, don’t know their father, weren’t raised in a proper home. … All that. He had a lot of experiences of those things.”\u003c/p>\n\u003cp>Since the Jacka’s death, PK has spent the past five years collecting unreleased tracks he recorded at studios in Oakland, Richmond, Seattle and Miami. He’s spent countless hours listening to the music, hammering out details with the Jacka’s numerous collaborators and making executive decisions based on the many days he spent by the Jacka’s side as an executive producer and A&R consultant. The culmination is a long-awaited forthcoming album called \u003cem>Murder Weapon\u003c/em>.\u003c/p>\n\u003cp>“It’s as close to what I could present to the world as something he would’ve done,” says PK, adding that he helped the Jacka choose beats and features for career-defining albums like 2005’s \u003cem>The Jack Artist\u003c/em> and 2009’s \u003cem>Tear Gas\u003c/em>. “I had to add some features, or some of the beats were a little messed up and they had to be finished or polished up. … This was a full body of work from him that’s like, this is how he would’ve wanted it to be.”\u003c/p>\n\u003cp>\u003cem>Murder Weapon \u003c/em>includes features from rap heavyweights like Freddie Gibbs, Paul Wall and Currensy, along with the Jacka’s longtime East Bay collaborators Husalah, Fed-X, Rydah J. Klyde, Dubb 20 and Street Knowledge, among others. Infused with the Jacka’s Muslim spiritual beliefs and political consciousness, at times the album feels eerily prophetic: on one track, he muses, “I won’t be here forever, better cherish me.”\u003c/p>\n\u003cp>The songs on \u003cem>Murder Weapon\u003c/em> shed light on the Jacka’s mental state in the years before his death, when he became increasingly interested in esoteric knowledge that sometimes bordered on conspiratorial thinking. He’d spend hours each day on YouTube, PK recalls, watching documentaries about aliens and ancient civilizations.\u003c/p>\n\u003cp>“He’s in a room, he has a bunch of people over, he’s on YouTube, he’s playing stuff, everyone’s entertained by it,” PK says, describing a typical scene. “But what’s going on in his head is he’s downloading and learning and downloading and learning, practicing. … It’s content for raps and for life.”\u003c/p>\n\u003cfigure id=\"attachment_13874186\" class=\"wp-caption aligncenter\" style=\"max-width: 747px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13874186\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/the-jacka-roblo2.jpg\" alt=\"The Jacka with producer RobLo circa 2010.\" width=\"747\" height=\"687\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/the-jacka-roblo2.jpg 747w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/the-jacka-roblo2-160x147.jpg 160w\" sizes=\"(max-width: 747px) 100vw, 747px\">\u003cfigcaption class=\"wp-caption-text\">The Jacka with producer RobLo, circa 2010. \u003ccite>(Courtesy of RobLo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Forging a Brotherhood\u003c/h2>\n\u003cp>The Jacka was known as a street rapper first and foremost, yet his voraciousness for new information guided his creative process in expansive directions. One of his last albums, 2014’s \u003ca href=\"https://soundcloud.com/project-groundation/sets/the-jacka-what-happened-to-the-world-street-album-mixed-by-dj-child\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>What Happened to the World\u003c/em>\u003c/a>, features soundbites from news clips about Occupy Oakland and the police killing of Oscar Grant.\u003c/p>\n\u003cp>“A lot of the later music is jewels, and that’s why people loved Jack,” says Husalah. “It was knowledge, it was wisdom and understanding. It was every different type of upliftment for the people, because once you’re a street person you can’t abandon that. … In Islam it’s called giving \u003cem>Dawah\u003c/em>, or teaching.”\u003c/p>\n\u003cp>Husalah met the Jacka when the two were young teens in Pittsburg, the Contra Costa County suburb 30 miles east of Oakland. Husalah grew up in Pittsburg’s El Pueblo projects. The Jacka, whose parents were only 14 years old when he was born in Arizona, spent his early years moving between Los Angeles, Stockton, Oakland and Richmond. By the end of his middle school years, his family settled down in Pittsburg, a town that to this day claims him as one of its biggest cultural icons.\u003c/p>\n\u003cp>The Jacka and Husalah clicked instantly over their shared love of sports and music, and their friendship always had an element of brotherly competition. They followed similar paths: both practiced Islam, and both got involved in illegal street activities from a young age. Starting in middle school, they began recording their first raps at RobLo’s house, where they had access to professional equipment because RobLo’s father worked in the music industry.\u003c/p>\n\u003cp>“We developed a friendship, a brotherhood,” Husalah says. “Through each stage of life, we found ourselves around each other.”\u003c/p>\n\u003cfigure id=\"attachment_13874185\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13874185\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/husalah-pk-street-knowledge-800x533.jpg\" alt=\"The Jacka's longtime collaborators Husalah (left) and Street Knowledge (center) with his manager, PK (right).\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/husalah-pk-street-knowledge-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/husalah-pk-street-knowledge-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/husalah-pk-street-knowledge-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/husalah-pk-street-knowledge-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/husalah-pk-street-knowledge-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/husalah-pk-street-knowledge.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) The Jacka’s longtime collaborators Husalah and Street Knowledge, and his manager, PK. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>An Expansive Creative Vision\u003c/h2>\n\u003cp>The Jacka and Husalah idolized C-Bo and Tupac, but their influences came from other unexpected places: they loved reggae and dancehall, and studied tapes by Sizzla and Yellowman. British trip-hop band Portishead was in heavy rotation, and, surprisingly, the Jacka was a big fan of pop-punk teen idol Avril Lavigne, Husalah remembers.\u003c/p>\n\u003cp>“We thought more on a broad perspective as far as creating and being dope,” Husalah says. “It led us to so many different genres of music and understanding how dope people were in different cultures.”\u003c/p>\n\u003cp>Along with Husalah and the Jacka, Mob Figaz also included FedX, Rydah J. Klyde and AP.9. After the release of \u003cem>C-Bo’s Mob Figaz\u003c/em> in 1999, the crew never officially split. But momentum slowed on their work as a unit because someone in the group would always be in some kind of legal trouble, Husalah recalls, including the Jacka, who spent time behind bars prior to the debut album’s release.\u003c/p>\n\u003cp>Meanwhile, C-Bo was arrested for parole violations \u003ca href=\"http://www.mtv.com/news/3531/rapper-c-bo-claims-first-amendment-victory/\" target=\"_blank\" rel=\"noopener noreferrer\">because of lyrics\u003c/a> from his 1998 album \u003cem>Til My Casket Drops\u003c/em>, prompting outcries from civil rights groups and free speech advocates. Following the 2 Live Crew’s \u003ca href=\"https://www.nytimes.com/1990/10/17/us/obscenity-or-art-trial-on-rap-lyrics-opens.html\" target=\"_blank\" rel=\"noopener noreferrer\">obscenity trial\u003c/a> and Newt Gingrich’s \u003ca href=\"https://www.spin.com/2013/08/the-worst-moments-of-the-90s-worst-band-names-worst-lyrics-worst-video/130809-worst-of-the-90s-c-delores/\" target=\"_blank\" rel=\"noopener noreferrer\">campaign\u003c/a> to pull advertising from hip-hop radio stations, the ordeal was just one of the many ways rap was politicized and censored in the ’90s.\u003c/p>\n\u003cp>As solo artists, the members of Mob Figaz remained close collaborators, and the Jacka and Husalah’s friendship endured when Husalah went to prison for drug trafficking between 2005 and 2009. “He took the music when I was in prison to a level I never realized,” Husalah says, recalling that he was released around the time that the Jacka’s biggest commercial hit, “Glamorous Lifestyle,” was in heavy rotation on the radio.\u003c/p>\n\u003cp>When Husalah came home, the Jacka brought him back into the fold. “We never really relied on music as our income, we didn’t do music for money,” he says. “But when I went to prison, he made it lucrative.”\u003c/p>\n\u003cp>https://youtu.be/bPbgNHDpgAY\u003c/p>\n\u003ch2>Passing Down the Wisdom\u003c/h2>\n\u003cp>The Jacka’s mainstream buzz quieted down in the years after \u003cem>Tear Gas\u003c/em>, but in the last years of his life, he continued to feed music to his loyal followings in the Bay Area and other regional markets with appreciations for underground rap. In addition to spending a lot of time recording in Seattle, he put out a joint album with Pennsylvania rapper Freeway, \u003cem>Highway Robbery\u003c/em>, and recorded \u003cem>Devilz Rejectz 3\u003c/em> with Akron, Ohio’s Ampichino. (\u003cem>Devilz Rejectz 3\u003c/em> came out posthumously, in 2018).\u003c/p>\n\u003cp>Known for his quiet, tough and generous personality, the Jacka spent his later years mentoring many aspiring rappers. Oakland artist Street Knowledge, who was just starting his music career in the late 2000s, remembers living at the Jacka’s house in Oakland with at least 10 other guys. The house was like a training ground to see who was serious enough to sign to the Jacka’s label, The Artist Records. “He was everybody’s mentor, not just me,” Street Knowledge says, adding that few rappers made the cut. “It’s just a matter of if you was gonna listen to him. He would tell you a bunch of shit you don’t wanna hear, but you need to.”\u003c/p>\n\u003cp>Yet there were times when the Jacka became frustrated with his career. In 2014, after the release of \u003cem>What Happened to the World\u003c/em>, \u003ca href=\"https://pitchfork.com/reviews/albums/20045-what-happened-to-the-world/\" target=\"_blank\" rel=\"noopener noreferrer\">Pitchfork\u003c/a> called the Jacka “one of the decade’s strongest writers—both within and outside of hip-hop.” But PK remembers him feeling like he hit a ceiling within the industry.\u003c/p>\n\u003cp>“He put out really good music and he gave his all. And when I say his all, I don’t just mean the energy with creating the records, but the sacrifices with his family, whether it was his kids, his mother, his sister, just not being around,” PK says. “Or himself—sacrificing himself and not doing certain things.”\u003c/p>\n\u003cfigure id=\"attachment_13854053\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13854053\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/04/13-800x771.png\" alt=\"The Jacka and Nipsey, both on stage in Heaven now\" width=\"800\" height=\"771\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/13-800x771.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/13-160x154.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/13-768x741.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/13-1020x984.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/13-32x32.png 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/13.png 1091w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Jacka and Nipsey Hussle perform at the New Parish in Oakland. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And then there were the Jacka’s struggles with addiction. He had kicked a heroin habit he acquired as a teenager, but towards the end of his life, he became a regular user of lean, or the opioid codeine. “I know those things had a pretty serious grip on him,” PK says, adding that the Jacka didn’t open up to him about it much. “He had a very strong personality. He wasn’t the one to really ask for a lot of help.”\u003c/p>\n\u003cp>Still, despite his personal battles, the Jacka remained an inspiration and a mentor to many. RobLo thinks of him as a spiritual leader. “He got me and my friends, I mean all 20 of us, to go hop in the van and go to the mosque,” he recalls. “A friend that gets you closer to God is a friend worth having.”\u003c/p>\n\u003cp>To this day, the Jacka’s murder remains unsolved. But through the artists he inspired and the music that he made, his presence continues to be deeply felt in the Bay Area and beyond.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“We’re keeping it lit for him,” Husalah says, “living in his example.”\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 2213,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 33
},
"modified": 1705021375,
"excerpt": "The beloved rap lyricist wrote songs that made space for sadness, and embraced life's moral quandaries and gray areas.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The beloved rap lyricist wrote songs that made space for sadness, and embraced life's moral quandaries and gray areas.",
"title": "Five Years After His Death, The Jacka's Collaborators Remember His Complex Legacy | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Five Years After His Death, The Jacka's Collaborators Remember His Complex Legacy",
"datePublished": "2020-02-01T08:00:02-08:00",
"dateModified": "2024-01-11T17:02:55-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "five-years-after-his-death-the-jackas-collaborators-remember-his-complex-legacy",
"status": "publish",
"templateType": "standard",
"featuredImageType": "standard",
"sticky": false,
