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_13121352": {
"type": "attachments",
"id": "arts_13121352",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13121352",
"found": true
},
"parent": 13114272,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/04/sofar-middle-man-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/04/sofar-middle-man-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/04/sofar-middle-man-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/04/sofar-middle-man-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/04/sofar-middle-man-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/04/sofar-middle-man-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/04/sofar-middle-man.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/04/sofar-middle-man-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/04/sofar-middle-man-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/04/sofar-middle-man-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/04/sofar-middle-man-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/04/sofar-middle-man-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/04/sofar-middle-man-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/04/sofar-middle-man-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/04/sofar-middle-man-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/04/sofar-middle-man-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/04/sofar-middle-man-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/04/sofar-middle-man-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/04/sofar-middle-man-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/04/sofar-middle-man-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/04/sofar-middle-man-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1493364136,
"modified": 1493364193,
"caption": "Long part of a global network including folk, jazz, and punk musicians, house shows have now begun to be promoted by for-profit companies like Sofar Sounds. ",
"description": "Long part of a global network including folk, jazz, and punk musicians, house shows have now begun to be promoted by for-profit companies like Sofar Sounds. ",
"title": "sofar-middle-man",
"credit": "Sofar Sounds",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13872510": {
"type": "attachments",
"id": "arts_13872510",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13872510",
"found": true
},
"parent": 13872505,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/01/SteelGuitar-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/01/SteelGuitar-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/01/SteelGuitar.jpg",
"width": 800,
"height": 449
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/01/SteelGuitar-800x449.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 449
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/01/SteelGuitar-768x431.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 431
}
},
"publishDate": 1578416538,
"modified": 1578416626,
"caption": "The pedal steel guitar has played a singular role in music across the years.",
"description": "The pedal steel guitar has played a singular role in music across the years.",
"title": "SteelGuitar",
"credit": "Robin Pope/Getty Images/EyeEm",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13872413": {
"type": "attachments",
"id": "arts_13872413",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13872413",
"found": true
},
"parent": 13872405,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/01/GettyImages-1139194563-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/01/GettyImages-1139194563-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/01/GettyImages-1139194563-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/01/GettyImages-1139194563.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/01/GettyImages-1139194563-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/01/GettyImages-1139194563-1200x675.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 675
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/01/GettyImages-1139194563-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/01/GettyImages-1139194563-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/01/GettyImages-1139194563-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1578333364,
"modified": 1578333423,
"caption": "Inductee Stevie Nicks performs on stage at the 2019 Rock & Roll Hall Of Fame Induction Ceremony at Barclays Center on March 29, 2019 in New York City. ",
"description": "Inductee Stevie Nicks performs on stage at the 2019 Rock & Roll Hall Of Fame Induction Ceremony at Barclays Center on March 29, 2019 in New York City. ",
"title": "2019 Rock & Roll Hall Of Fame Induction Ceremony - Show",
"credit": "Dimitrios Kambouris/Getty Images For The Rock and Roll Hall of Fame",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"news_11793525": {
"type": "attachments",
"id": "news_11793525",
"meta": {
"index": "attachments_1716263798",
"site": "news",
"id": "11793525",
"found": true
},
"parent": 11754695,
"imgSizes": {
"apple_news_ca_landscape_5_5": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2020/01/Hagia_Sophia-1044x783.jpg",
"width": 1044,
"mimeType": "image/jpeg",
"height": 783
},
"apple_news_ca_square_4_0": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2020/01/Hagia_Sophia-470x470.jpg",
"width": 470,
"mimeType": "image/jpeg",
"height": 470
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2020/01/Hagia_Sophia-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2020/01/Hagia_Sophia-160x107.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 107
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2020/01/Hagia_Sophia-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2020/01/Hagia_Sophia.jpg",
"width": 1379,
"height": 921
},
"apple_news_ca_landscape_4_7": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2020/01/Hagia_Sophia-632x474.jpg",
"width": 632,
"mimeType": "image/jpeg",
"height": 474
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2020/01/Hagia_Sophia-1020x681.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 681
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2020/01/Hagia_Sophia-1200x801.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 801
},
"apple_news_ca_landscape_4_0": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2020/01/Hagia_Sophia-536x402.jpg",
"width": 536,
"mimeType": "image/jpeg",
"height": 402
},
"apple_news_ca_portrait_12_9": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2020/01/Hagia_Sophia-1122x921.jpg",
"width": 1122,
"mimeType": "image/jpeg",
"height": 921
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2020/01/Hagia_Sophia-800x534.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 534
},
"apple_news_ca_portrait_4_0": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2020/01/Hagia_Sophia-354x472.jpg",
"width": 354,
"mimeType": "image/jpeg",
"height": 472
},
"apple_news_ca_portrait_9_7": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2020/01/Hagia_Sophia-840x921.jpg",
"width": 840,
"mimeType": "image/jpeg",
"height": 921
},
"apple_news_ca_square_9_7": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2020/01/Hagia_Sophia-1104x921.jpg",
"width": 1104,
"mimeType": "image/jpeg",
"height": 921
},
"apple_news_ca_portrait_4_7": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2020/01/Hagia_Sophia-414x552.jpg",
"width": 414,
"mimeType": "image/jpeg",
"height": 552
},
"apple_news_ca_portrait_5_5": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2020/01/Hagia_Sophia-687x916.jpg",
"width": 687,
"mimeType": "image/jpeg",
"height": 916
},
"apple_news_ca_square_4_7": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2020/01/Hagia_Sophia-550x550.jpg",
"width": 550,
"mimeType": "image/jpeg",
"height": 550
},
"apple_news_ca_landscape_9_7": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2020/01/Hagia_Sophia-1376x921.jpg",
"width": 1376,
"mimeType": "image/jpeg",
"height": 921
},
"apple_news_ca_square_5_5": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2020/01/Hagia_Sophia-912x912.jpg",
"width": 912,
"mimeType": "image/jpeg",
"height": 912
}
},
"publishDate": 1577894861,
"modified": 1577898605,
"caption": "A church choir has not been able to sing inside the Hagia Sophia for over 500 years.",
"description": "A church choir has not been able to sing inside the Hagia Sophia for over 500 years.",
"title": "Hagia_Sophia",
"credit": "Arild Vågen/Wikimedia Commons",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13872238": {
"type": "attachments",
"id": "arts_13872238",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13872238",
"found": true
},