"path": "/arts/13874024/five-years-after-his-death-the-jackas-collaborators-remember-his-complex-legacy",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the weeks before his untimely passing in 2015, the Jacka was in a fluid, focused creative mode that his longtime collaborator RobLo can only describe as “God flow.”\u003c/p>\n\u003cp>“Whatever Jack went through that day prior to his session with me, he lived that life and put it in his lyrics that day,” says the producer. “As fast as I came up with the music on the spot, he wanted to deliver the lyrics. We called that real-time writing. … I wanted him to express his feelings on the mic without having to use a pen.” \u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13874104",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Just days before the Jacka’s life was taken in an East Oakland shooting on Feb. 2 of that year, he, RobLo and another of the Jacka’s longtime collaborators, Husalah, had made a music video in Oakland for a new track called “Sink Deep Into It” with Houston rap legend Paul Wall. Over celestial synths that shine like sunbeams through the bass-heavy beat, the Jacka raps about his life’s suffocating pressures in half-whispered bars. The track is emblematic of the pensive style that made him one of the Bay Area’s most beloved lyricists.\u003c/p>\n\u003cp>The Jacka is most closely associated with Bay Area mobb music, a street rap movement that percolated in the late ’80s and early ’90s as gangster rap took off in Los Angeles. In the late ’90s, the Jacka was a young artist picking up the mantle, and he joined the group Mob Figaz under the mentorship of Sacramento’s C-Bo, a pioneering gangster rapper who had collaborated with Tupac on the album \u003cem> All Eyez on Me\u003c/em>.\u003c/p>\n\u003cp>In the West Coast street rap scene, the Jacka stood out. He didn’t have a flamboyant persona like the Bay Area’s elder statesmen, E-40 and Too $hort; nor was his flow aggressive or gravelly like peers Keak Da Sneak and J. Stalin. Instead, with a melancholic timbre and lush, heartrending instrumentals, his music made space for sadness amid realist dispatches from the East Bay’s criminal underworld. With his lyrics, he embraced life’s gray areas, and gave voice to the moral quandaries in which he found himself while trying to follow a spiritual path and also do what it took to survive.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/43i2pc9pJa8'\n title='//www.youtube.com/embed/43i2pc9pJa8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>An Unreleased ‘Full Body of Work’\u003c/h2>\n\u003cp>“He wanted touch people [who were] like him,” says the Jacka’s longtime manager, PK. PK became part of the rapper’s inner circle when the two met as teenagers. The Jacka used to cut PK’s hair, and they maintained a close relationship until the Jacka’s last days.\u003c/p>\n\u003cp>“Those are people who are in the struggle,” PK continues. “Those are people who are lost. Those are people who don’t know who they are, where they come from, don’t have money, haven’t figured it out, are in jail, are in the streets, are in a life of crime, don’t know their mother, don’t know their father, weren’t raised in a proper home. … All that. He had a lot of experiences of those things.”\u003c/p>\n\u003cp>Since the Jacka’s death, PK has spent the past five years collecting unreleased tracks he recorded at studios in Oakland, Richmond, Seattle and Miami. He’s spent countless hours listening to the music, hammering out details with the Jacka’s numerous collaborators and making executive decisions based on the many days he spent by the Jacka’s side as an executive producer and A&R consultant. The culmination is a long-awaited forthcoming album called \u003cem>Murder Weapon\u003c/em>.\u003c/p>\n\u003cp>“It’s as close to what I could present to the world as something he would’ve done,” says PK, adding that he helped the Jacka choose beats and features for career-defining albums like 2005’s \u003cem>The Jack Artist\u003c/em> and 2009’s \u003cem>Tear Gas\u003c/em>. “I had to add some features, or some of the beats were a little messed up and they had to be finished or polished up. … This was a full body of work from him that’s like, this is how he would’ve wanted it to be.”\u003c/p>\n\u003cp>\u003cem>Murder Weapon \u003c/em>includes features from rap heavyweights like Freddie Gibbs, Paul Wall and Currensy, along with the Jacka’s longtime East Bay collaborators Husalah, Fed-X, Rydah J. Klyde, Dubb 20 and Street Knowledge, among others. Infused with the Jacka’s Muslim spiritual beliefs and political consciousness, at times the album feels eerily prophetic: on one track, he muses, “I won’t be here forever, better cherish me.”\u003c/p>\n\u003cp>The songs on \u003cem>Murder Weapon\u003c/em> shed light on the Jacka’s mental state in the years before his death, when he became increasingly interested in esoteric knowledge that sometimes bordered on conspiratorial thinking. He’d spend hours each day on YouTube, PK recalls, watching documentaries about aliens and ancient civilizations.\u003c/p>\n\u003cp>“He’s in a room, he has a bunch of people over, he’s on YouTube, he’s playing stuff, everyone’s entertained by it,” PK says, describing a typical scene. “But what’s going on in his head is he’s downloading and learning and downloading and learning, practicing. … It’s content for raps and for life.”\u003c/p>\n\u003cfigure id=\"attachment_13874186\" class=\"wp-caption aligncenter\" style=\"max-width: 747px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13874186\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/the-jacka-roblo2.jpg\" alt=\"The Jacka with producer RobLo circa 2010.\" width=\"747\" height=\"687\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/the-jacka-roblo2.jpg 747w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/the-jacka-roblo2-160x147.jpg 160w\" sizes=\"(max-width: 747px) 100vw, 747px\">\u003cfigcaption class=\"wp-caption-text\">The Jacka with producer RobLo, circa 2010. \u003ccite>(Courtesy of RobLo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Forging a Brotherhood\u003c/h2>\n\u003cp>The Jacka was known as a street rapper first and foremost, yet his voraciousness for new information guided his creative process in expansive directions. One of his last albums, 2014’s \u003ca href=\"https://soundcloud.com/project-groundation/sets/the-jacka-what-happened-to-the-world-street-album-mixed-by-dj-child\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>What Happened to the World\u003c/em>\u003c/a>, features soundbites from news clips about Occupy Oakland and the police killing of Oscar Grant.\u003c/p>\n\u003cp>“A lot of the later music is jewels, and that’s why people loved Jack,” says Husalah. “It was knowledge, it was wisdom and understanding. It was every different type of upliftment for the people, because once you’re a street person you can’t abandon that. … In Islam it’s called giving \u003cem>Dawah\u003c/em>, or teaching.”\u003c/p>\n\u003cp>Husalah met the Jacka when the two were young teens in Pittsburg, the Contra Costa County suburb 30 miles east of Oakland. Husalah grew up in Pittsburg’s El Pueblo projects. The Jacka, whose parents were only 14 years old when he was born in Arizona, spent his early years moving between Los Angeles, Stockton, Oakland and Richmond. By the end of his middle school years, his family settled down in Pittsburg, a town that to this day claims him as one of its biggest cultural icons.\u003c/p>\n\u003cp>The Jacka and Husalah clicked instantly over their shared love of sports and music, and their friendship always had an element of brotherly competition. They followed similar paths: both practiced Islam, and both got involved in illegal street activities from a young age. Starting in middle school, they began recording their first raps at RobLo’s house, where they had access to professional equipment because RobLo’s father worked in the music industry.\u003c/p>\n\u003cp>“We developed a friendship, a brotherhood,” Husalah says. “Through each stage of life, we found ourselves around each other.”\u003c/p>\n\u003cfigure id=\"attachment_13874185\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13874185\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/husalah-pk-street-knowledge-800x533.jpg\" alt=\"The Jacka's longtime collaborators Husalah (left) and Street Knowledge (center) with his manager, PK (right).\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/husalah-pk-street-knowledge-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/husalah-pk-street-knowledge-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/husalah-pk-street-knowledge-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/husalah-pk-street-knowledge-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/husalah-pk-street-knowledge-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/husalah-pk-street-knowledge.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) The Jacka’s longtime collaborators Husalah and Street Knowledge, and his manager, PK. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>An Expansive Creative Vision\u003c/h2>\n\u003cp>The Jacka and Husalah idolized C-Bo and Tupac, but their influences came from other unexpected places: they loved reggae and dancehall, and studied tapes by Sizzla and Yellowman. British trip-hop band Portishead was in heavy rotation, and, surprisingly, the Jacka was a big fan of pop-punk teen idol Avril Lavigne, Husalah remembers.\u003c/p>\n\u003cp>“We thought more on a broad perspective as far as creating and being dope,” Husalah says. “It led us to so many different genres of music and understanding how dope people were in different cultures.”\u003c/p>\n\u003cp>Along with Husalah and the Jacka, Mob Figaz also included FedX, Rydah J. Klyde and AP.9. After the release of \u003cem>C-Bo’s Mob Figaz\u003c/em> in 1999, the crew never officially split. But momentum slowed on their work as a unit because someone in the group would always be in some kind of legal trouble, Husalah recalls, including the Jacka, who spent time behind bars prior to the debut album’s release.\u003c/p>\n\u003cp>Meanwhile, C-Bo was arrested for parole violations \u003ca href=\"http://www.mtv.com/news/3531/rapper-c-bo-claims-first-amendment-victory/\" target=\"_blank\" rel=\"noopener noreferrer\">because of lyrics\u003c/a> from his 1998 album \u003cem>Til My Casket Drops\u003c/em>, prompting outcries from civil rights groups and free speech advocates. Following the 2 Live Crew’s \u003ca href=\"https://www.nytimes.com/1990/10/17/us/obscenity-or-art-trial-on-rap-lyrics-opens.html\" target=\"_blank\" rel=\"noopener noreferrer\">obscenity trial\u003c/a> and Newt Gingrich’s \u003ca href=\"https://www.spin.com/2013/08/the-worst-moments-of-the-90s-worst-band-names-worst-lyrics-worst-video/130809-worst-of-the-90s-c-delores/\" target=\"_blank\" rel=\"noopener noreferrer\">campaign\u003c/a> to pull advertising from hip-hop radio stations, the ordeal was just one of the many ways rap was politicized and censored in the ’90s.\u003c/p>\n\u003cp>As solo artists, the members of Mob Figaz remained close collaborators, and the Jacka and Husalah’s friendship endured when Husalah went to prison for drug trafficking between 2005 and 2009. “He took the music when I was in prison to a level I never realized,” Husalah says, recalling that he was released around the time that the Jacka’s biggest commercial hit, “Glamorous Lifestyle,” was in heavy rotation on the radio.\u003c/p>\n\u003cp>When Husalah came home, the Jacka brought him back into the fold. “We never really relied on music as our income, we didn’t do music for money,” he says. “But when I went to prison, he made it lucrative.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/bPbgNHDpgAY'\n title='//www.youtube.com/embed/bPbgNHDpgAY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>Passing Down the Wisdom\u003c/h2>\n\u003cp>The Jacka’s mainstream buzz quieted down in the years after \u003cem>Tear Gas\u003c/em>, but in the last years of his life, he continued to feed music to his loyal followings in the Bay Area and other regional markets with appreciations for underground rap. In addition to spending a lot of time recording in Seattle, he put out a joint album with Pennsylvania rapper Freeway, \u003cem>Highway Robbery\u003c/em>, and recorded \u003cem>Devilz Rejectz 3\u003c/em> with Akron, Ohio’s Ampichino. (\u003cem>Devilz Rejectz 3\u003c/em> came out posthumously, in 2018).\u003c/p>\n\u003cp>Known for his quiet, tough and generous personality, the Jacka spent his later years mentoring many aspiring rappers. Oakland artist Street Knowledge, who was just starting his music career in the late 2000s, remembers living at the Jacka’s house in Oakland with at least 10 other guys. The house was like a training ground to see who was serious enough to sign to the Jacka’s label, The Artist Records. “He was everybody’s mentor, not just me,” Street Knowledge says, adding that few rappers made the cut. “It’s just a matter of if you was gonna listen to him. He would tell you a bunch of shit you don’t wanna hear, but you need to.”\u003c/p>\n\u003cp>Yet there were times when the Jacka became frustrated with his career. In 2014, after the release of \u003cem>What Happened to the World\u003c/em>, \u003ca href=\"https://pitchfork.com/reviews/albums/20045-what-happened-to-the-world/\" target=\"_blank\" rel=\"noopener noreferrer\">Pitchfork\u003c/a> called the Jacka “one of the decade’s strongest writers—both within and outside of hip-hop.” But PK remembers him feeling like he hit a ceiling within the industry.\u003c/p>\n\u003cp>“He put out really good music and he gave his all. And when I say his all, I don’t just mean the energy with creating the records, but the sacrifices with his family, whether it was his kids, his mother, his sister, just not being around,” PK says. “Or himself—sacrificing himself and not doing certain things.”\u003c/p>\n\u003cfigure id=\"attachment_13854053\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13854053\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/04/13-800x771.png\" alt=\"The Jacka and Nipsey, both on stage in Heaven now\" width=\"800\" height=\"771\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/13-800x771.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/13-160x154.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/13-768x741.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/13-1020x984.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/13-32x32.png 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/13.png 1091w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Jacka and Nipsey Hussle perform at the New Parish in Oakland. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And then there were the Jacka’s struggles with addiction. He had kicked a heroin habit he acquired as a teenager, but towards the end of his life, he became a regular user of lean, or the opioid codeine. “I know those things had a pretty serious grip on him,” PK says, adding that the Jacka didn’t open up to him about it much. “He had a very strong personality. He wasn’t the one to really ask for a lot of help.”\u003c/p>\n\u003cp>Still, despite his personal battles, the Jacka remained an inspiration and a mentor to many. RobLo thinks of him as a spiritual leader. “He got me and my friends, I mean all 20 of us, to go hop in the van and go to the mosque,” he recalls. “A friend that gets you closer to God is a friend worth having.”\u003c/p>\n\u003cp>To this day, the Jacka’s murder remains unsolved. But through the artists he inspired and the music that he made, his presence continues to be deeply felt in the Bay Area and beyond.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We’re keeping it lit for him,” Husalah says, “living in his example.”\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13874024/five-years-after-his-death-the-jackas-collaborators-remember-his-complex-legacy",
"authors": [
"11387"
],
"categories": [
"arts_69",
"arts_235"
],
"tags": [
"arts_5397",
"arts_9850",
"arts_1118",
"arts_831",
"arts_9847"
],
"featImg": "arts_13874187",
"label": "arts"
},
"arts_13874146": {
"type": "posts",
"id": "arts_13874146",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13874146",
"score": null,
"sort": [
1580566536000