"parent": 13872237,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/12/gettyimages-1095819392_wide-381ddf6b5e42aee8961263df3386a4fe3916f99c-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/12/gettyimages-1095819392_wide-381ddf6b5e42aee8961263df3386a4fe3916f99c-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/12/gettyimages-1095819392_wide-381ddf6b5e42aee8961263df3386a4fe3916f99c-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/12/gettyimages-1095819392_wide-381ddf6b5e42aee8961263df3386a4fe3916f99c-e1577833359809.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/12/gettyimages-1095819392_wide-381ddf6b5e42aee8961263df3386a4fe3916f99c-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/12/gettyimages-1095819392_wide-381ddf6b5e42aee8961263df3386a4fe3916f99c-1200x675.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 675
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/12/gettyimages-1095819392_wide-381ddf6b5e42aee8961263df3386a4fe3916f99c-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/12/gettyimages-1095819392_wide-381ddf6b5e42aee8961263df3386a4fe3916f99c-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/12/gettyimages-1095819392_wide-381ddf6b5e42aee8961263df3386a4fe3916f99c-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1577826784,
"modified": 1577833403,
"caption": "Nipsey Hussle",
"description": "Nipsey Hussle",
"title": "Nipsey Hussle",
"credit": "Matt Winkelmeyer/Getty Images for Warner Music",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13871660": {
"type": "attachments",
"id": "arts_13871660",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13871660",
"found": true
},
"parent": 13871386,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/12/sammy-starr-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/12/sammy-starr-160x80.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 80
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/12/sammy-starr-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/12/sammy-starr-e1576541351640.jpg",
"width": 1920,
"height": 960
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/12/sammy-starr-1020x510.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 510
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/12/sammy-starr-1200x600.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 600
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/12/sammy-starr-1920x960.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 960
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/12/sammy-starr-800x400.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 400
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/12/sammy-starr-768x384.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 384
}
},
"publishDate": 1576541324,
"modified": 1576541417,
"caption": "Sammy Davis Jr. as the Caterpillar, and Ringo Starr as the Mock Turtle in 1985's 'Alice in Wonderland.'",
"description": "Sammy Davis Jr. as the Caterpillar, and Ringo Starr as the Mock Turtle in 1985's 'Alice in Wonderland.'",
"title": "Sammy Davis Jr. as the Caterpillar, and Ringo Starr as the Mock Turtle in 1985's 'Alice in Wonderland.'",
"credit": "CBS",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13871858": {
"type": "attachments",
"id": "arts_13871858",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13871858",
"found": true
},
"parent": 13871840,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/12/Awkwafina-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/12/Awkwafina-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/12/Awkwafina.jpg",
"width": 800,
"height": 450
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/12/Awkwafina-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/12/Awkwafina-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1576790941,
"modified": 1576790982,
"caption": "Awkwafina at the 2019 Sundance Film Festival in Park City, Utah. ",
"description": "Awkwafina at the 2019 Sundance Film Festival in Park City, Utah. ",
"title": "Awkwafina",
"credit": "Rich Polk/Getty Images",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13933782": {
"type": "attachments",
"id": "arts_13933782",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13933782",
"found": true
},
"parent": 13871739,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/12/2010s-best-albums-1-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/12/2010s-best-albums-1-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/12/2010s-best-albums-1-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/12/2010s-best-albums-1.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/12/2010s-best-albums-1-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/12/2010s-best-albums-1-1536x864.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 864
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/12/2010s-best-albums-1-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/12/2010s-best-albums-1-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1692837347,
"modified": 1692837386,
"caption": "Queens D.Light's 'California Wildflower,' Shannon and the Clams' 'Dreams in the Rat House' and Toro y Moi's 'Outer Peace' (left to right) are just a few of KQED's favorite Bay Area albums of the 2010s.",
"description": null,
"title": "2010s-best-albums",
"credit": "Courtesy of the artists ",
"status": "inherit",
"altTag": null,
"isLoading": false,
"fetchFailed": false
},
"arts_13871728": {
"type": "attachments",
"id": "arts_13871728",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13871728",
"found": true
},
"parent": 13871726,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/12/Carlos-Uribe-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/12/Carlos-Uribe-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/12/Carlos-Uribe-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/12/Carlos-Uribe.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/12/Carlos-Uribe-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/12/Carlos-Uribe-1200x675.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 675
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/12/Carlos-Uribe-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/12/Carlos-Uribe-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/12/Carlos-Uribe-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1576693583,
"modified": 1576693713,
"caption": "Carlos Uribe, general manager of Club 21 and Club BnB, sits upstairs at the Oakland nightclubs complex Dec. 17, 2019. ",
"description": "Carlos Uribe, general manager of Club 21 and Club BnB, sits upstairs at the Oakland nightclubs complex Dec. 17, 2019. ",
"title": "Carlos Uribe, general manager of Club 21 and Club BnB, sits upstairs at the Oakland nightclubs complex.",
"credit": "Sam Lefebvre/KQED",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13871611": {
"type": "attachments",
"id": "arts_13871611",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13871611",
"found": true
},
"parent": 13871610,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/12/gettyimages-627255858_wide-e55d3e47d76e94ac01f90e82beb3769b07d69410-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/12/gettyimages-627255858_wide-e55d3e47d76e94ac01f90e82beb3769b07d69410-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/12/gettyimages-627255858_wide-e55d3e47d76e94ac01f90e82beb3769b07d69410-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/12/gettyimages-627255858_wide-e55d3e47d76e94ac01f90e82beb3769b07d69410-e1576531400893.jpg",
"width": 1920,
"height": 1081
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/12/gettyimages-627255858_wide-e55d3e47d76e94ac01f90e82beb3769b07d69410-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/12/gettyimages-627255858_wide-e55d3e47d76e94ac01f90e82beb3769b07d69410-1200x675.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 675
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/12/gettyimages-627255858_wide-e55d3e47d76e94ac01f90e82beb3769b07d69410-1920x1081.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1081
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/12/gettyimages-627255858_wide-e55d3e47d76e94ac01f90e82beb3769b07d69410-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/12/gettyimages-627255858_wide-e55d3e47d76e94ac01f90e82beb3769b07d69410-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1576530984,
"modified": 1576531481,
"caption": "Mariah Carey performs onstage during VH1's Divas Holiday: Unsilent Night, New York, 2016.",
"description": "Mariah Carey performs onstage during VH1's Divas Holiday: Unsilent Night, New York, 2016.",
"title": "Mariah Carey performs onstage during VH1's Divas Holiday: Unsilent Night, New York, 2016.",
"credit": "Michael Loccisano/Getty Images",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13871565": {
"type": "attachments",