]
},
"guestAuthors": [],
"slug": "violins-of-hope-survived-the-holocaust-now-they-tour-the-bay-area",
"title": "‘Violins of Hope’ Survived the Holocaust, Now They Tour the Bay Area",
"publishDate": 1580566536,
"format": "standard",
"headTitle": "‘Violins of Hope’ Survived the Holocaust, Now They Tour the Bay Area | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>Ask a musician: every instrument has a story behind it. Who played it, where, why and how. One father and son team in Israel has built a collection of 87 violins (and counting) that survived the Holocaust. Now they’re in the San Francisco Bay Area through mid-March, sharing those violins and their stories.\u003c/p>\n\u003cp>Most of the violins have been restored: revarnished, restrung, the bridge, chin rest and other parts replaced. But some have been left untouched, so you can see they’ve been to hell and back, literally. Violins are light enough to carry, even on a death march; valuable enough to bury in the backyard, or sell, if you’re starving.\u003c/p>\n\u003cp>Many musicians in the concentration camps could lengthen their lives by playing in orchestras there, because many Nazis liked to listen to classical music and forced their prisoners to entertain them. A surprising number of violins survived the Holocaust, even though their owners didn’t.\u003c/p>\n\u003cp>Tel Aviv luthier Amnon Weinstein, himself a son of Holocaust survivors from Lithuania, began collecting these violins after another Holocaust survivor brought him one to restore. When Weinstein opened up the man’s violin, he found ashes inside from the concentration camp the man had once played in.\u003c/p>\n\u003cp>Initially appalled, Weinsten began to lovingly restore them as vehicles for the transmission of history. His collection expanded on that of his father’s, who held on to instruments other Holocaust survivors were desperate to discard as they sloughed off all things German to start life anew in Israel.\u003c/p>\n\u003cfigure id=\"attachment_13874165\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13874165\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/RS40988_Music-at-Kohl-Amnon-Weinstein-working-on-Violins-of-Hope-photo-courtesy-Amnon-Weinstein-qut.jpg\" alt=\"Amnon Weinstein repairing a violin in his Tel Aviv workshop.\" width=\"1024\" height=\"683\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/RS40988_Music-at-Kohl-Amnon-Weinstein-working-on-Violins-of-Hope-photo-courtesy-Amnon-Weinstein-qut.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/RS40988_Music-at-Kohl-Amnon-Weinstein-working-on-Violins-of-Hope-photo-courtesy-Amnon-Weinstein-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/RS40988_Music-at-Kohl-Amnon-Weinstein-working-on-Violins-of-Hope-photo-courtesy-Amnon-Weinstein-qut-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/RS40988_Music-at-Kohl-Amnon-Weinstein-working-on-Violins-of-Hope-photo-courtesy-Amnon-Weinstein-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/RS40988_Music-at-Kohl-Amnon-Weinstein-working-on-Violins-of-Hope-photo-courtesy-Amnon-Weinstein-qut-1020x680.jpg 1020w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Amnon Weinstein repairing a violin in his Tel Aviv workshop. \u003ccite>(Courtesy of Amnon Weinstein)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Weinstein’s son Avshalom inherited his father’s love of violin-making, as well as his passion for keeping the memory of the Holocaust alive as the world’s collective memory of it fades with passing of the last generation of survivors. “There was music everywhere. Every camp had at least one orchestra,” he said.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Now they have 87 violins, a viola and a cello. That may seem like a lot, but consider that almost every Jewish household in Europe owned one or more violin before World War II. Each violin has a story, though not all the violins come with family members who know of it. Sometimes, the story is one of resilience and survival against the odds. Sometimes, the story is one of inevitable tragedy.\u003c/p>\n\u003cp>When the Weinsteins don’t know who the violin belonged to, they name it after a survivor they do know. One restored violin is named, for instance after Amnon’s wife’s grandfather, one of the three brothers who formed the Bielski brigade in Belarus who inspired the movie \u003ca href=\"https://www.youtube.com/watch?v=yw6Rwum7zcU\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Defiance\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>Father and son began touring in 2008, combining stories they know of with performances by local musicians. Both Weinsteins feel these violins must be played, not just put on display.\u003c/p>\n\u003cp>So it was this past week at \u003ca href=\"https://www.numulosgatos.org/exhibitions-2/voh\" target=\"_blank\" rel=\"noopener noreferrer\">New Museum Los Gatos\u003c/a>, that violinist \u003ca href=\"https://hannahtarley.weebly.com\" target=\"_blank\" rel=\"noopener noreferrer\">Hannah Tarley\u003c/a>, whose ancestors hailed from Belarus, picked up one of these surviving violins to play a Yiddish song from the 19th century called \u003cem>Oyfn Pripetshik\u003c/em>. It’s considered one of the most poignant musical memories of pre-holocaust Europe.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/752423227″ params=”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true&visual=true” width=”100%” height=”300″ iframe=”true” /]\u003c/p>\n\u003cp>As Tarley played before an audience full of members of \u003ca href=\"https://www.shirhadash.org\" target=\"_blank\" rel=\"noopener noreferrer\">Congregation Shir Hadash\u003c/a> in Los Gatos, many of them began to hum along, haunting proof of the way music has the capacity to survive the loss of so much cultural memory.\u003c/p>\n\u003cp>The lyrics of the fourth stanza reference the long history of persecution of Jews in Europe, but today, they eerily seem to prophesy worse horrors to come:\u003c/p>\n\u003cp>\u003cem>Ir vet, kinder, elter vern,\u003c/em>\u003cbr>\n\u003cem>Vet ir aleyn farshteyn,\u003c/em>\u003cbr>\n\u003cem>Vifl in di oysyes lign trern,\u003c/em>\u003cbr>\n\u003cem>Un vi fil geveyn.\u003c/em>\u003c/p>\n\u003cp>\u003cem>When you grow older, children,\u003c/em>\u003cbr>\n\u003cem>You will understand by yourselves,\u003c/em>\u003cbr>\n\u003cem>How many tears lie in these letters,\u003c/em>\u003cbr>\n\u003cem>And how much lament.\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"https://violinsofhopesfba.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Violins of Hope San Francisco Bay Area Project\u003c/a> has something — a concert, an exhibition, a classroom visit — planned for eight Bay Area counties. The two-month residency, involving more than 40 local arts, educational, community and religious institutions, is the brainchild of Patricia Kristof Moy, the executive director of \u003ca href=\"https://musicatkohl.org/violins-of-hope-2/\" target=\"_blank\" rel=\"noopener noreferrer\">Music at Kohl Mansion\u003c/a> in Burlingame.\u003c/p>\n\u003cfigure id=\"attachment_13874157\" class=\"wp-caption aligncenter\" style=\"max-width: 1045px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13874157\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/RS40992_Bielski-ViolinWEB.jpeg\" alt=\"Detail of an affordably priced German model circa 1870s, designed for an unknown Klezmer musician, hence the inlaid mother of pearl Star of David.\" width=\"1045\" height=\"695\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/RS40992_Bielski-ViolinWEB.jpeg 1045w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/RS40992_Bielski-ViolinWEB-160x106.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/RS40992_Bielski-ViolinWEB-800x532.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/RS40992_Bielski-ViolinWEB-768x511.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/RS40992_Bielski-ViolinWEB-1020x678.jpeg 1020w\" sizes=\"(max-width: 1045px) 100vw, 1045px\">\u003cfigcaption class=\"wp-caption-text\">Detail of an affordably priced German model circa 1870s, designed for an unknown Klezmer musician, hence the inlaid mother of pearl Star of David. \u003ccite>(Courtesy of Amnon Weinstein)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp id=\"yui_3_17_2_1_1580435548622_162\">Moy, also the descendent of Holocaust survivors, saw the Weinsteins in Cleveland several years ago and committed herself to lining up the funding and organizational support to bring them to the Bay Area.\u003c/p>\n\u003cp>“We really had no idea when we started planning this five years ago that our world would be in the state of turmoil that it’s in,” she said. “This extraordinary project is more timely than we ever knew. It’s the violins of hope. It’s not the violins of despair. To hope is to be human.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Violins of Hope San Francisco Bay Area Project \u003c/strong>runs through March 15, 2020, featuring more than 70 events region-wide including concerts, lectures, exhibits, films, community forums, ecumenical services, interfaith dialogues and educational workshops. For more information click \u003cstrong>\u003ca href=\"http://violinsofhopesfba.org/events\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>\u003c/strong>.\u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "Violins of Hope San Francisco Bay Area Project runs through March 15, 2020, featuring more than 70 events region-wide.",
"status": "publish",
"parent": 0,
"modified": 1726764338,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 21,
"wordCount": 928
},
"headData": {
"title": "‘Violins of Hope’ Survived the Holocaust, Now They Tour the Bay Area | KQED",
"description": "Violins of Hope San Francisco Bay Area Project runs through March 15, 2020, featuring more than 70 events region-wide.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "‘Violins of Hope’ Survived the Holocaust, Now They Tour the Bay Area",
"datePublished": "2020-02-01T06:15:36-08:00",
"dateModified": "2024-09-19T09:45:38-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"path": "/arts/13874146/violins-of-hope-survived-the-holocaust-now-they-tour-the-bay-area",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ask a musician: every instrument has a story behind it. Who played it, where, why and how. One father and son team in Israel has built a collection of 87 violins (and counting) that survived the Holocaust. Now they’re in the San Francisco Bay Area through mid-March, sharing those violins and their stories.\u003c/p>\n\u003cp>Most of the violins have been restored: revarnished, restrung, the bridge, chin rest and other parts replaced. But some have been left untouched, so you can see they’ve been to hell and back, literally. Violins are light enough to carry, even on a death march; valuable enough to bury in the backyard, or sell, if you’re starving.\u003c/p>\n\u003cp>Many musicians in the concentration camps could lengthen their lives by playing in orchestras there, because many Nazis liked to listen to classical music and forced their prisoners to entertain them. A surprising number of violins survived the Holocaust, even though their owners didn’t.\u003c/p>\n\u003cp>Tel Aviv luthier Amnon Weinstein, himself a son of Holocaust survivors from Lithuania, began collecting these violins after another Holocaust survivor brought him one to restore. When Weinstein opened up the man’s violin, he found ashes inside from the concentration camp the man had once played in.\u003c/p>\n\u003cp>Initially appalled, Weinsten began to lovingly restore them as vehicles for the transmission of history. His collection expanded on that of his father’s, who held on to instruments other Holocaust survivors were desperate to discard as they sloughed off all things German to start life anew in Israel.\u003c/p>\n\u003cfigure id=\"attachment_13874165\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13874165\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/RS40988_Music-at-Kohl-Amnon-Weinstein-working-on-Violins-of-Hope-photo-courtesy-Amnon-Weinstein-qut.jpg\" alt=\"Amnon Weinstein repairing a violin in his Tel Aviv workshop.\" width=\"1024\" height=\"683\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/RS40988_Music-at-Kohl-Amnon-Weinstein-working-on-Violins-of-Hope-photo-courtesy-Amnon-Weinstein-qut.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/RS40988_Music-at-Kohl-Amnon-Weinstein-working-on-Violins-of-Hope-photo-courtesy-Amnon-Weinstein-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/RS40988_Music-at-Kohl-Amnon-Weinstein-working-on-Violins-of-Hope-photo-courtesy-Amnon-Weinstein-qut-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/RS40988_Music-at-Kohl-Amnon-Weinstein-working-on-Violins-of-Hope-photo-courtesy-Amnon-Weinstein-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/RS40988_Music-at-Kohl-Amnon-Weinstein-working-on-Violins-of-Hope-photo-courtesy-Amnon-Weinstein-qut-1020x680.jpg 1020w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Amnon Weinstein repairing a violin in his Tel Aviv workshop. \u003ccite>(Courtesy of Amnon Weinstein)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Weinstein’s son Avshalom inherited his father’s love of violin-making, as well as his passion for keeping the memory of the Holocaust alive as the world’s collective memory of it fades with passing of the last generation of survivors. “There was music everywhere. Every camp had at least one orchestra,” he said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Now they have 87 violins, a viola and a cello. That may seem like a lot, but consider that almost every Jewish household in Europe owned one or more violin before World War II. Each violin has a story, though not all the violins come with family members who know of it. Sometimes, the story is one of resilience and survival against the odds. Sometimes, the story is one of inevitable tragedy.\u003c/p>\n\u003cp>When the Weinsteins don’t know who the violin belonged to, they name it after a survivor they do know. One restored violin is named, for instance after Amnon’s wife’s grandfather, one of the three brothers who formed the Bielski brigade in Belarus who inspired the movie \u003ca href=\"https://www.youtube.com/watch?v=yw6Rwum7zcU\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Defiance\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>Father and son began touring in 2008, combining stories they know of with performances by local musicians. Both Weinsteins feel these violins must be played, not just put on display.\u003c/p>\n\u003cp>So it was this past week at \u003ca href=\"https://www.numulosgatos.org/exhibitions-2/voh\" target=\"_blank\" rel=\"noopener noreferrer\">New Museum Los Gatos\u003c/a>, that violinist \u003ca href=\"https://hannahtarley.weebly.com\" target=\"_blank\" rel=\"noopener noreferrer\">Hannah Tarley\u003c/a>, whose ancestors hailed from Belarus, picked up one of these surviving violins to play a Yiddish song from the 19th century called \u003cem>Oyfn Pripetshik\u003c/em>. It’s considered one of the most poignant musical memories of pre-holocaust Europe.