"id": "arts_13871565",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13871565",
"found": true
},
"parent": 13871375,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/12/KOLA-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/12/KOLA-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/12/KOLA-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/12/KOLA.jpg",
"width": 1830,
"height": 1029
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/12/KOLA-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/12/KOLA-1200x675.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 675
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/12/KOLA-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/12/KOLA-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1576261941,
"modified": 1576261982,
"caption": "Samara Cole-Mercado dancing as Yemanja during a rehearsal at Sullivan Community Space in Oakland on Dec. 8, 2019.\n",
"description": "Samara Cole-Mercado dancing as Yemanja during a rehearsal at Sullivan Community Space in Oakland on Dec. 8, 2019.\n",
"title": "KOLA",
"credit": "Stephanie Lister/KQED",
"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_13872505": {
"type": "authors",
"id": "byline_arts_13872505",
"meta": {
"override": true
},
"slug": "byline_arts_13872505",
"name": "Jesse Jarnow",
"isLoading": false
},
"byline_arts_13871610": {
"type": "authors",
"id": "byline_arts_13871610",
"meta": {
"override": true
},
"slug": "byline_arts_13871610",
"name": "Stephen Thompson",
"isLoading": false
},
"shotchkiss": {
"type": "authors",
"id": "61",
"meta": {
"index": "authors_1716337520",
"id": "61",
"found": true
},
"name": "Sarah Hotchkiss",
"firstName": "Sarah",
"lastName": "Hotchkiss",
"slug": "shotchkiss",
"email": "shotchkiss@kqed.org",
"display_author_email": true,
"staff_mastheads": [
"arts"
],
"title": "Senior Editor",
"bio": "Sarah Hotchkiss is a San Francisco \u003ca href=\"http://www.sarahhotchkiss.com\">artist\u003c/a> and arts writer. In 2019, she received the Dorothea & Leo Rabkin Foundation grant for visual art journalism and in 2020 she received a Society of Professional Journalists, Northern California award for excellence in arts and culture reporting.",
"avatar": "https://secure.gravatar.com/avatar/bc662df144b3d27fd8b1b6f1c2a420d34e91e53154d411bb7ad353cc8b6cea8d?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "",
"roles": [
"editor"
]
},
{
"site": "arts",
"roles": [
"Contributor",
"administrator"
]
},
{
"site": "artschool",
"roles": [
"administrator"
]
},
{
"site": "news",
"roles": [
"editor"
]
},
{
"site": "pop",
"roles": [
"administrator"
]
},
{
"site": "bayareabites",
"roles": [
"editor"
]
},
{
"site": "spark",
"roles": [
"editor"
]
},
{
"site": "checkplease",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Sarah Hotchkiss | KQED",
"description": "Senior Editor",
"ogImgSrc": "https://secure.gravatar.com/avatar/bc662df144b3d27fd8b1b6f1c2a420d34e91e53154d411bb7ad353cc8b6cea8d?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/bc662df144b3d27fd8b1b6f1c2a420d34e91e53154d411bb7ad353cc8b6cea8d?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/shotchkiss"
},
"kqedarts": {
"type": "authors",
"id": "92",
"meta": {
"index": "authors_1716337520",
"id": "92",
"found": true
},
"name": "KQED Arts",
"firstName": "KQED",
"lastName": "Arts",
"slug": "kqedarts",
"email": "arts@kqed.org",
"display_author_email": false,
"staff_mastheads": [],
"title": "KQED Staff",
"bio": null,
"avatar": "https://secure.gravatar.com/avatar/321c9ebfeb7736f9e55366a6d3399ab0?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": "https://www.instagram.com/kqed_arts/",
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"contributor"
]
},
{
"site": "pop",
"roles": [
"contributor"
]
},
{
"site": "science",
"roles": [
"author"
]
},
{
"site": "food",
"roles": [
"contributor"
]
}
],
"headData": {
"title": "KQED Arts | KQED",
"description": "KQED Staff",
"ogImgSrc": "https://secure.gravatar.com/avatar/321c9ebfeb7736f9e55366a6d3399ab0?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/321c9ebfeb7736f9e55366a6d3399ab0?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/kqedarts"
},
"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"
},
"samharnett": {
"type": "authors",
"id": "253",
"meta": {
"index": "authors_1716337520",
"id": "253",
"found": true
},
"name": "Sam Harnett",
"firstName": "Sam",
"lastName": "Harnett",
"slug": "samharnett",
"email": "samharnett@gmail.com",
"display_author_email": false,
"staff_mastheads": [],
"title": "KQED Contributor",
"bio": "Sam Harnett covered tech and work at KQED. He is the co-creator of \u003cem>\u003ca href=\"http://www.theworldaccordingtosound.org\">The World According to Sound\u003c/a>,\u003c/em> a 90-second podcast that features different sounds and the stories behind them.\r\n\r\nBefore coming to KQED, Sam worked as an independent reporter who contributed regularly to \u003cem>The California Report, Marketplace,\u003c/em> \u003cem>The World \u003c/em>and NPR.",
"avatar": "https://secure.gravatar.com/avatar/2538b972ac02f2b9546c7a6c59a0f3d0?s=600&d=blank&r=g",
"twitter": "Samwharnett",
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "news",
"roles": [
"edit_others_posts",
"subscriber"
]
},
{
"site": "stateofhealth",
"roles": [
"author"
]
},
{
"site": "science",
"roles": [
"editor"
]
},
{
"site": "quest",
"roles": [
"subscriber"
]
}
],
"headData": {
"title": "Sam Harnett | KQED",
"description": "KQED Contributor",
"ogImgSrc": "https://secure.gravatar.com/avatar/2538b972ac02f2b9546c7a6c59a0f3d0?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/2538b972ac02f2b9546c7a6c59a0f3d0?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/samharnett"
},
"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"
}
},
"pagesReducer": {
"arts_category_music": {
"type": "terms",
"id": "arts_69",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "69",
"score": 10.848275
},
"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": 128
},
"blocks": [
{
"blockName": "kqed/post-list",
"attrs": {
"layout": "cardArticle2",
"query": "posts/arts?category=music",
"seeMore": false,
"paginated": true,
"page": 128
}
},
{
"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_13872608": {
"type": "posts",
"id": "arts_13872608",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13872608",
"score": null,
"sort": [
1578445905000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1578445905,
"format": "standard",
"title": "Concert Startup Sofar Sounds to Pay $460,000 to Uncompensated Workers",
"headTitle": "Concert Startup Sofar Sounds to Pay $460,000 to Uncompensated Workers | KQED",
"content": "\u003cp>Sofar Sounds—a company that books small, acoustic concerts at houses, stores and office spaces—has reached a $460,357.50 settlement with the New York State Department of Labor, \u003ca href=\"https://variety.com/2019/biz/news/whats-next-for-sofar-sounds-and-its-genius-volunteer-based-business-model-1203325982/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Variety\u003c/em> reports\u003c/a>. The money will be distributed among 654 unpaid workers, or, in Sofar parlance, “ambassadors,” who staffed concerts for the for-profit company between 2016 and 2019. [aside postid='arts_13857471']\u003c/p>\n\u003cp>The settlement comes after years of scrutiny of Sofar Sounds’ business model. Since its debut in London in 2009, the startup expanded to hundreds of cities across the globe, including San Francisco, Santa Cruz and San Jose, and became profitable by charging at the door for “secret shows” while using volunteer crews and paying musicians negligible stipends. When KQED’s Emma Silvers broke the story of \u003ca href=\"https://www.kqed.org/arts/13114272/sofar-sounds-house-shows-airbnb-middleman\" target=\"_blank\" rel=\"noopener noreferrer\">Sofar Sounds’ labor practices\u003c/a> in 2017, the company was valued at an estimated $22 million, with investment from Virgin’s Richard Branson. Meanwhile, bands were compensated with videos of their performances (and no cash), and then paid $50 per concert once they became “Sofar alums” and played additional shows.\u003c/p>\n\u003cp>“I think they talk a lot about supporting local artists, but what they’re actually doing is perpetuating the idea that it’s okay for musicians to get paid shit,” Oakland singer-songwriter Madeline Kinney told KQED at the time. [aside postid='arts_13114272']\u003c/p>\n\u003cp>In 2019, \u003ca href=\"https://techcrunch.com/2019/05/21/how-sofar-sounds-works/\" target=\"_blank\" rel=\"noopener noreferrer\">TechCrunch\u003c/a> reported that Sofar upped its fees to $100 per band for a 25 minute set (which can work out to less than minimum wage when factoring in musicians’ travel and rehearsal time). The hosts who volunteered their homes as venues weren’t paid, yet Sofar made at least $1,000 to $1,600 per show, according to the report. In a \u003ca href=\"https://www.sofarsounds.com/blog/articles/how-money-works-at-a-sofar-show\" target=\"_blank\" rel=\"noopener noreferrer\">recent blog post\u003c/a>, Sofar CEO Jim Lucchese promised to increase artist compensation for bigger shows in February 2020. In September 2019, the company also pledged to hire paid, part-time crews to staff its concerts.\u003c/p>\n\u003cp>“When the Department of Labor opened its investigation, Sofar cooperated fully and immediately changed its business model,” the New York State Department of Labor wrote in an announcement. “Sofar now staffs all its events with paid employees. The company also agreed to immediately compensate ambassadors who provided any unpaid work.” [aside postid='arts_13852882']\u003c/p>\n\u003cp>After the settlement was reached, a Sofar spokesperson told \u003cem>Variety\u003c/em>: “Today’s agreement with the New York State Department of Labor stipulates no admission of guilt or wrongdoing and confirms our operating model is fully compliant with New York state law. We thank them for working collaboratively with us in New York, Sofar’s biggest U.S. market. We are excited about resolving these issues and moving forward in 2020, with a continued focus on connecting local and independent musicians with passionate music fans.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 483,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 8
},
"modified": 1705021548,
"excerpt": "The company built its business model on free labor while raising millions of dollars in investments. ",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The company built its business model on free labor while raising millions of dollars in investments. ",
"title": "Concert Startup Sofar Sounds to Pay $460,000 to Uncompensated Workers | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Concert Startup Sofar Sounds to Pay $460,000 to Uncompensated Workers",
"datePublished": "2020-01-07T17:11:45-08:00",
"dateModified": "2024-01-11T17:05:48-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "concert-startup-sofar-sounds-to-pay-460000-to-uncompensated-workers",
"status": "publish",
"templateType": "standard",
"featuredImageType": "standard",
"sticky": false,
"path": "/arts/13872608/concert-startup-sofar-sounds-to-pay-460000-to-uncompensated-workers",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Sofar Sounds—a company that books small, acoustic concerts at houses, stores and office spaces—has reached a $460,357.50 settlement with the New York State Department of Labor, \u003ca href=\"https://variety.com/2019/biz/news/whats-next-for-sofar-sounds-and-its-genius-volunteer-based-business-model-1203325982/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Variety\u003c/em> reports\u003c/a>. The money will be distributed among 654 unpaid workers, or, in Sofar parlance, “ambassadors,” who staffed concerts for the for-profit company between 2016 and 2019. \u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13857471",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The settlement comes after years of scrutiny of Sofar Sounds’ business model. Since its debut in London in 2009, the startup expanded to hundreds of cities across the globe, including San Francisco, Santa Cruz and San Jose, and became profitable by charging at the door for “secret shows” while using volunteer crews and paying musicians negligible stipends. When KQED’s Emma Silvers broke the story of \u003ca href=\"https://www.kqed.org/arts/13114272/sofar-sounds-house-shows-airbnb-middleman\" target=\"_blank\" rel=\"noopener noreferrer\">Sofar Sounds’ labor practices\u003c/a> in 2017, the company was valued at an estimated $22 million, with investment from Virgin’s Richard Branson. Meanwhile, bands were compensated with videos of their performances (and no cash), and then paid $50 per concert once they became “Sofar alums” and played additional shows.\u003c/p>\n\u003cp>“I think they talk a lot about supporting local artists, but what they’re actually doing is perpetuating the idea that it’s okay for musicians to get paid shit,” Oakland singer-songwriter Madeline Kinney told KQED at the time. \u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13114272",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In 2019, \u003ca href=\"https://techcrunch.com/2019/05/21/how-sofar-sounds-works/\" target=\"_blank\" rel=\"noopener noreferrer\">TechCrunch\u003c/a> reported that Sofar upped its fees to $100 per band for a 25 minute set (which can work out to less than minimum wage when factoring in musicians’ travel and rehearsal time). The hosts who volunteered their homes as venues weren’t paid, yet Sofar made at least $1,000 to $1,600 per show, according to the report. In a \u003ca href=\"https://www.sofarsounds.com/blog/articles/how-money-works-at-a-sofar-show\" target=\"_blank\" rel=\"noopener noreferrer\">recent blog post\u003c/a>, Sofar CEO Jim Lucchese promised to increase artist compensation for bigger shows in February 2020. In September 2019, the company also pledged to hire paid, part-time crews to staff its concerts.\u003c/p>\n\u003cp>“When the Department of Labor opened its investigation, Sofar cooperated fully and immediately changed its business model,” the New York State Department of Labor wrote in an announcement. “Sofar now staffs all its events with paid employees. The company also agreed to immediately compensate ambassadors who provided any unpaid work.” \u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13852882",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>After the settlement was reached, a Sofar spokesperson told \u003cem>Variety\u003c/em>: “Today’s agreement with the New York State Department of Labor stipulates no admission of guilt or wrongdoing and confirms our operating model is fully compliant with New York state law. We thank them for working collaboratively with us in New York, Sofar’s biggest U.S. market. We are excited about resolving these issues and moving forward in 2020, with a continued focus on connecting local and independent musicians with passionate music fans.”\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>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13872608/concert-startup-sofar-sounds-to-pay-460000-to-uncompensated-workers",
"authors": [
"11387"
],
"categories": [
"arts_69",
"arts_235"
],
"tags": [
"arts_9604",
"arts_7469",
"arts_1118",
"arts_7471"
],
"featImg": "arts_13121352",
"label": "arts"
},
"arts_13872505": {
"type": "posts",
"id": "arts_13872505",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13872505",
"score": null,
"sort": [
1578417278000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1578417278,
"format": "standard",
"title": "The Endless Potential Of The Pedal Steel Guitar",
"headTitle": "The Endless Potential Of The Pedal Steel Guitar | KQED",
"content": "\u003cp>An anchor of the classic mid-century Nashville sound, the pedal steel guitar has been a trusted part of the broader pop palette at least since Jerry Garcia added affable, if primitive, pedal steel to Crosby, Stills, Nash & Young’s “Teach Your Children” in 1969 and B.J. Cole provided atmosphere on Elton John’s “Tiny Dancer” in 1971. But over the past decade and change, a vibrant new generation of players have taken up the unusual instrument, directing its microtonal bends and aching cries towards more modern expressions.\u003c/p>\n\u003cp>“I think it’s an instrument that begs to be used texturally, and outside the way it was originally designed to be used,” says the California-based Chuck Johnson, whose 2017 album \u003ca href=\"https://chuckjohnson.bandcamp.com/album/balsams\">\u003cem>Balsams\u003c/em>\u003c/a>\u003cem> \u003c/em>and subsequent \u003ca href=\"https://chuckjohnson.bandcamp.com/album/ayami-2\">live releases\u003c/a> have used pedal steel as a tool to generate glowing, complex ambient music. “You can pluck a chord and use the pedals and levers to move some of those voices in different directions, which is something no other instrument can do,” he says of its ability to limitlessly bend notes. “Without even moving the bar, you can do really interesting counterpoint. Add to that all the microtonal possibilities. Whether you’re moving the bar or using the [knee] levers, it’s always a glide to wherever you end up.”\u003c/p>\n\u003cp>https://youtu.be/GQj9NSOUVAA\u003c/p>\n\u003cp>An often misunderstood mechanical artifact from another time, the pedal steel remains odd in nearly every way. Its high lonesome moan can float over, or inside, pretty much anything; it can bend notes and blend chords in ways no other analog instrument can; and it sounds like nothing else — even the pedal-less steel guitar, for which it’s frequently confused. But for much of its life, it’s been synonymous with the wailing cries of country music, to the point of being virtually trapped by the genre.