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”300″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/752423227″&visual=true&”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true&visual=true”'\n title='”https://api.soundcloud.com/tracks/752423227″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>As Tarley played before an audience full of members of \u003ca href=\"https://www.shirhadash.org\" target=\"_blank\" rel=\"noopener noreferrer\">Congregation Shir Hadash\u003c/a> in Los Gatos, many of them began to hum along, haunting proof of the way music has the capacity to survive the loss of so much cultural memory.\u003c/p>\n\u003cp>The lyrics of the fourth stanza reference the long history of persecution of Jews in Europe, but today, they eerily seem to prophesy worse horrors to come:\u003c/p>\n\u003cp>\u003cem>Ir vet, kinder, elter vern,\u003c/em>\u003cbr>\n\u003cem>Vet ir aleyn farshteyn,\u003c/em>\u003cbr>\n\u003cem>Vifl in di oysyes lign trern,\u003c/em>\u003cbr>\n\u003cem>Un vi fil geveyn.\u003c/em>\u003c/p>\n\u003cp>\u003cem>When you grow older, children,\u003c/em>\u003cbr>\n\u003cem>You will understand by yourselves,\u003c/em>\u003cbr>\n\u003cem>How many tears lie in these letters,\u003c/em>\u003cbr>\n\u003cem>And how much lament.\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"https://violinsofhopesfba.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Violins of Hope San Francisco Bay Area Project\u003c/a> has something — a concert, an exhibition, a classroom visit — planned for eight Bay Area counties. The two-month residency, involving more than 40 local arts, educational, community and religious institutions, is the brainchild of Patricia Kristof Moy, the executive director of \u003ca href=\"https://musicatkohl.org/violins-of-hope-2/\" target=\"_blank\" rel=\"noopener noreferrer\">Music at Kohl Mansion\u003c/a> in Burlingame.\u003c/p>\n\u003cfigure id=\"attachment_13874157\" class=\"wp-caption aligncenter\" style=\"max-width: 1045px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13874157\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/RS40992_Bielski-ViolinWEB.jpeg\" alt=\"Detail of an affordably priced German model circa 1870s, designed for an unknown Klezmer musician, hence the inlaid mother of pearl Star of David.\" width=\"1045\" height=\"695\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/RS40992_Bielski-ViolinWEB.jpeg 1045w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/RS40992_Bielski-ViolinWEB-160x106.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/RS40992_Bielski-ViolinWEB-800x532.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/RS40992_Bielski-ViolinWEB-768x511.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/RS40992_Bielski-ViolinWEB-1020x678.jpeg 1020w\" sizes=\"(max-width: 1045px) 100vw, 1045px\">\u003cfigcaption class=\"wp-caption-text\">Detail of an affordably priced German model circa 1870s, designed for an unknown Klezmer musician, hence the inlaid mother of pearl Star of David. \u003ccite>(Courtesy of Amnon Weinstein)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp id=\"yui_3_17_2_1_1580435548622_162\">Moy, also the descendent of Holocaust survivors, saw the Weinsteins in Cleveland several years ago and committed herself to lining up the funding and organizational support to bring them to the Bay Area.\u003c/p>\n\u003cp>“We really had no idea when we started planning this five years ago that our world would be in the state of turmoil that it’s in,” she said. “This extraordinary project is more timely than we ever knew. It’s the violins of hope. It’s not the violins of despair. To hope is to be human.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Violins of Hope San Francisco Bay Area Project \u003c/strong>runs through March 15, 2020, featuring more than 70 events region-wide including concerts, lectures, exhibits, films, community forums, ecumenical services, interfaith dialogues and educational workshops. For more information click \u003cstrong>\u003ca href=\"http://violinsofhopesfba.org/events\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>\u003c/strong>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13874146/violins-of-hope-survived-the-holocaust-now-they-tour-the-bay-area",
"authors": [
"251"
],
"categories": [
"arts_1",
"arts_7862",
"arts_69",
"arts_235"
],
"tags": [
"arts_1312",
"arts_1118",
"arts_9830",
"arts_5792",
"arts_596",
"arts_1143",
"arts_4642",
"arts_1146"
],
"featImg": "arts_13874155",
"label": "arts"
},
"arts_13874070": {
"type": "posts",
"id": "arts_13874070",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13874070",
"score": null,
"sort": [
1580490867000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1580490867,
"format": "standard",
"title": "In New Documentary 'Miss Americana,' Taylor Swift Shows Girls How to Break Free",
"headTitle": "In New Documentary ‘Miss Americana,’ Taylor Swift Shows Girls How to Break Free | KQED",
"content": "\u003cp>\u003cem>Miss Americana\u003c/em>, the Taylor Swift documentary that premieres on Netflix today, is, on the face of it, about a child star growing up in the public eye and finally finding a voice for herself beyond the world of music. At its heart, though, \u003cem>Miss Americana\u003c/em> is really a film about young women, double standards and the damage wrought by old-fashioned gender roles.\u003c/p>\n\u003cp>You might not notice it at first, if only because of the surreality that accompanies Swift’s level of mega-stardom. We see her coping with fame-related isolation, fear, and bruises to her ego. We also witness her getting dragged into strangers’ marriage proposals, being bullied by Fox News anchors, and casually talking about strangers breaking into her home.\u003c/p>\n\u003cp>But the truth of the matter is that many of the problems Swift faces over the course of the documentary aren’t related to the trappings of fame; they’re related to simply being born female. Swift may deal with these issues on a massively magnified scale because of her particular situation, but many of her struggles are supremely relatable to women across America—especially young women.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=40RsbcFRwNA\u003c/p>\n\u003cp>We see Swift coping with slut-shaming, cyber-bullying and imposter syndrome—all common problems for young people in the age of the internet. “When you are living for the approval of strangers,” she notes at one point, “and that is where you derive all of your joy and fulfillment, one bad thing can cause everything to crumble.” She’s talking about record and ticket sales and award nominations, but the predicament is the same for every aspiring internet influencer in the country. Hell, \u003cem>all\u003c/em> teens are beholden to “likes” these days.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That Swift talks in depth about picking a female archetype in childhood (“the main thing that I always tried to be was just, like, a good girl”), and clinging to it desperately as a means of survival is perhaps the most relatable thing of all. The idea that the world can be separated into good girls and bad girls is both ancient and persistent. (To this day, it’s how women are most commonly pitted against one other.) In \u003cem>Miss Americana\u003c/em> we can see, via Swift’s example, how that dichotomy is used almost exclusively as a means to control women.\u003c/p>\n\u003cp>We see the abject fear built into her over time that being anything less than an agreeable, nice girl will be the end of her. We see her struggling to figure out how to have a voice and still somehow follow the rules. (“A nice girl doesn’t force their opinions on people; a nice girl smiles and waves and says thank you; a nice girl doesn’t make people feel uncomfortable with her views.”) And then, remarkably, we see her realize how those things kept her silent after \u003ca href=\"https://www.bbc.com/news/entertainment-arts-40937429\" target=\"_blank\" rel=\"noopener noreferrer\">she was sexually assaulted\u003c/a>. We see her wake up to the long con, and it is powerful.\u003c/p>\n\u003cp>In a similar vein, confessing to her own struggle with disordered eating, Swift realizes: “There’s always some standard of beauty that you’re not meeting. Because if you’re thin enough, you don’t have that ass that everybody wants. But if you’re eating enough to allow you to have an ass, then your stomach isn’t flat enough. It’s all just \u003cem>f-cking impossible.\u003c/em>”\u003c/p>\n\u003cp>By the end of \u003cem>Miss Americana\u003c/em>, Swift is calling bullshit on many of the things she once used to hold herself up. She admits she’s “trying to deprogram the misogyny in [her] own brain,” sitting with the revelation that: “There is no such thing as a slut, there is no such thing as a bitch, there is no such thing as someone who’s bossy—there’s just a boss. We don’t want to be condemned for being multi-faceted.”\u003c/p>\n\u003cp>Remove the fact that \u003cem>Miss Americana\u003c/em> happens to be about one of the most famous women on Earth, and this is a story that generations of women can relate to. Especially those that, like Swift, bought into an idea of femininity that meant being kind and agreeable at all costs; a world in which women should never rock the boat, even if it’s directly in front of them with a predator sitting in it.\u003c/p>\n\u003cp>In a \u003cem>New York Times\u003c/em> piece, \u003cem>Many Ways to Be a Girl, But One Way to Be a Boy: The New Gender Rules\u003c/em>, \u003ca href=\"https://www.nytimes.com/2018/11/14/learning/gender-norms-pressure.html\" target=\"_blank\" rel=\"noopener noreferrer\">Claire Cain Miller writes\u003c/a> that “About three-quarters of girls 14 to 19 in the survey said they felt judged as a sexual object or unsafe as a girl. By far, they said society considered physical attractiveness to be the most important female trait—a view that adult women share, surveys have found. Girls were also more likely than boys to say they felt a lot of pressure to put others’ feelings before their own.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>When Swift tells the film’s audience, “I feel really good about not being muzzled anymore—and it was my own doing,” she’s not just offering up a new, outspoken version of herself to the world. She’s telling other young women that it’s okay to do the same thing.\u003c/p>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 924,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 13
},
"modified": 1705021382,
"excerpt": "Swift's struggles—with beauty standards, isolation, bullying and more—are relatable to every young woman in the world.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Swift's struggles—with beauty standards, isolation, bullying and more—are relatable to every young woman in the world.",
"title": "In New Documentary 'Miss Americana,' Taylor Swift Shows Girls How to Break Free | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "In New Documentary 'Miss Americana,' Taylor Swift Shows Girls How to Break Free",
"datePublished": "2020-01-31T09:14:27-08:00",
"dateModified": "2024-01-11T17:03:02-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "in-new-documentary-miss-americana-taylor-swift-shows-girls-how-to-break-free",
"status": "publish",
"templateType": "standard",
"featuredImageType": "standard",
"sticky": false,
"path": "/arts/13874070/in-new-documentary-miss-americana-taylor-swift-shows-girls-how-to-break-free",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Miss Americana\u003c/em>, the Taylor Swift documentary that premieres on Netflix today, is, on the face of it, about a child star growing up in the public eye and finally finding a voice for herself beyond the world of music. At its heart, though, \u003cem>Miss Americana\u003c/em> is really a film about young women, double standards and the damage wrought by old-fashioned gender roles.\u003c/p>\n\u003cp>You might not notice it at first, if only because of the surreality that accompanies Swift’s level of mega-stardom. We see her coping with fame-related isolation, fear, and bruises to her ego. We also witness her getting dragged into strangers’ marriage proposals, being bullied by Fox News anchors, and casually talking about strangers breaking into her home.\u003c/p>\n\u003cp>But the truth of the matter is that many of the problems Swift faces over the course of the documentary aren’t related to the trappings of fame; they’re related to simply being born female. Swift may deal with these issues on a massively magnified scale because of her particular situation, but many of her struggles are supremely relatable to women across America—especially young women.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/40RsbcFRwNA'\n title='//www.youtube.com/embed/40RsbcFRwNA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>We see Swift coping with slut-shaming, cyber-bullying and imposter syndrome—all common problems for young people in the age of the internet. “When you are living for the approval of strangers,” she notes at one point, “and that is where you derive all of your joy and fulfillment, one bad thing can cause everything to crumble.” She’s talking about record and ticket sales and award nominations, but the predicament is the same for every aspiring internet influencer in the country. Hell, \u003cem>all\u003c/em> teens are beholden to “likes” these days.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That Swift talks in depth about picking a female archetype in childhood (“the main thing that I always tried to be was just, like, a good girl”), and clinging to it desperately as a means of survival is perhaps the most relatable thing of all. The idea that the world can be separated into good girls and bad girls is both ancient and persistent. (To this day, it’s how women are most commonly pitted against one other.) In \u003cem>Miss Americana\u003c/em> we can see, via Swift’s example, how that dichotomy is used almost exclusively as a means to control women.\u003c/p>\n\u003cp>We see the abject fear built into her over time that being anything less than an agreeable, nice girl will be the end of her. We see her struggling to figure out how to have a voice and still somehow follow the rules. (“A nice girl doesn’t force their opinions on people; a nice girl smiles and waves and says thank you; a nice girl doesn’t make people feel uncomfortable with her views.”) And then, remarkably, we see her realize how those things kept her silent after \u003ca href=\"https://www.bbc.com/news/entertainment-arts-40937429\" target=\"_blank\" rel=\"noopener noreferrer\">she was sexually assaulted\u003c/a>. We see her wake up to the long con, and it is powerful.