\u003c/p>\n\u003cp>“When somebody takes the stage [at a pedal steel convention] and plays something other than country, people get up and walk out,” says Tom Bradshaw, perhaps the world’s leading authority on the instrument. The founder of the now-defunct \u003cem>Steel Guitarist \u003c/em>magazine, he has played and repaired pedal steels for nearly a half-century, selling parts through his Bay Area-based \u003ca href=\"http://www.songwriter.com/bradshaw/\">Pedal Steel Guitar Products\u003c/a>. But Bradshaw worries about the instrument’s future. “It’s so often that kids are the ones who cause things to really get started and go, but the cost of the instrument is so much that it’s prohibitive for kids to get into it,” he says. Indeed — outside of classical, and despite its roots in working-class pop music, it is one of the most expensive instruments around, with the cheapest used models going for around $1,000.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Also, it is one of the most difficult-to-learn instruments in the world. Just setting up the pedals and levers requires an intense amount of foreknowledge. There are multiple standard tunings. Its strings usually run in a non-intuitive order. Playing it requires both hands, both feet and, occasionally, both knees. Sometimes there is one guitar neck full of strings, sometimes there are a few — each in its own tuning. Its mechanics have very little to do with guitar as most recognize the instrument, or even the open-tuned Hawaiian lap steel, from which the pedal steel evolved. \u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/track/3HSfyLD2ZDtcvVE12OkmX8\" width=\"100%\" height=\"80\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\">\u003c/iframe>\u003c/p>\n\u003cp>Almost exactly in the middle of the 20th century, the lap steel first \u003ca href=\"http://www.gibson-prewar.com/s/cc_images/cache_937748247.jpg?t=1400227662\">sprouted pedals\u003c/a> with Gibson’s Electraharp, and over the next two decades continued to mutate as different players experimented with tuning and pedal combinations in Nashville garages and recording studios. In 1952, Zane Beck added knee levers to bend notes downwards. The year after, on Webb Pierce’s “\u003ca href=\"https://www.youtube.com/watch?v=3B6FjkaY-O8\">Slowly\u003c/a>,” Bud Isaacs added a pedal to bend two notes at once. Session musician \u003ca href=\"http://www.buddyemmons.com/recordings2.htm\">Buddy Emmons\u003c/a>, who died in 2015 and would become the instrument’s foremost player, built on Isaac’s innovation, introducing a split pedal arrangement that allowed for players to introduce suspended chords and other distinctly “un-Hawaiian” tone bends. Honky-tonk troubadour Ernest Tubb became the beneficiary of the hot new tech breakthrough, with Emmons first employing it on Tubb’s 1957 hit “\u003ca href=\"https://www.youtube.com/watch?v=b6g4k4X0vsw\">Half A Mind (To Leave You)\u003c/a>,” also featuring George Jones. Taken together, these technological evolutions transformed the fairly simple lap steel into a metaphor of modernity: a complex machine requiring highly skilled operators, used almost exclusively in country music, a genre in which life’s simplicity — whether real or imagined — is very often centered.\u003c/p>\n\u003cfigure id=\"attachment_13872507\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/gettyimages-566781655_wide-05905ee6c411930a269279a90ef060a8e1c8a35e-800x450.jpg\" alt=\"The ensemble Icebreaker, performing Brian Eno's album Apollo: Atmospheres & Soundtracks alongside pedal steel pioneer B.J. Cole on Sep. 15, 2010 in London.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13872507\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/gettyimages-566781655_wide-05905ee6c411930a269279a90ef060a8e1c8a35e-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/gettyimages-566781655_wide-05905ee6c411930a269279a90ef060a8e1c8a35e-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/gettyimages-566781655_wide-05905ee6c411930a269279a90ef060a8e1c8a35e-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/gettyimages-566781655_wide-05905ee6c411930a269279a90ef060a8e1c8a35e-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/gettyimages-566781655_wide-05905ee6c411930a269279a90ef060a8e1c8a35e-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/gettyimages-566781655_wide-05905ee6c411930a269279a90ef060a8e1c8a35e-1920x1080.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The ensemble Icebreaker, performing Brian Eno’s album ‘Apollo: Atmospheres & Soundtracks’ alongside pedal steel pioneer B.J. Cole on Sep. 15, 2010 in London. \u003ccite>(Brian Rasic/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When it was released in 1983, the luminous \u003cem>Apollo: Atmospheres & Soundtracks\u003c/em>, was one small step for Brian Eno but one giant leap towards expanding the pedal steel’s vocabulary. For the landmark album, an ambient score to the documentary \u003cem>For All Mankind\u003c/em>, Eno deployed Daniel Lanois’s pedal steel guitar \u003ca href=\"https://www.newscientist.com/article/dn17429-apollo-special-brian-enos-moon-music/#ixzz68Tv2xdck\">as a reference\u003c/a> to the country tapes brought into space by the astronauts, and clearly demonstrated the instrument’s future as a leading voice of its own. What Eno called “zero-gravity country music” became a transition point for the instrument, though the revolution has been a slow one \u003c/p>\n\u003cp>In 2006, Susan Alcorn would title a piece of music, “And I Await the Resurrection of the Pedal Steel Guitar.” The sublime tribute to French composer Oliver Messiaen (and subsequent album of the same name) is perhaps near the center of the instrument’s expanding territory in the new century, and something of a self-fulfilling prophecy.\u003c/p>\n\u003cp>The future is now. In the Bandcamp/SoundCloud/”genre-fluid” reaches, the world of outsider pedal steel now constitutes a destination of its own. Heather Leigh has been improvising with pedal steel and voice since the early 2000s, but beginning with 2015’s \u003ca href=\"https://ideologicorgan.bandcamp.com/album/i-abused-animal\">\u003cem>I Abused Animal\u003c/em>\u003c/a>, she has used it as a counterpoint within some startling experimental songwriting. Chuck Johnson has expanded the instrument’s ambient palette into vivid and extended star-fields, most recently with the gorgeous art-pop duo \u003ca href=\"https://saariselka.bandcamp.com/album/the-ground-our-sky\">Saariselka\u003c/a>. Norwegian jazz player \u003ca href=\"https://sundstoel.bandcamp.com/album/br-dl-s\">Geir Sundstøl\u003c/a> fits it into brooding, proggy soundscapes, the cinematic New York-based \u003ca href=\"https://suss.bandcamp.com/album/high-line\">SUSS\u003c/a> go full noir, and \u003ca href=\"https://muteduoadr.bandcamp.com/album/lapse-in-passage\">Mute Duo\u003c/a> dive into atmospheric improvisation. Daniel Lanois has stayed in the game, too, most lately with 2017’s \u003ca href=\"https://daniellanois.bandcamp.com/album/goodbye-to-language\">\u003cem>Goodbye to Language\u003c/em>\u003c/a>\u003cem> \u003c/em>and \u003ca href=\"https://venetiansnares.bandcamp.com/album/venetian-snares-x-daniel-lanois\">\u003cem>Venetian Squares x Daniel Lanois\u003c/em>\u003c/a>, a glitchy 2018 collaboration with Venetian Snares.\u003c/p>\n\u003cp>Says Chuck Johnson, “I don’t think you can overstate the importance of the fact that, when you ask who’s pushing the instrument forward, the answer is there are these two women — Susan Alcorn and Heather Leigh. More than any other instrument I know, the culture around [pedal steel] is so male dominated.”\u003c/p>\n\u003cp>https://www.instagram.com/p/BgpWs0Vg8PU/\u003c/p>\n\u003cp>Alcorn began playing pedal steel with Houston country bands in the early ’70s, and recalls the musical insularity of the pedal steel conventions she attended. “People would have albums, mostly of country tunes, and maybe a jazz tune like \u003ca href=\"https://www.youtube.com/watch?v=5GzaQN-PPhk\">‘Cherokee’\u003c/a> or something like that,” she recalls. “Kind of straight-ahead, and maybe 20 years behind the rest of the jazz world. Maybe 30 or 40 years behind.”\u003c/p>\n\u003cp>By the ’80s Alcorn had begun to experiment, though it was a lonely calling in Texas. She routed her instrument through a synthesizer for a while, making it sound like other instruments. She arranged John Coltrane’s “Naima.” She laughs, “I was doing country gigs and listening to Albert Ayler and people at the gigs would tell me I sounded different for some reason. When I got into Ornette Coleman, most of the musicians I knew in Houston didn’t want to play with me anymore because it was like I was out-of-tune or something.” \u003c/p>\n\u003cp>But in 1990, Alcorn met accordionist and pioneering electronic composer Pauline Oliveros. “I went to her first ‘Deep Listening’ retreat,” Alcorn says. “Pauline is from Houston, where I was living, and we became friends … And so that widened my ideas of what you would call music, and certainly what you would call improvisation. That had a profound effect on how I played, and still does.”\u003c/p>\n\u003cp>Lately, Alcorn has been the instrument’s on-call emissary in certain, somewhat outré, music circles, playing in the \u003ca href=\"https://maryhalvorson.bandcamp.com/album/away-with-you\">Mary Halvorson Octet\u003c/a> as well as Nate Wooley’s ecstatic music ensemble, Seven Storey Mountain. (And on last year’s \u003ca href=\"https://natewooley.bandcamp.com/album/columbia-icefield\">\u003cem>Columbia Icefield\u003c/em>\u003c/a>). If she’s setting an example for the wide new ways the pedal steel might work, the musicians who have followed are keen on discovering their own paths.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/track/6JzwFJ5UKJnsftMJfaRPqV\" width=\"100%\" height=\"80\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\">\u003c/iframe>\u003c/p>\n\u003cp>(One can trace a scattered lineage of unconnected experimentalists outside Alcorn and Lanois. In the ’80s, Nigerian juju pioneer King Sunny Adé’s highlife orchestra featured pedal steelist Demola Adepoju, whose 1985 solo album \u003cem>Olufe-Mi \u003c/em>is due for its own resurrection. “Tiny Dancer” steelist B.J. Cole’s 1972 album, \u003ca href=\"https://www.youtube.com/watch?v=Vbp6ZlmP4n4\">\u003cem>The New Hovering Dog\u003c/em>\u003c/a>, provides an early outlying beacon of outré pedal-steel pop, and he’s played with a wide-range of big-eared artists from R.E.M. to Luke Vibert.) \u003c/p>\n\u003cp>For prolific veteran Jim O’Rourke, who used pedal steel to color the meticulous arrangements of his 1997’s album \u003ca href=\"https://jimorourke.bandcamp.com/album/bad-timing\">\u003cem>Bad Timing\u003c/em>\u003c/a>, it took Chas Smith’s 1987 LP \u003ca href=\"https://www.youtube.com/watch?v=dwbj684Ez74&list=OLAK5uy_m9Zrc_uj7tKz8m3F12KBaBgJc_OyzqJd8\">\u003cem>Nakadai\u003c/em>\u003c/a>\u003cem> \u003c/em>to really connect with the instrument. “That was where the nexus happened,” O’Rourke writes in an email, “where those worlds met for me, which only reinforced my love. It might be that the pedal steel is somehow one of the few instruments that is somewhere between an acoustic instrument, in a loose meaning of the term, and the synth/tape music that was and is my main interest.” He finally learned to play one for 2015’s \u003ca href=\"https://jimorourke.bandcamp.com/album/simple-songs\">\u003cem>Simple Songs\u003c/em>\u003c/a>. \u003c/p>\n\u003cfigure id=\"attachment_13872508\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/gettyimages-485501417_sq-f13c8f9fe1f5d493aeeb4b8ebd80778960764275.jpg\" alt=\"Daniel Lanois, playing pedal steel guitar during a concert at the BAM Howard Gilman Opera House in Brooklyn on April 12, 2014.\" width=\"200\" height=\"199\" class=\"size-full wp-image-13872508\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/gettyimages-485501417_sq-f13c8f9fe1f5d493aeeb4b8ebd80778960764275.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/gettyimages-485501417_sq-f13c8f9fe1f5d493aeeb4b8ebd80778960764275-160x159.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">Daniel Lanois, playing pedal steel guitar during a concert at the BAM Howard Gilman Opera House in Brooklyn on April 12, 2014. \u003ccite>(Jack Vartoogian/Getty Images/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even after shedding a lifetime of accumulated instruments and studio gear upon moving to Japan, O’Rourke still keeps a pedal steel around. “I am still an absolute amateur, but it’s one instrument that still poses a challenge with an actual, foreseeable gain,” he notes. “It does your back in if you don’t watch it, though.”\u003c/p>\n\u003cp>Pedal steel can be heard these days on album centerpiece tracks by Vampire Weekend (where veteran session player Greg Leisz brings “Hold You Now” back to earth) and the Mountain Goats (where Dan Dugmore glows on the title track of \u003cem>In League With Dragons\u003c/em>). It’s there (somewhere) in the wall-of-sound saturation of Lana Del Ray’s \u003cem>Ultraviolence\u003c/em>, and as a signifying point of analog humanity in Phosphorescent’s auto-tuned post-apocalyptic “\u003ca href=\"https://phosphorescent.bandcamp.com/track/christmas-down-under\">Christmas Down Under.\u003c/a>” \u003c/p>\n\u003cp>But the pedal steel will likely remain a semi-secret language. Even in the Steel Guitar Forum, the instrument’s main online community, non-country players can feel like members of a permanent musical diaspora. “Fortunately, there are younger people on there and Susan Alcorn posts there all the time,” says Johnson, “and posts a lot of things on Facebook that are challenging for that community politically and socially and otherwise.”\u003c/p>\n\u003cp>Tom Bradshaw estimates a global population of somewhere between 40,000 to 50,000 pedal steel guitar players. And though he frets about players aging out, he also acknowledges a large, often invisible, community of what he calls “bedroom players,”hobbyists with no ambitions to set foot on stage. \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>If nothing else, the age of Bandcamp labels, SoundCloud rap, YouTube covers and viral videos of all stripes is made precisely for those bedroom players, as well as lone steel-slingers out in the wilderness, like the exotica-loving \u003ca href=\"https://soundcloud.com/ztom-motoyama\">Ztom Motoyama\u003c/a> in Japan, or Will Van Horn, who \u003ca href=\"https://www.youtube.com/watch?v=HjuSa3_CerU\">recently covered\u003c/a> Aphex Twin’s haunted “Avril 14th” on pedal steel. It also sounds fantastic in various modern remix modes, like the \u003ca href=\"https://www.youtube.com/watch?v=1Q_WbJTXcao\">chopped-and-screwed Alan Jackson\u003c/a> or \u003ca href=\"https://www.youtube.com/watch?v=wgBxA2NtDoU\">vaporwave Mike Nesmith\u003c/a>. Just as the instrument cuts through large ensembles, it can also cut through the cultural noise, a versatile and seemingly ancient craft that continues to open a portal to a strange, glowing place. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Endless+Potential+Of+The+Pedal+Steel+Guitar%2C+An+Odd+Duck+By+Any+Measure&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 2161,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 25
},
"modified": 1705021558,
"excerpt": "The pedal steel guitar is rooted in country music — but its well runs much deeper than smooth twang.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The pedal steel guitar is rooted in country music — but its well runs much deeper than smooth twang.",
"title": "The Endless Potential Of The Pedal Steel Guitar | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "The Endless Potential Of The Pedal Steel Guitar",
"datePublished": "2020-01-07T09:14:38-08:00",
"dateModified": "2024-01-11T17:05:58-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "the-endless-potential-of-the-pedal-steel-guitar",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=793989801&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprStoryDate": "Tue, 07 Jan 2020 07:00:55 -0500",
"nprLastModifiedDate": "Tue, 07 Jan 2020 09:58:02 -0500",
"featuredImageType": "standard",
"nprHtmlLink": "https://www.npr.org/2020/01/07/793989801/the-endless-potential-of-the-pedal-steel-guitar-an-odd-duck-by-any-measure?ft=nprml&f=793989801",
"nprImageAgency": "Getty Images/EyeEm",
"nprStoryId": "793989801",
"nprByline": "Jesse Jarnow",
"sticky": false,
"nprImageCredit": "Robin Pope",
"nprRetrievedStory": "1",
"nprPubDate": "Tue, 07 Jan 2020 09:58:00 -0500",