\u003c/p>\n\u003cp>In a similar vein, confessing to her own struggle with disordered eating, Swift realizes: “There’s always some standard of beauty that you’re not meeting. Because if you’re thin enough, you don’t have that ass that everybody wants. But if you’re eating enough to allow you to have an ass, then your stomach isn’t flat enough. It’s all just \u003cem>f-cking impossible.\u003c/em>”\u003c/p>\n\u003cp>By the end of \u003cem>Miss Americana\u003c/em>, Swift is calling bullshit on many of the things she once used to hold herself up. She admits she’s “trying to deprogram the misogyny in [her] own brain,” sitting with the revelation that: “There is no such thing as a slut, there is no such thing as a bitch, there is no such thing as someone who’s bossy—there’s just a boss. We don’t want to be condemned for being multi-faceted.”\u003c/p>\n\u003cp>Remove the fact that \u003cem>Miss Americana\u003c/em> happens to be about one of the most famous women on Earth, and this is a story that generations of women can relate to. Especially those that, like Swift, bought into an idea of femininity that meant being kind and agreeable at all costs; a world in which women should never rock the boat, even if it’s directly in front of them with a predator sitting in it.\u003c/p>\n\u003cp>In a \u003cem>New York Times\u003c/em> piece, \u003cem>Many Ways to Be a Girl, But One Way to Be a Boy: The New Gender Rules\u003c/em>, \u003ca href=\"https://www.nytimes.com/2018/11/14/learning/gender-norms-pressure.html\" target=\"_blank\" rel=\"noopener noreferrer\">Claire Cain Miller writes\u003c/a> that “About three-quarters of girls 14 to 19 in the survey said they felt judged as a sexual object or unsafe as a girl. By far, they said society considered physical attractiveness to be the most important female trait—a view that adult women share, surveys have found. Girls were also more likely than boys to say they felt a lot of pressure to put others’ feelings before their own.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>When Swift tells the film’s audience, “I feel really good about not being muzzled anymore—and it was my own doing,” she’s not just offering up a new, outspoken version of herself to the world. She’s telling other young women that it’s okay to do the same thing.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13874070/in-new-documentary-miss-americana-taylor-swift-shows-girls-how-to-break-free",
"authors": [
"11242"
],
"categories": [
"arts_74",
"arts_69",
"arts_990"
],
"tags": [
"arts_13672",
"arts_1118",
"arts_1962",
"arts_3324",
"arts_2462",
"arts_3026"
],
"featImg": "arts_13874177",
"label": "arts"
},
"arts_13874104": {
"type": "posts",
"id": "arts_13874104",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13874104",
"score": null,
"sort": [
1580468406000
]
},
"guestAuthors": [],
"slug": "the-jackas-manager-talks-life-legacy-and-friendship",
"title": "The Jacka’s Manager Talks Life, Legacy and Friendship",
"publishDate": 1580468406,
"format": "audio",
"headTitle": "The Jacka’s Manager Talks Life, Legacy and Friendship | KQED",
"labelTerm": {
"term": 8720,
"site": "arts"
},
"content": "\u003cp>\u003cspan style=\"font-weight: 400\">Beloved Bay Area rapper The Jacka was shot and killed exactly five years ago this Sunday. Carrying on his legacy are his family, friends, fans and former manager, PK, who is working diligently to release a new album of work from the late artist. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">On top of that, PK is continuing to work with a number of other Bay Area based musicians, like Prezi from San Francisco, Philthy Rich from Oakland and producer Traxamillion from San Jose. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As was the case with The Jacka, PK works to connect these orators of Bay Area culture with crowds from all around the world who appreciate their artwork. The question is: what is it about Bay Area culture that allows it to flourish in other places?\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">From doing shows in places like Akron, Ohio to performing in the East African country of Djibouti, I talk to PK about what it means to take Bay Area culture around the world now, and what it was like to do so with The Jacka.\u003c/span>\u003c/p>\n\u003cp>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
"blocks": [],
"excerpt": "Touring with The Jacka gave manager PK a front row seat to seeing how Bay Area culture is loved around the world.",
"status": "publish",
"parent": 0,
"modified": 1726764345,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 7,
"wordCount": 201
},
"headData": {
"title": "The Jacka’s Manager Talks Life, Legacy and Friendship | KQED",
"description": "Touring with The Jacka gave manager PK a front row seat to seeing how Bay Area culture is loved around the world.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "The Jacka’s Manager Talks Life, Legacy and Friendship",
"datePublished": "2020-01-31T03:00:06-08:00",
"dateModified": "2024-09-19T09:45:45-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"audioUrl": "https://www.kqed.org/.stream/anon/radio/rightnowish/2020/01/RightnowishEp15PK.mp3",
"sticky": false,
"path": "/arts/13874104/the-jackas-manager-talks-life-legacy-and-friendship",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">Beloved Bay Area rapper The Jacka was shot and killed exactly five years ago this Sunday. Carrying on his legacy are his family, friends, fans and former manager, PK, who is working diligently to release a new album of work from the late artist. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">On top of that, PK is continuing to work with a number of other Bay Area based musicians, like Prezi from San Francisco, Philthy Rich from Oakland and producer Traxamillion from San Jose. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As was the case with The Jacka, PK works to connect these orators of Bay Area culture with crowds from all around the world who appreciate their artwork. The question is: what is it about Bay Area culture that allows it to flourish in other places?\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">From doing shows in places like Akron, Ohio to performing in the East African country of Djibouti, I talk to PK about what it means to take Bay Area culture around the world now, and what it was like to do so with The Jacka.\u003c/span>\u003c/p>\n\u003cp>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13874104/the-jackas-manager-talks-life-legacy-and-friendship",
"authors": [
"11491"
],
"programs": [
"arts_8720"
],
"categories": [
"arts_1",
"arts_69",
"arts_21759"
],
"tags": [
"arts_1118",
"arts_831",
"arts_1143",
"arts_6764"
],
"featImg": "arts_13874106",
"label": "arts_8720"
}
},
"podcastsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"podcasts": {}
},
"radioProgramsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"radioPrograms": {}
},
"radioSearchSegmentsReducer": {},
"programsReducer": {
"all-things-considered": {
"id": "all-things-considered",
"title": "All Things Considered",
"info": "Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. Michel Martin hosts on the weekends.",
"airtime": "MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/all-things-considered/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/all-things-considered"
},
"american-suburb-podcast": {
"id": "american-suburb-podcast",
"title": "American Suburb: The Podcast",
"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg",
"officialWebsiteLink": "/news/series/american-suburb-podcast",
"meta": {
"site": "news",
"source": "kqed",
"order": 19
},
"link": "/news/series/american-suburb-podcast/",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/RBrW",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328",
"tuneIn": "https://tunein.com/radio/American-Suburb-p1086805/",
"rss": "https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"
}
},
"baycurious": {
"id": "baycurious",
"title": "Bay Curious",
"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Bay Curious",
"officialWebsiteLink": "/news/series/baycurious",
"meta": {
"site": "news",
"source": "kqed",
"order": 3
},
"link": "/podcasts/baycurious",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/bay-curious/id1172473406",
"npr": "https://www.npr.org/podcasts/500557090/bay-curious",
"rss": "https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast",
"amazon": "https://music.amazon.com/podcasts/9a90d476-aa04-455d-9a4c-0871ed6216d4/bay-curious",
"stitcher": "https://www.stitcher.com/podcast/kqed/bay-curious",
"spotify": "https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"
}
},
"bbc-world-service": {
"id": "bbc-world-service",
"title": "BBC World Service",
"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
"airtime": "MON-FRI 9pm-10pm, TUE-FRI 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.bbc.co.uk/sounds/play/live:bbc_world_service",
"meta": {
"site": "news",
"source": "BBC World Service"
},
"link": "/radio/program/bbc-world-service",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2",
"tuneIn": "https://tunein.com/radio/BBC-World-Service-p455581/",
"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report",
"officialWebsiteLink": "/californiareport",
"meta": {
"site": "news",
"source": "kqed",
"order": 8
},
"link": "/californiareport",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-the-california-report/id79681292",
"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
"npr": "https://www.npr.org/podcasts/432285393/the-california-report",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-the-california-report-podcast-8838",
"rss": "https://ww2.kqed.org/news/tag/tcram/feed/podcast"
}
},
"californiareportmagazine": {
"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Magazine-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report Magazine",
"officialWebsiteLink": "/californiareportmagazine",
"meta": {
"site": "news",
"source": "kqed",
"order": 10
},
"link": "/californiareportmagazine",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-california-report-magazine/id1314750545",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
"npr": "https://www.npr.org/podcasts/564733126/the-california-report-magazine",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-california-report-magazine",
"rss": "https://ww2.kqed.org/news/tag/tcrmag/feed/podcast"
}
},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
"tagline": "Your irreverent guide to the trends redefining our world",
"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/02/CAT_2_Tile-scaled.jpg",
"imageAlt": "KQED Close All Tabs",
"officialWebsiteLink": "/podcasts/closealltabs",
"meta": {
"site": "news",
"source": "kqed",
"order": 1
},
"link": "/podcasts/closealltabs",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/close-all-tabs/id214663465",
"rss": "https://feeds.megaphone.fm/KQINC6993880386",
"amazon": "https://music.amazon.com/podcasts/92d9d4ac-67a3-4eed-b10a-fb45d45b1ef2/close-all-tabs",
"spotify": "https://open.spotify.com/show/6LAJFHnGK1pYXYzv6SIol6?si=deb0cae19813417c"
}
},
"code-switch-life-kit": {
"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
"airtime": "SUN 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/code-switch-life-kit",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
"spotify": "https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV",
"rss": "https://feeds.npr.org/510312/podcast.xml"
}
},
"commonwealth-club": {
"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
"tuneIn": "https://tunein.com/radio/Commonwealth-Club-of-California-p1060/"
}
},
"forum": {
"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
"officialWebsiteLink": "/forum",
"meta": {
"site": "news",
"source": "kqed",
"order": 9
},
"link": "/forum",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-forum/id73329719",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
"npr": "https://www.npr.org/podcasts/432307980/forum",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-forum-podcast",
"rss": "https://feeds.megaphone.fm/KQINC9557381633"
}
},
"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
"airtime": "MON-FRI 7pm-8pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Fresh-Air-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/fresh-air/",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/fresh-air",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Fresh-Air-p17/",
"rss": "https://feeds.npr.org/381444908/podcast.xml"
}
},
"here-and-now": {
"id": "here-and-now",
"title": "Here & Now",
"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
"airtime": "MON-THU 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Here-And-Now-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://www.wbur.org/hereandnow",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/here-and-now",
"subsdcribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=426698661",
"tuneIn": "https://tunein.com/radio/Here--Now-p211/",
"rss": "https://feeds.npr.org/510051/podcast.xml"
}
},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/hiddenbrain.jpg",
"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/hidden-brain/id1028908750?mt=2",
"tuneIn": "https://tunein.com/podcasts/Science-Podcasts/Hidden-Brain-p787503/",
"rss": "https://feeds.npr.org/510308/podcast.xml"
}
},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
"tuneIn": "https://tunein.com/podcasts/Arts--Culture-Podcasts/How-I-Built-This-p910896/",
"rss": "https://feeds.npr.org/510313/podcast.xml"
}
},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
"site": "news",
"source": "kqed",
"order": 15
},
"link": "/podcasts/hyphenacion",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/hyphenaci%C3%B3n/id1191591838",
"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
"youtube": "https://www.youtube.com/c/kqedarts",
"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
"site": "news",
"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
"subscribe": {
"npr": "https://www.npr.org/podcasts/790253322/the-political-mind-of-jerry-brown",
"apple": "https://itunes.apple.com/us/podcast/id1492194549",
"rss": "https://ww2.kqed.org/news/series/jerrybrown/feed/podcast/",
"tuneIn": "http://tun.in/pjGcK",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-political-mind-of-jerry-brown",
"spotify": "https://open.spotify.com/show/54C1dmuyFyKMFttY6X2j6r?si=K8SgRCoISNK6ZbjpXrX5-w",
"amazon": "https://music.amazon.com/podcasts/44420f75-3b0e-4301-ab3b-16da6b09e543/the-political-mind-of-jerry-brown"
}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/xtTd",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Latino-USA-p621/",
"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201853034&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/APM-Marketplace-p88/",
"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
"site": "news",
"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
"spotify": "https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"