"path": "/arts/13872505/the-endless-potential-of-the-pedal-steel-guitar",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>An anchor of the classic mid-century Nashville sound, the pedal steel guitar has been a trusted part of the broader pop palette at least since Jerry Garcia added affable, if primitive, pedal steel to Crosby, Stills, Nash & Young’s “Teach Your Children” in 1969 and B.J. Cole provided atmosphere on Elton John’s “Tiny Dancer” in 1971. But over the past decade and change, a vibrant new generation of players have taken up the unusual instrument, directing its microtonal bends and aching cries towards more modern expressions.\u003c/p>\n\u003cp>“I think it’s an instrument that begs to be used texturally, and outside the way it was originally designed to be used,” says the California-based Chuck Johnson, whose 2017 album \u003ca href=\"https://chuckjohnson.bandcamp.com/album/balsams\">\u003cem>Balsams\u003c/em>\u003c/a>\u003cem> \u003c/em>and subsequent \u003ca href=\"https://chuckjohnson.bandcamp.com/album/ayami-2\">live releases\u003c/a> have used pedal steel as a tool to generate glowing, complex ambient music. “You can pluck a chord and use the pedals and levers to move some of those voices in different directions, which is something no other instrument can do,” he says of its ability to limitlessly bend notes. “Without even moving the bar, you can do really interesting counterpoint. Add to that all the microtonal possibilities. Whether you’re moving the bar or using the [knee] levers, it’s always a glide to wherever you end up.”\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/GQj9NSOUVAA'\n title='//www.youtube.com/embed/GQj9NSOUVAA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>An often misunderstood mechanical artifact from another time, the pedal steel remains odd in nearly every way. Its high lonesome moan can float over, or inside, pretty much anything; it can bend notes and blend chords in ways no other analog instrument can; and it sounds like nothing else — even the pedal-less steel guitar, for which it’s frequently confused. But for much of its life, it’s been synonymous with the wailing cries of country music, to the point of being virtually trapped by the genre.\u003c/p>\n\u003cp>“When somebody takes the stage [at a pedal steel convention] and plays something other than country, people get up and walk out,” says Tom Bradshaw, perhaps the world’s leading authority on the instrument. The founder of the now-defunct \u003cem>Steel Guitarist \u003c/em>magazine, he has played and repaired pedal steels for nearly a half-century, selling parts through his Bay Area-based \u003ca href=\"http://www.songwriter.com/bradshaw/\">Pedal Steel Guitar Products\u003c/a>. But Bradshaw worries about the instrument’s future. “It’s so often that kids are the ones who cause things to really get started and go, but the cost of the instrument is so much that it’s prohibitive for kids to get into it,” he says. Indeed — outside of classical, and despite its roots in working-class pop music, it is one of the most expensive instruments around, with the cheapest used models going for around $1,000.\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>Also, it is one of the most difficult-to-learn instruments in the world. Just setting up the pedals and levers requires an intense amount of foreknowledge. There are multiple standard tunings. Its strings usually run in a non-intuitive order. Playing it requires both hands, both feet and, occasionally, both knees. Sometimes there is one guitar neck full of strings, sometimes there are a few — each in its own tuning. Its mechanics have very little to do with guitar as most recognize the instrument, or even the open-tuned Hawaiian lap steel, from which the pedal steel evolved. \u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/track/3HSfyLD2ZDtcvVE12OkmX8\" width=\"100%\" height=\"80\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\">\u003c/iframe>\u003c/p>\n\u003cp>Almost exactly in the middle of the 20th century, the lap steel first \u003ca href=\"http://www.gibson-prewar.com/s/cc_images/cache_937748247.jpg?t=1400227662\">sprouted pedals\u003c/a> with Gibson’s Electraharp, and over the next two decades continued to mutate as different players experimented with tuning and pedal combinations in Nashville garages and recording studios. In 1952, Zane Beck added knee levers to bend notes downwards. The year after, on Webb Pierce’s “\u003ca href=\"https://www.youtube.com/watch?v=3B6FjkaY-O8\">Slowly\u003c/a>,” Bud Isaacs added a pedal to bend two notes at once. Session musician \u003ca href=\"http://www.buddyemmons.com/recordings2.htm\">Buddy Emmons\u003c/a>, who died in 2015 and would become the instrument’s foremost player, built on Isaac’s innovation, introducing a split pedal arrangement that allowed for players to introduce suspended chords and other distinctly “un-Hawaiian” tone bends. Honky-tonk troubadour Ernest Tubb became the beneficiary of the hot new tech breakthrough, with Emmons first employing it on Tubb’s 1957 hit “\u003ca href=\"https://www.youtube.com/watch?v=b6g4k4X0vsw\">Half A Mind (To Leave You)\u003c/a>,” also featuring George Jones. Taken together, these technological evolutions transformed the fairly simple lap steel into a metaphor of modernity: a complex machine requiring highly skilled operators, used almost exclusively in country music, a genre in which life’s simplicity — whether real or imagined — is very often centered.\u003c/p>\n\u003cfigure id=\"attachment_13872507\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/gettyimages-566781655_wide-05905ee6c411930a269279a90ef060a8e1c8a35e-800x450.jpg\" alt=\"The ensemble Icebreaker, performing Brian Eno's album Apollo: Atmospheres & Soundtracks alongside pedal steel pioneer B.J. Cole on Sep. 15, 2010 in London.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13872507\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/gettyimages-566781655_wide-05905ee6c411930a269279a90ef060a8e1c8a35e-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/gettyimages-566781655_wide-05905ee6c411930a269279a90ef060a8e1c8a35e-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/gettyimages-566781655_wide-05905ee6c411930a269279a90ef060a8e1c8a35e-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/gettyimages-566781655_wide-05905ee6c411930a269279a90ef060a8e1c8a35e-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/gettyimages-566781655_wide-05905ee6c411930a269279a90ef060a8e1c8a35e-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/gettyimages-566781655_wide-05905ee6c411930a269279a90ef060a8e1c8a35e-1920x1080.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The ensemble Icebreaker, performing Brian Eno’s album ‘Apollo: Atmospheres & Soundtracks’ alongside pedal steel pioneer B.J. Cole on Sep. 15, 2010 in London. \u003ccite>(Brian Rasic/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When it was released in 1983, the luminous \u003cem>Apollo: Atmospheres & Soundtracks\u003c/em>, was one small step for Brian Eno but one giant leap towards expanding the pedal steel’s vocabulary. For the landmark album, an ambient score to the documentary \u003cem>For All Mankind\u003c/em>, Eno deployed Daniel Lanois’s pedal steel guitar \u003ca href=\"https://www.newscientist.com/article/dn17429-apollo-special-brian-enos-moon-music/#ixzz68Tv2xdck\">as a reference\u003c/a> to the country tapes brought into space by the astronauts, and clearly demonstrated the instrument’s future as a leading voice of its own. What Eno called “zero-gravity country music” became a transition point for the instrument, though the revolution has been a slow one \u003c/p>\n\u003cp>In 2006, Susan Alcorn would title a piece of music, “And I Await the Resurrection of the Pedal Steel Guitar.” The sublime tribute to French composer Oliver Messiaen (and subsequent album of the same name) is perhaps near the center of the instrument’s expanding territory in the new century, and something of a self-fulfilling prophecy.\u003c/p>\n\u003cp>The future is now. In the Bandcamp/SoundCloud/”genre-fluid” reaches, the world of outsider pedal steel now constitutes a destination of its own. Heather Leigh has been improvising with pedal steel and voice since the early 2000s, but beginning with 2015’s \u003ca href=\"https://ideologicorgan.bandcamp.com/album/i-abused-animal\">\u003cem>I Abused Animal\u003c/em>\u003c/a>, she has used it as a counterpoint within some startling experimental songwriting. Chuck Johnson has expanded the instrument’s ambient palette into vivid and extended star-fields, most recently with the gorgeous art-pop duo \u003ca href=\"https://saariselka.bandcamp.com/album/the-ground-our-sky\">Saariselka\u003c/a>. Norwegian jazz player \u003ca href=\"https://sundstoel.bandcamp.com/album/br-dl-s\">Geir Sundstøl\u003c/a> fits it into brooding, proggy soundscapes, the cinematic New York-based \u003ca href=\"https://suss.bandcamp.com/album/high-line\">SUSS\u003c/a> go full noir, and \u003ca href=\"https://muteduoadr.bandcamp.com/album/lapse-in-passage\">Mute Duo\u003c/a> dive into atmospheric improvisation. Daniel Lanois has stayed in the game, too, most lately with 2017’s \u003ca href=\"https://daniellanois.bandcamp.com/album/goodbye-to-language\">\u003cem>Goodbye to Language\u003c/em>\u003c/a>\u003cem> \u003c/em>and \u003ca href=\"https://venetiansnares.bandcamp.com/album/venetian-snares-x-daniel-lanois\">\u003cem>Venetian Squares x Daniel Lanois\u003c/em>\u003c/a>, a glitchy 2018 collaboration with Venetian Snares.\u003c/p>\n\u003cp>Says Chuck Johnson, “I don’t think you can overstate the importance of the fact that, when you ask who’s pushing the instrument forward, the answer is there are these two women — Susan Alcorn and Heather Leigh. More than any other instrument I know, the culture around [pedal steel] is so male dominated.”\u003c/p>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "instagramLink",