}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
"npr": "https://rpb3r.app.goo.gl/onourwatch",
"spotify": "https://open.spotify.com/show/0OLWoyizopu6tY1XiuX70x",
"tuneIn": "https://tunein.com/radio/On-Our-Watch-p1436229/",
"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
"site": "news",
"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
"site": "radio",
"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
}
},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
"site": "radio",
"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/political-breakdown/id1327641087",
"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
"stitcher": "https://www.stitcher.com/podcast/kqed/political-breakdown",
"spotify": "https://open.spotify.com/show/07RVyIjIdk2WDuVehvBMoN",
"rss": "https://ww2.kqed.org/news/tag/political-breakdown/feed/podcast"
}
},
"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
"meta": {
"site": "news",
"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/possible/id1677184070",
"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
}
},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pri.org/programs/the-world",
"meta": {
"site": "news",
"source": "PRI"
},
"link": "/radio/program/pri-the-world",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pris-the-world-latest-edition/id278196007?mt=2",
"tuneIn": "https://tunein.com/podcasts/News--Politics-Podcasts/PRIs-The-World-p24/",
"rss": "http://feeds.feedburner.com/pri/theworld"
}
},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
"airtime": "SUN 12am-1am, SAT 2pm-3pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/radiolab1400.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/radiolab/",
"meta": {
"site": "science",
"source": "WNYC"
},
"link": "/radio/program/radiolab",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/radiolab/id152249110?mt=2",
"tuneIn": "https://tunein.com/radio/RadioLab-p68032/",
"rss": "https://feeds.wnyc.org/radiolab"
}
},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png",
"officialWebsiteLink": "https://www.revealnews.org/episodes/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/reveal",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/reveal/id886009669",
"tuneIn": "https://tunein.com/radio/Reveal-p679597/",
"rss": "http://feeds.revealradio.org/revealpodcast"
}
},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Rightnowish-Podcast-Tile-500x500-1.jpg",
"imageAlt": "KQED Rightnowish with Pendarvis Harshaw",
"officialWebsiteLink": "/podcasts/rightnowish",
"meta": {
"site": "arts",
"source": "kqed",
"order": 16
},
"link": "/podcasts/rightnowish",
"subscribe": {
"npr": "https://www.npr.org/podcasts/721590300/rightnowish",
"rss": "https://ww2.kqed.org/arts/programs/rightnowish/feed/podcast",
"apple": "https://podcasts.apple.com/us/podcast/rightnowish/id1482187648",
"stitcher": "https://www.stitcher.com/podcast/kqed/rightnowish",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMxMjU5MTY3NDc4",
"spotify": "https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I"
}
},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
"airtime": "FRI 11am-1pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Science-Friday-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/science-friday",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/science-friday",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=73329284&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Science-Friday-p394/",
"rss": "http://feeds.wnyc.org/science-friday"
}
},
"snap-judgment": {
"id": "snap-judgment",
"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
"airtime": "SAT 1pm-2pm, 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/05/Snap-Judgment-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Snap Judgment",
"officialWebsiteLink": "https://snapjudgment.org",
"meta": {
"site": "arts",
"source": "kqed",
"order": 4
},
"link": "https://snapjudgment.org",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/snap-judgment/id283657561",
"npr": "https://www.npr.org/podcasts/449018144/snap-judgment",
"stitcher": "https://www.pandora.com/podcast/snap-judgment/PC:241?source=stitcher-sunset",
"spotify": "https://open.spotify.com/show/3Cct7ZWmxHNAtLgBTqjC5v",
"rss": "https://snap.feed.snapjudgment.org/"
}
},
"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Sold-Out-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Sold Out: Rethinking Housing in America",
"officialWebsiteLink": "/podcasts/soldout",
"meta": {
"site": "news",
"source": "kqed",
"order": 13
},
"link": "/podcasts/soldout",
"subscribe": {
"npr": "https://www.npr.org/podcasts/911586047/s-o-l-d-o-u-t-a-new-future-for-housing",
"apple": "https://podcasts.apple.com/us/podcast/introducing-sold-out-rethinking-housing-in-america/id1531354937",
"rss": "https://feeds.megaphone.fm/soldout",
"spotify": "https://open.spotify.com/show/38dTBSk2ISFoPiyYNoKn1X",
"stitcher": "https://www.stitcher.com/podcast/kqed/sold-out-rethinking-housing-in-america",
"tunein": "https://tunein.com/radio/SOLD-OUT-Rethinking-Housing-in-America-p1365871/"
}
},
"spooked": {
"id": "spooked",
"title": "Spooked",
"tagline": "True-life supernatural stories",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/10/Spooked-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Spooked",
"officialWebsiteLink": "https://spookedpodcast.org/",
"meta": {
"site": "news",
"source": "kqed",
"order": 7
},
"link": "https://spookedpodcast.org/",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/spooked/id1279361017",
"npr": "https://www.npr.org/podcasts/549547848/snap-judgment-presents-spooked",
"spotify": "https://open.spotify.com/show/76571Rfl3m7PLJQZKQIGCT",
"rss": "https://feeds.simplecast.com/TBotaapn"
}
},
"tech-nation": {
"id": "tech-nation",
"title": "Tech Nation Radio Podcast",
"info": "Tech Nation is a weekly public radio program, hosted by Dr. Moira Gunn. Founded in 1993, it has grown from a simple interview show to a multi-faceted production, featuring conversations with noted technology and science leaders, and a weekly science and technology-related commentary.",
"airtime": "FRI 10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Tech-Nation-Radio-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://technation.podomatic.com/",
"meta": {
"site": "science",
"source": "Tech Nation Media"
},
"link": "/radio/program/tech-nation",
"subscribe": {
"rss": "https://technation.podomatic.com/rss2.xml"
}
},
"ted-radio-hour": {
"id": "ted-radio-hour",
"title": "TED Radio Hour",
"info": "The TED Radio Hour is a journey through fascinating ideas, astonishing inventions, fresh approaches to old problems, and new ways to think and create.",
"airtime": "SUN 3pm-4pm, SAT 10pm-11pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/tedRadioHour.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/ted-radio-hour/?showDate=2018-06-22",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/ted-radio-hour",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/8vsS",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=523121474&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/TED-Radio-Hour-p418021/",
"rss": "https://feeds.npr.org/510298/podcast.xml"
}
},
"thebay": {
"id": "thebay",
"title": "The Bay",
"tagline": "Local news to keep you rooted",
"info": "Host Devin Katayama walks you through the biggest story of the day with reporters and newsmakers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Bay-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Bay",
"officialWebsiteLink": "/podcasts/thebay",
"meta": {
"site": "radio",
"source": "kqed",
"order": 2
},
"link": "/podcasts/thebay",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-bay/id1350043452",
"amazon": "https://music.amazon.com/podcasts/d800ea4c-7a2c-42f2-b861-edaf78a5db0b/the-bay",
"npr": "https://www.npr.org/podcasts/586725995/the-bay",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-bay",
"spotify": "https://open.spotify.com/show/4BIKBKIujizLHlIlBNaAqQ",
"rss": "https://feeds.megaphone.fm/KQINC8259786327"
}
},
"thelatest": {
"id": "thelatest",
"title": "The Latest",
"tagline": "Trusted local news in real time",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/05/The-Latest-2025-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Latest",
"officialWebsiteLink": "/thelatest",
"meta": {
"site": "news",
"source": "kqed",
"order": 6
},
"link": "/thelatest",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-latest-from-kqed/id1197721799",
"npr": "https://www.npr.org/podcasts/1257949365/the-latest-from-k-q-e-d",
"spotify": "https://open.spotify.com/show/5KIIXMgM9GTi5AepwOYvIZ?si=bd3053fec7244dba",
"rss": "https://feeds.megaphone.fm/KQINC9137121918"
}
},
"theleap": {
"id": "theleap",
"title": "The Leap",
"tagline": "What if you closed your eyes, and jumped?",
"info": "Stories about people making dramatic, risky changes, told by award-winning public radio reporter Judy Campbell.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Leap-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Leap",
"officialWebsiteLink": "/podcasts/theleap",
"meta": {
"site": "news",
"source": "kqed",
"order": 17
},
"link": "/podcasts/theleap",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-leap/id1046668171",
"npr": "https://www.npr.org/podcasts/447248267/the-leap",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-leap",
"spotify": "https://open.spotify.com/show/3sSlVHHzU0ytLwuGs1SD1U",
"rss": "https://ww2.kqed.org/news/programs/the-leap/feed/podcast"
}
},
"the-moth-radio-hour": {
"id": "the-moth-radio-hour",
"title": "The Moth Radio Hour",
"info": "Since its launch in 1997, The Moth has presented thousands of true stories, told live and without notes, to standing-room-only crowds worldwide. Moth storytellers stand alone, under a spotlight, with only a microphone and a roomful of strangers. The storyteller and the audience embark on a high-wire act of shared experience which is both terrifying and exhilarating. Since 2008, The Moth podcast has featured many of our favorite stories told live on Moth stages around the country. For information on all of our programs and live events, visit themoth.org.",
"airtime": "SAT 8pm-9pm and SUN 11am-12pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/theMoth.jpg",
"officialWebsiteLink": "https://themoth.org/",
"meta": {
"site": "arts",
"source": "prx"
},
"link": "/radio/program/the-moth-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/the-moth-podcast/id275699983?mt=2",
"tuneIn": "https://tunein.com/radio/The-Moth-p273888/",
"rss": "http://feeds.themoth.org/themothpodcast"
}
},
"the-new-yorker-radio-hour": {
"id": "the-new-yorker-radio-hour",
"title": "The New Yorker Radio Hour",
"info": "The New Yorker Radio Hour is a weekly program presented by the magazine's editor, David Remnick, and produced by WNYC Studios and The New Yorker. Each episode features a diverse mix of interviews, profiles, storytelling, and an occasional burst of humor inspired by the magazine, and shaped by its writers, artists, and editors. This isn't a radio version of a magazine, but something all its own, reflecting the rich possibilities of audio storytelling and conversation. Theme music for the show was composed and performed by Merrill Garbus of tUnE-YArDs.",
"airtime": "SAT 10am-11am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-New-Yorker-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/tnyradiohour",
"meta": {
"site": "arts",
"source": "WNYC"
},
"link": "/radio/program/the-new-yorker-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/id1050430296",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/New-Yorker-Radio-Hour-p803804/",
"rss": "https://feeds.feedburner.com/newyorkerradiohour"
}
},
"the-sam-sanders-show": {
"id": "the-sam-sanders-show",
"title": "The Sam Sanders Show",
"info": "One of public radio's most dynamic voices, Sam Sanders helped launch The NPR Politics Podcast and hosted NPR's hit show It's Been A Minute. Now, the award-winning host returns with something brand new, The Sam Sanders Show. Every week, Sam Sanders and friends dig into the culture that shapes our lives: what's driving the biggest trends, how artists really think, and even the memes you can't stop scrolling past. Sam is beloved for his way of unpacking the world and bringing you up close to fresh currents and engaging conversations. The Sam Sanders Show is smart, funny and always a good time.",
"airtime": "FRI 12-1pm AND SAT 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/11/The-Sam-Sanders-Show-Podcast-Tile-400x400-1.jpg",
"officialWebsiteLink": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"meta": {
"site": "arts",
"source": "KCRW"
},
"link": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"subscribe": {
"rss": "https://feed.cdnstream1.com/zjb/feed/download/ac/28/59/ac28594c-e1d0-4231-8728-61865cdc80e8.xml"
}
},
"the-splendid-table": {
"id": "the-splendid-table",
"title": "The Splendid Table",
"info": "\u003cem>The Splendid Table\u003c/em> hosts our nation's conversations about cooking, sustainability and food culture.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Splendid-Table-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.splendidtable.org/",
"airtime": "SUN 10-11 pm",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/the-splendid-table"
},
"this-american-life": {
"id": "this-american-life",
"title": "This American Life",
"info": "This American Life is a weekly public radio show, heard by 2.2 million people on more than 500 stations. Another 2.5 million people download the weekly podcast. It is hosted by Ira Glass, produced in collaboration with Chicago Public Media, delivered to stations by PRX The Public Radio Exchange, and has won all of the major broadcasting awards.",
"airtime": "SAT 12pm-1pm, 7pm-8pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/thisAmericanLife.png",
"officialWebsiteLink": "https://www.thisamericanlife.org/",
"meta": {
"site": "news",
"source": "wbez"
},
"link": "/radio/program/this-american-life",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201671138&at=11l79Y&ct=nprdirectory",
"rss": "https://www.thisamericanlife.org/podcast/rss.xml"
}
},
"tinydeskradio": {
"id": "tinydeskradio",
"title": "Tiny Desk Radio",
"info": "We're bringing the best of Tiny Desk to the airwaves, only on public radio.",
"airtime": "SUN 8pm and SAT 9pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/04/300x300-For-Member-Station-Logo-Tiny-Desk-Radio-@2x.png",
"officialWebsiteLink": "https://www.npr.org/series/g-s1-52030/tiny-desk-radio",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/tinydeskradio",
"subscribe": {
"rss": "https://feeds.npr.org/g-s1-52030/rss.xml"
}
},
"wait-wait-dont-tell-me": {
"id": "wait-wait-dont-tell-me",
"title": "Wait Wait... Don't Tell Me!",
"info": "Peter Sagal and Bill Kurtis host the weekly NPR News quiz show alongside some of the best and brightest news and entertainment personalities.",
"airtime": "SUN 10am-11am, SAT 11am-12pm, SAT 6pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Wait-Wait-Podcast-Tile-300x300-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/wait-wait-dont-tell-me/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/wait-wait-dont-tell-me",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/Xogv",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=121493804&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Wait-Wait-Dont-Tell-Me-p46/",
"rss": "https://feeds.npr.org/344098539/podcast.xml"
}
},
"weekend-edition-saturday": {
"id": "weekend-edition-saturday",
"title": "Weekend Edition Saturday",
"info": "Weekend Edition Saturday wraps up the week's news and offers a mix of analysis and features on a wide range of topics, including arts, sports, entertainment, and human interest stories. The two-hour program is hosted by NPR's Peabody Award-winning Scott Simon.",
"airtime": "SAT 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-saturday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-saturday"
},
"weekend-edition-sunday": {
"id": "weekend-edition-sunday",
"title": "Weekend Edition Sunday",
"info": "Weekend Edition Sunday features interviews with newsmakers, artists, scientists, politicians, musicians, writers, theologians and historians. The program has covered news events from Nelson Mandela's 1990 release from a South African prison to the capture of Saddam Hussein.",
"airtime": "SUN 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-sunday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-sunday"
}
},
"racesReducer": {},
"racesGenElectionReducer": {},
"racesGenElection2026Reducer": {},
"radioSchedulesReducer": {},
"listsReducer": {
"posts/arts?category=music": {
"isFetching": false,
"latestQuery": {
"from": 1488,
"size": 12
},
"vitalsOnly": false,
"totalRequested": 12,
"isLoading": false,
"isLoadingMore": true,
"total": {
"value": 4900,
"relation": "eq"
},
"items": [
"arts_13874540",
"arts_13874305",
"arts_13874505",
"arts_13874435",
"arts_13874418",
"arts_13874407",
"arts_13874404",
"arts_13874322",
"arts_13874024",
"arts_13874146",
"arts_13874070",
"arts_13874104"
],
"complete": true
}
},
"recallGuideReducer": {
"intros": {},
"policy": {},
"candidates": {}
},
"savedArticleReducer": {
"articles": [],
"status": {}
},
"newslettersReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"newsletters": {},
"isSubscribing": false,
"isUnsubscribing": false,
"subscribedNewsletters": {}
},
"termsReducer": {
"about": {
"name": "About",
"type": "terms",
"id": "about",
"slug": "about",
"link": "/about",
"taxonomy": "site"
},
"arts": {
"name": "Arts & Culture",
"grouping": [
"arts",
"pop",
"trulyca"
],
"description": "KQED Arts provides daily in-depth coverage of the Bay Area's music, art, film, performing arts, literature and arts news, as well as cultural commentary and criticism.",
"type": "terms",
"id": "arts",
"slug": "arts",
"link": "/arts",
"taxonomy": "site"
},
"artschool": {
"name": "Art School",
"parent": "arts",
"type": "terms",
"id": "artschool",
"slug": "artschool",
"link": "/artschool",
"taxonomy": "site"
},
"bayareabites": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"parent": "food",
"type": "terms",
"id": "bayareabites",
"slug": "bayareabites",
"link": "/food",
"taxonomy": "site"
},
"bayareahiphop": {
"name": "Bay Area Hiphop",
"type": "terms",
"id": "bayareahiphop",
"slug": "bayareahiphop",
"link": "/bayareahiphop",
"taxonomy": "site"
},
"campaign21": {
"name": "Campaign 21",
"type": "terms",
"id": "campaign21",
"slug": "campaign21",
"link": "/campaign21",
"taxonomy": "site"
},
"careers": {
"name": "Careers",
"type": "terms",
"id": "careers",
"slug": "careers",
"link": "/careers",
"taxonomy": "site"
},
"checkplease": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"parent": "food",
"type": "terms",
"id": "checkplease",
"slug": "checkplease",
"link": "/food",
"taxonomy": "site"
},
"education": {
"name": "Education",
"grouping": [
"education"
],
"type": "terms",
"id": "education",
"slug": "education",
"link": "/education",
"taxonomy": "site"
},
"elections": {
"name": "Elections",
"type": "terms",
"id": "elections",
"slug": "elections",
"link": "/elections",
"taxonomy": "site"
},
"events": {
"name": "Events",
"type": "terms",
"id": "events",
"slug": "events",
"link": "/events",
"taxonomy": "site"
},
"event": {
"name": "Event",
"alias": "events",
"type": "terms",
"id": "event",
"slug": "event",
"link": "/event",
"taxonomy": "site"
},
"filmschoolshorts": {
"name": "Film School Shorts",
"type": "terms",
"id": "filmschoolshorts",
"slug": "filmschoolshorts",
"link": "/filmschoolshorts",
"taxonomy": "site"
},
"food": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"type": "terms",
"id": "food",
"slug": "food",
"link": "/food",
"taxonomy": "site"
},
"forum": {
"name": "Forum",
"relatedContentQuery": "posts/forum?",
"parent": "news",
"type": "terms",
"id": "forum",
"slug": "forum",
"link": "/forum",
"taxonomy": "site"
},
"futureofyou": {
"name": "Future of You",
"grouping": [
"science",
"futureofyou"
],
"parent": "science",
"type": "terms",
"id": "futureofyou",
"slug": "futureofyou",
"link": "/futureofyou",
"taxonomy": "site"
},
"jpepinheart": {
"name": "KQED food",
"relatedContentQuery": "posts/food,bayareabites,checkplease",
"parent": "food",
"type": "terms",
"id": "jpepinheart",
"slug": "jpepinheart",
"link": "/food",
"taxonomy": "site"
},
"liveblog": {
"name": "Live Blog",
"type": "terms",
"id": "liveblog",
"slug": "liveblog",
"link": "/liveblog",
"taxonomy": "site"
},
"livetv": {
"name": "Live TV",
"parent": "tv",
"type": "terms",
"id": "livetv",
"slug": "livetv",
"link": "/livetv",
"taxonomy": "site"
},
"lowdown": {
"name": "The Lowdown",
"relatedContentQuery": "posts/lowdown?",
"parent": "news",
"type": "terms",
"id": "lowdown",
"slug": "lowdown",
"link": "/lowdown",
"taxonomy": "site"
},
"mindshift": {
"name": "Mindshift",
"parent": "news",
"description": "MindShift explores the future of education by highlighting the innovative – and sometimes counterintuitive – ways educators and parents are helping all children succeed.",
"type": "terms",
"id": "mindshift",
"slug": "mindshift",
"link": "/mindshift",
"taxonomy": "site"
},
"news": {
"name": "News",
"grouping": [
"news",
"forum"
],
"type": "terms",
"id": "news",
"slug": "news",
"link": "/news",
"taxonomy": "site"
},
"newsletters": {
"name": "newsletters",
"type": "terms",
"id": "newsletters",
"slug": "newsletters",
"link": "/newsletters",
"taxonomy": "site"
},
"perspectives": {
"name": "Perspectives",
"parent": "radio",
"type": "terms",
"id": "perspectives",
"slug": "perspectives",
"link": "/perspectives",
"taxonomy": "site"
},
"podcasts": {
"name": "Podcasts",
"type": "terms",
"id": "podcasts",
"slug": "podcasts",
"link": "/podcasts",
"taxonomy": "site"
},
"pop": {
"name": "Pop",
"parent": "arts",
"type": "terms",
"id": "pop",
"slug": "pop",
"link": "/pop",
"taxonomy": "site"
},
"pressroom": {
"name": "Pressroom",
"type": "terms",
"id": "pressroom",
"slug": "pressroom",
"link": "/pressroom",
"taxonomy": "site"
},
"quest": {
"name": "Quest",
"parent": "science",
"type": "terms",
"id": "quest",
"slug": "quest",
"link": "/quest",
"taxonomy": "site"
},
"radio": {
"name": "Radio",
"grouping": [
"forum",
"perspectives"
],
"description": "Listen to KQED Public Radio – home of Forum and The California Report – on 88.5 FM in San Francisco, 89.3 FM in Sacramento, 88.3 FM in Santa Rosa and 88.1 FM in Martinez.",
"type": "terms",
"id": "radio",
"slug": "radio",
"link": "/radio",
"taxonomy": "site"
},
"root": {
"name": "KQED",
"image": "https://ww2.kqed.org/app/uploads/2020/02/KQED-OG-Image@1x.png",
"imageWidth": 1200,
"imageHeight": 630,
"headData": {
"title": "KQED | News, Radio, Podcasts, TV | Public Media for Northern California",
"description": "KQED provides public radio, television, and independent reporting on issues that matter to the Bay Area. We’re the NPR and PBS member station for Northern California."
},
"type": "terms",
"id": "root",
"slug": "root",
"link": "/root",
"taxonomy": "site"
},
"science": {
"name": "Science",
"grouping": [
"science",
"futureofyou"
],
"description": "KQED Science brings you award-winning science and environment coverage from the Bay Area and beyond.",
"type": "terms",
"id": "science",
"slug": "science",
"link": "/science",
"taxonomy": "site"
},
"stateofhealth": {
"name": "State of Health",
"parent": "science",
"type": "terms",
"id": "stateofhealth",
"slug": "stateofhealth",
"link": "/stateofhealth",
"taxonomy": "site"
},
"support": {
"name": "Support",
"type": "terms",
"id": "support",
"slug": "support",
"link": "/support",
"taxonomy": "site"
},
"thedolist": {
"name": "The Do List",
"parent": "arts",
"type": "terms",
"id": "thedolist",
"slug": "thedolist",
"link": "/thedolist",
"taxonomy": "site"
},
"trulyca": {
"name": "Truly CA",
"grouping": [
"arts",
"pop",
"trulyca"
],
"parent": "arts",
"type": "terms",
"id": "trulyca",
"slug": "trulyca",
"link": "/trulyca",
"taxonomy": "site"
},
"tv": {
"name": "TV",
"type": "terms",
"id": "tv",
"slug": "tv",
"link": "/tv",
"taxonomy": "site"
},
"voterguide": {
"name": "Voter Guide",
"parent": "elections",
"alias": "elections",
"type": "terms",
"id": "voterguide",
"slug": "voterguide",
"link": "/voterguide",
"taxonomy": "site"
},
"guiaelectoral": {
"name": "Guia Electoral",
"parent": "elections",
"alias": "elections",
"type": "terms",
"id": "guiaelectoral",
"slug": "guiaelectoral",
"link": "/guiaelectoral",
"taxonomy": "site"
},
"arts_category_music": {
"isLoading": true
},
"arts_69": {
"type": "terms",
"id": "arts_69",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "69",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Music",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Music Archives | KQED Arts",
"ogDescription": null
},
"ttid": 70,
"slug": "music",
"isLoading": false,
"link": "/arts/category/music"
},
"arts_1": {
"type": "terms",
"id": "arts_1",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Arts",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Arts Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1,
"slug": "arts",
"isLoading": false,
"link": "/arts/category/arts"
},
"arts_235": {
"type": "terms",
"id": "arts_235",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "235",
"found": true
},
"relationships": {},
"featImg": null,
"name": "News",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "News Archives | KQED Arts",
"ogDescription": null
},
"ttid": 236,
"slug": "news",
"isLoading": false,
"link": "/arts/category/news"
},
"arts_1118": {
"type": "terms",
"id": "arts_1118",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1118",
"found": true
},
"relationships": {},
"featImg": null,
"name": "featured",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "featured Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1135,
"slug": "featured",
"isLoading": false,
"link": "/arts/tag/featured"
},
"arts_6387": {
"type": "terms",
"id": "arts_6387",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "6387",
"found": true
},
"relationships": {},
"featImg": null,
"name": "music venues",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "music venues Archives | KQED Arts",
"ogDescription": null
},
"ttid": 6399,
"slug": "music-venues",
"isLoading": false,
"link": "/arts/tag/music-venues"
},
"arts_1220": {
"type": "terms",
"id": "arts_1220",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1220",
"found": true
},
"relationships": {},
"featImg": null,
"name": "New Parish",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "New Parish Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1232,
"slug": "new-parish",
"isLoading": false,
"link": "/arts/tag/new-parish"
},
"arts_746": {
"type": "terms",
"id": "arts_746",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "746",
"found": true
},
"relationships": {},
"featImg": null,
"name": "news",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "news Archives | KQED Arts",
"ogDescription": null
},
"ttid": 764,
"slug": "news-2",
"isLoading": false,
"link": "/arts/tag/news-2"
},
"arts_596": {
"type": "terms",
"id": "arts_596",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "596",
"found": true
},
"relationships": {},
"featImg": null,
"name": "ntv",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "ntv Archives | KQED Arts",
"ogDescription": null
},
"ttid": 602,
"slug": "ntv",
"isLoading": false,
"link": "/arts/tag/ntv"
},
"arts_1146": {
"type": "terms",
"id": "arts_1146",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1146",
"found": true
},
"relationships": {},
"featImg": null,
"name": "San Francisco",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "San Francisco Archives | KQED Arts",
"ogDescription": null
},
"ttid": 701,
"slug": "san-francisco",
"isLoading": false,
"link": "/arts/tag/san-francisco"
},
"arts_4525": {
"type": "terms",
"id": "arts_4525",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "4525",
"found": true
},
"relationships": {},
"featImg": null,
"name": "The Hustle",
"description": null,
"taxonomy": "series",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "The Hustle Archives | KQED Arts",
"ogDescription": null
},
"ttid": 4537,
"slug": "hustle",
"isLoading": false,
"link": "/arts/series/hustle"
},
"arts_4213": {
"type": "terms",
"id": "arts_4213",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "4213",
"found": true
},
"relationships": {},
"featImg": null,
"name": "the hustle",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "the hustle Archives | KQED Arts",
"ogDescription": null
},
"ttid": 4225,
"slug": "the-hustle",
"isLoading": false,
"link": "/arts/tag/the-hustle"
},
"arts_140": {
"type": "terms",
"id": "arts_140",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "140",
"found": true
},
"relationships": {},
"name": "The Do List",
"slug": "the-do-list",
"taxonomy": "program",
"description": null,
"featImg": "https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/The-Do-LIst-logo-2014-horizontal-015.png",
"headData": {
"title": "The Do List Archives | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 141,
"isLoading": false,
"link": "/arts/program/the-do-list"
},
"arts_74": {
"type": "terms",
"id": "arts_74",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "74",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Movies",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Movies Archives | KQED Arts",
"ogDescription": null
},
"ttid": 75,
"slug": "movies",
"isLoading": false,
"link": "/arts/category/movies"
},
"arts_967": {
"type": "terms",
"id": "arts_967",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "967",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Theater",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Theater Archives | KQED Arts",
"ogDescription": null
},
"ttid": 985,
"slug": "theater",
"isLoading": false,
"link": "/arts/category/theater"
},
"arts_1270": {
"type": "terms",
"id": "arts_1270",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1270",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Berkeley",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Berkeley Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1282,
"slug": "berkeley",
"isLoading": false,
"link": "/arts/tag/berkeley"
},
"arts_5654": {
"type": "terms",
"id": "arts_5654",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "5654",
"found": true
},
"relationships": {},
"featImg": null,
"name": "hedwig and the angry inch",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "hedwig and the angry inch Archives | KQED Arts",
"ogDescription": null
},
"ttid": 5666,
"slug": "hedwig-and-the-angry-inch",
"isLoading": false,
"link": "/arts/tag/hedwig-and-the-angry-inch"
},
"arts_2880": {
"type": "terms",
"id": "arts_2880",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2880",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Zellerbach Hall",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Zellerbach Hall Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2892,
"slug": "zellerbach-hall",
"isLoading": false,
"link": "/arts/tag/zellerbach-hall"
},
"arts_1377": {
"type": "terms",
"id": "arts_1377",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1377",
"found": true
},
"relationships": {},
"featImg": null,
"name": "NPR",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "NPR Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1389,
"slug": "npr",
"isLoading": false,
"link": "/arts/tag/npr"
},
"arts_137": {
"type": "terms",
"id": "arts_137",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "137",
"found": true
},
"relationships": {},
"featImg": "https://ww2.kqed.org/app/uploads/sites/2/2014/04/logo-npr-lg1.png",
"name": "NPR",
"description": null,
"taxonomy": "affiliate",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "NPR Archives | KQED Arts",
"ogDescription": null
},
"ttid": 138,
"slug": "npr",
"isLoading": false,
"link": "/arts/affiliate/npr"
},
"arts_7534": {
"type": "terms",
"id": "arts_7534",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "7534",
"found": true
},
"relationships": {},
"featImg": null,
"name": "country music",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "country music Archives | KQED Arts",
"ogDescription": null
},
"ttid": 7546,
"slug": "country-music",
"isLoading": false,
"link": "/arts/tag/country-music"
},
"arts_2415": {
"type": "terms",
"id": "arts_2415",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2415",
"found": true
},
"relationships": {},
"featImg": null,
"name": "folk music",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "folk music Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2427,
"slug": "folk-music",
"isLoading": false,
"link": "/arts/tag/folk-music"
},
"arts_1420": {
"type": "terms",
"id": "arts_1420",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1420",
"found": true
},
"relationships": {},
"featImg": null,
"name": "jazz",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "jazz Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1432,
"slug": "jazz",
"isLoading": false,
"link": "/arts/tag/jazz"
},
"arts_1143": {
"type": "terms",
"id": "arts_1143",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1143",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Oakland",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Oakland Archives | KQED Arts",
"ogDescription": null
},
"ttid": 692,
"slug": "oakland",
"isLoading": false,
"link": "/arts/tag/oakland"
},
"arts_4107": {
"type": "terms",
"id": "arts_4107",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "4107",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Yoshis",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Yoshis Archives | KQED Arts",
"ogDescription": null
},
"ttid": 4119,
"slug": "yoshis",
"isLoading": false,
"link": "/arts/tag/yoshis"
},
"arts_968": {
"type": "terms",
"id": "arts_968",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "968",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Comedy",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Comedy Archives | KQED Arts",
"ogDescription": null
},
"ttid": 986,
"slug": "comedy",
"isLoading": false,
"link": "/arts/category/comedy"
},
"arts_994": {
"type": "terms",
"id": "arts_994",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "994",
"found": true
},
"relationships": {},
"featImg": null,
"name": "metal",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "metal Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1012,
"slug": "metal",
"isLoading": false,
"link": "/arts/tag/metal"
},
"arts_1871": {
"type": "terms",
"id": "arts_1871",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1871",
"found": true
},
"relationships": {},
"featImg": null,
"name": "standup comedy",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "standup comedy Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1883,
"slug": "standup-comedy",
"isLoading": false,
"link": "/arts/tag/standup-comedy"
},
"arts_1564": {
"type": "terms",
"id": "arts_1564",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1564",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Remembrance",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Remembrance Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1576,
"slug": "remembrance",
"isLoading": false,
"link": "/arts/category/remembrance"
},
"arts_913": {
"type": "terms",
"id": "arts_913",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "913",
"found": true
},
"relationships": {},
"featImg": null,
"name": "punk",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "punk Archives | KQED Arts",
"ogDescription": null
},
"ttid": 931,
"slug": "punk",
"isLoading": false,
"link": "/arts/tag/punk"
},
"arts_5397": {
"type": "terms",
"id": "arts_5397",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "5397",
"found": true
},
"relationships": {},
"featImg": null,
"name": "bay area rap",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "bay area rap Archives | KQED Arts",
"ogDescription": null
},
"ttid": 5409,
"slug": "bay-area-rap",
"isLoading": false,
"link": "/arts/tag/bay-area-rap"
},
"arts_9850": {
"type": "terms",
"id": "arts_9850",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "9850",
"found": true
},
"relationships": {},
"featImg": null,
"name": "c-bo",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "c-bo Archives | KQED Arts",
"ogDescription": null
},
"ttid": 9862,
"slug": "c-bo",
"isLoading": false,
"link": "/arts/tag/c-bo"
},
"arts_831": {
"type": "terms",
"id": "arts_831",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "831",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Hip Hop",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"socialTitle": "Fresh Off the Streets: Get Amped by the Bay's Hottest Hip-Hop Stories",
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": "Discover rising stars, hidden gems, and live events that'll keep your head nodding. Find your next favorite local hip hop artist right here.",
"metaRobotsNoIndex": "index",
"title": "Fresh Off the Streets: Get Amped by the Bay's Hottest Hip-Hop Stories",
"ogDescription": null
},
"ttid": 849,
"slug": "hip-hop",
"isLoading": false,
"link": "/arts/tag/hip-hop"
},
"arts_9847": {
"type": "terms",
"id": "arts_9847",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "9847",
"found": true
},
"relationships": {},
"featImg": null,
"name": "mob figaz",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "mob figaz Archives | KQED Arts",
"ogDescription": null
},
"ttid": 9859,
"slug": "mob-figaz",
"isLoading": false,
"link": "/arts/tag/mob-figaz"
},
"arts_7862": {
"type": "terms",
"id": "arts_7862",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "7862",
"found": true
},
"relationships": {},
"featImg": null,
"name": "History",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "History Archives | KQED Arts",
"ogDescription": null
},
"ttid": 7874,
"slug": "history",
"isLoading": false,
"link": "/arts/category/history"
},
"arts_1312": {
"type": "terms",
"id": "arts_1312",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1312",
"found": true
},
"relationships": {},
"featImg": null,
"name": "classical music",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"socialTitle": "From Symphony Hall to Hidden Gems: Bay Area's Classical Music Stories",
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": "Immerse yourself in the Bay Area's rich classical music world! KQED brings you news, educational resources, and event listings.",
"metaRobotsNoIndex": "index",
"title": "From Symphony Hall to Hidden Gems: Bay Area's Classical Music Stories",
"ogDescription": null
},
"ttid": 1324,
"slug": "classical-music",
"isLoading": false,
"link": "/arts/tag/classical-music"
},
"arts_9830": {
"type": "terms",
"id": "arts_9830",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "9830",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Holocaust",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Holocaust Archives | KQED Arts",
"ogDescription": null
},
"ttid": 9842,
"slug": "holocaust",
"isLoading": false,
"link": "/arts/tag/holocaust"
},
"arts_5792": {
"type": "terms",
"id": "arts_5792",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "5792",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Los Gatos",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Los Gatos Archives | KQED Arts",
"ogDescription": null
},
"ttid": 5804,
"slug": "los-gatos",
"isLoading": false,
"link": "/arts/tag/los-gatos"
},
"arts_4642": {
"type": "terms",
"id": "arts_4642",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "4642",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Rachael Myrow",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Rachael Myrow Archives | KQED Arts",
"ogDescription": null
},
"ttid": 4654,
"slug": "rachael-myrow",
"isLoading": false,
"link": "/arts/tag/rachael-myrow"
},
"arts_990": {
"type": "terms",
"id": "arts_990",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "990",
"found": true
},
"relationships": {},
"featImg": null,
"name": "TV",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "TV Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1008,
"slug": "tv",
"isLoading": false,
"link": "/arts/category/tv"
},
"arts_13672": {
"type": "terms",
"id": "arts_13672",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "13672",
"found": true
},
"relationships": {},
"name": "Documentaries",
"slug": "documentaries",
"taxonomy": "tag",
"description": null,
"featImg": null,
"headData": {
"title": "Documentaries | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 13684,
"isLoading": false,
"link": "/arts/tag/documentaries"
},
"arts_1962": {
"type": "terms",
"id": "arts_1962",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1962",
"found": true
},
"relationships": {},
"featImg": null,
"name": "feminism",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "feminism Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1974,
"slug": "feminism",
"isLoading": false,
"link": "/arts/tag/feminism"
},
"arts_3324": {
"type": "terms",
"id": "arts_3324",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3324",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Netflix",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Netflix Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3336,
"slug": "netflix",
"isLoading": false,
"link": "/arts/tag/netflix"
},
"arts_2462": {
"type": "terms",
"id": "arts_2462",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2462",
"found": true
},
"relationships": {},
"featImg": null,
"name": "sexual assault",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "sexual assault Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2474,
"slug": "sexual-assault",
"isLoading": false,
"link": "/arts/tag/sexual-assault"
},
"arts_3026": {
"type": "terms",
"id": "arts_3026",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3026",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Taylor Swift",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Taylor Swift Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3038,
"slug": "taylor-swift",
"isLoading": false,
"link": "/arts/tag/taylor-swift"
},
"arts_8720": {
"type": "terms",
"id": "arts_8720",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "8720",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Rightnowish",
"description": null,
"taxonomy": "program",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Rightnowish Archives | KQED Arts",
"ogDescription": null
},
"ttid": 8732,
"slug": "rightnowish",
"isLoading": false,
"link": "/arts/program/rightnowish"
},
"arts_21759": {
"type": "terms",
"id": "arts_21759",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21759",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Podcast",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Podcast Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21771,
"slug": "podcast",
"isLoading": false,
"link": "/arts/category/podcast"
},
"arts_6764": {
"type": "terms",
"id": "arts_6764",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "6764",
"found": true
},
"relationships": {},
"featImg": "https://ww2.kqed.org/app/uploads/sites/2/2019/02/Rightnowish-Link-for-Social.jpg",
"name": "Rightnowish",
"description": "Art is where you find it. Each week, follow lifelong Oaklander, Pendarvis Harshaw, on a brief but memorable trip through the Bay Area’s creative hubs. ",
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": "Art is where you find it. Each week, follow lifelong Oaklander, Pendarvis Harshaw, on a brief but memorable trip through the Bay Area’s creative hubs.",
"title": "Rightnowish Archives | KQED Arts",
"ogDescription": null
},
"ttid": 6776,
"slug": "rightnowish",
"isLoading": false,
"link": "/arts/tag/rightnowish"
}
},
"userPermissionsReducer": {
"wpLoggedIn": false
},
"eventsReducer": {},
"fssReducer": {},
"tvDailyScheduleReducer": {},
"tvWeeklyScheduleReducer": {},
"tvPrimetimeScheduleReducer": {},
"tvMonthlyScheduleReducer": {},
"userAccountReducer": {
"user": {
"email": null,
"emailStatus": "EMAIL_UNVALIDATED",
"loggedStatus": "LOGGED_OUT",
"loggingChecked": false,
"articles": [],
"firstName": null,
"lastName": null,
"phoneNumber": null,
"fetchingMembership": false,
"membershipError": false,
"memberships": [
{
"id": null,
"startDate": null,
"firstName": null,
"lastName": null,
"familyNumber": null,
"memberNumber": null,
"memberSince": null,
"expirationDate": null,
"pfsEligible": false,
"isSustaining": false,
"membershipLevel": "Prospect",
"membershipStatus": "Non Member",
"lastGiftDate": null,
"renewalDate": null,
"lastDonationAmount": null
}
]
},
"authModal": {
"isOpen": false,
"view": "LANDING_VIEW"
},
"error": null
},
"youthMediaReducer": {},
"checkPleaseReducer": {
"filterData": {
"region": {
"key": "Restaurant Region",
"filters": [
"Any Region"
]
},
"cuisine": {
"key": "Restaurant Cuisine",
"filters": [
"Any Cuisine"
]
}
},
"restaurantDataById": {},
"restaurantIdsSorted": [],
"error": null
},
"userAgentReducer": {
"userAgent": "Mozilla/5.0 AppleWebKit/537.36 (KHTML, like Gecko; compatible; ClaudeBot/1.0; +claudebot@anthropic.com)",
"isBot": true
}
}