"attributes": {
"named": {
"instagramUrl": "https://www.instagram.com/p/BgpWs0Vg8PU/"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Alcorn began playing pedal steel with Houston country bands in the early ’70s, and recalls the musical insularity of the pedal steel conventions she attended. “People would have albums, mostly of country tunes, and maybe a jazz tune like \u003ca href=\"https://www.youtube.com/watch?v=5GzaQN-PPhk\">‘Cherokee’\u003c/a> or something like that,” she recalls. “Kind of straight-ahead, and maybe 20 years behind the rest of the jazz world. Maybe 30 or 40 years behind.”\u003c/p>\n\u003cp>By the ’80s Alcorn had begun to experiment, though it was a lonely calling in Texas. She routed her instrument through a synthesizer for a while, making it sound like other instruments. She arranged John Coltrane’s “Naima.” She laughs, “I was doing country gigs and listening to Albert Ayler and people at the gigs would tell me I sounded different for some reason. When I got into Ornette Coleman, most of the musicians I knew in Houston didn’t want to play with me anymore because it was like I was out-of-tune or something.” \u003c/p>\n\u003cp>But in 1990, Alcorn met accordionist and pioneering electronic composer Pauline Oliveros. “I went to her first ‘Deep Listening’ retreat,” Alcorn says. “Pauline is from Houston, where I was living, and we became friends … And so that widened my ideas of what you would call music, and certainly what you would call improvisation. That had a profound effect on how I played, and still does.”\u003c/p>\n\u003cp>Lately, Alcorn has been the instrument’s on-call emissary in certain, somewhat outré, music circles, playing in the \u003ca href=\"https://maryhalvorson.bandcamp.com/album/away-with-you\">Mary Halvorson Octet\u003c/a> as well as Nate Wooley’s ecstatic music ensemble, Seven Storey Mountain. (And on last year’s \u003ca href=\"https://natewooley.bandcamp.com/album/columbia-icefield\">\u003cem>Columbia Icefield\u003c/em>\u003c/a>). If she’s setting an example for the wide new ways the pedal steel might work, the musicians who have followed are keen on discovering their own paths.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/track/6JzwFJ5UKJnsftMJfaRPqV\" width=\"100%\" height=\"80\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\">\u003c/iframe>\u003c/p>\n\u003cp>(One can trace a scattered lineage of unconnected experimentalists outside Alcorn and Lanois. In the ’80s, Nigerian juju pioneer King Sunny Adé’s highlife orchestra featured pedal steelist Demola Adepoju, whose 1985 solo album \u003cem>Olufe-Mi \u003c/em>is due for its own resurrection. “Tiny Dancer” steelist B.J. Cole’s 1972 album, \u003ca href=\"https://www.youtube.com/watch?v=Vbp6ZlmP4n4\">\u003cem>The New Hovering Dog\u003c/em>\u003c/a>, provides an early outlying beacon of outré pedal-steel pop, and he’s played with a wide-range of big-eared artists from R.E.M. to Luke Vibert.) \u003c/p>\n\u003cp>For prolific veteran Jim O’Rourke, who used pedal steel to color the meticulous arrangements of his 1997’s album \u003ca href=\"https://jimorourke.bandcamp.com/album/bad-timing\">\u003cem>Bad Timing\u003c/em>\u003c/a>, it took Chas Smith’s 1987 LP \u003ca href=\"https://www.youtube.com/watch?v=dwbj684Ez74&list=OLAK5uy_m9Zrc_uj7tKz8m3F12KBaBgJc_OyzqJd8\">\u003cem>Nakadai\u003c/em>\u003c/a>\u003cem> \u003c/em>to really connect with the instrument. “That was where the nexus happened,” O’Rourke writes in an email, “where those worlds met for me, which only reinforced my love. It might be that the pedal steel is somehow one of the few instruments that is somewhere between an acoustic instrument, in a loose meaning of the term, and the synth/tape music that was and is my main interest.” He finally learned to play one for 2015’s \u003ca href=\"https://jimorourke.bandcamp.com/album/simple-songs\">\u003cem>Simple Songs\u003c/em>\u003c/a>. \u003c/p>\n\u003cfigure id=\"attachment_13872508\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/gettyimages-485501417_sq-f13c8f9fe1f5d493aeeb4b8ebd80778960764275.jpg\" alt=\"Daniel Lanois, playing pedal steel guitar during a concert at the BAM Howard Gilman Opera House in Brooklyn on April 12, 2014.\" width=\"200\" height=\"199\" class=\"size-full wp-image-13872508\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/gettyimages-485501417_sq-f13c8f9fe1f5d493aeeb4b8ebd80778960764275.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/gettyimages-485501417_sq-f13c8f9fe1f5d493aeeb4b8ebd80778960764275-160x159.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">Daniel Lanois, playing pedal steel guitar during a concert at the BAM Howard Gilman Opera House in Brooklyn on April 12, 2014. \u003ccite>(Jack Vartoogian/Getty Images/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even after shedding a lifetime of accumulated instruments and studio gear upon moving to Japan, O’Rourke still keeps a pedal steel around. “I am still an absolute amateur, but it’s one instrument that still poses a challenge with an actual, foreseeable gain,” he notes. “It does your back in if you don’t watch it, though.”\u003c/p>\n\u003cp>Pedal steel can be heard these days on album centerpiece tracks by Vampire Weekend (where veteran session player Greg Leisz brings “Hold You Now” back to earth) and the Mountain Goats (where Dan Dugmore glows on the title track of \u003cem>In League With Dragons\u003c/em>). It’s there (somewhere) in the wall-of-sound saturation of Lana Del Ray’s \u003cem>Ultraviolence\u003c/em>, and as a signifying point of analog humanity in Phosphorescent’s auto-tuned post-apocalyptic “\u003ca href=\"https://phosphorescent.bandcamp.com/track/christmas-down-under\">Christmas Down Under.\u003c/a>” \u003c/p>\n\u003cp>But the pedal steel will likely remain a semi-secret language. Even in the Steel Guitar Forum, the instrument’s main online community, non-country players can feel like members of a permanent musical diaspora. “Fortunately, there are younger people on there and Susan Alcorn posts there all the time,” says Johnson, “and posts a lot of things on Facebook that are challenging for that community politically and socially and otherwise.”\u003c/p>\n\u003cp>Tom Bradshaw estimates a global population of somewhere between 40,000 to 50,000 pedal steel guitar players. And though he frets about players aging out, he also acknowledges a large, often invisible, community of what he calls “bedroom players,”hobbyists with no ambitions to set foot on stage. \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>If nothing else, the age of Bandcamp labels, SoundCloud rap, YouTube covers and viral videos of all stripes is made precisely for those bedroom players, as well as lone steel-slingers out in the wilderness, like the exotica-loving \u003ca href=\"https://soundcloud.com/ztom-motoyama\">Ztom Motoyama\u003c/a> in Japan, or Will Van Horn, who \u003ca href=\"https://www.youtube.com/watch?v=HjuSa3_CerU\">recently covered\u003c/a> Aphex Twin’s haunted “Avril 14th” on pedal steel. It also sounds fantastic in various modern remix modes, like the \u003ca href=\"https://www.youtube.com/watch?v=1Q_WbJTXcao\">chopped-and-screwed Alan Jackson\u003c/a> or \u003ca href=\"https://www.youtube.com/watch?v=wgBxA2NtDoU\">vaporwave Mike Nesmith\u003c/a>. Just as the instrument cuts through large ensembles, it can also cut through the cultural noise, a versatile and seemingly ancient craft that continues to open a portal to a strange, glowing place. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Endless+Potential+Of+The+Pedal+Steel+Guitar%2C+An+Odd+Duck+By+Any+Measure&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13872505/the-endless-potential-of-the-pedal-steel-guitar",
"authors": [
"byline_arts_13872505"
],
"categories": [
"arts_69"
],
"tags": [
"arts_1118"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13872510",
"label": "arts_137"
},
"arts_13872405": {
"type": "posts",
"id": "arts_13872405",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13872405",
"score": null,
"sort": [
1578334101000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 140
},
"blocks": [],
"publishDate": 1578334101,
"format": "standard",
"title": "Stevie Nicks, Red Hot Chili Peppers to Headline BottleRock 2020",
"headTitle": "Stevie Nicks, Red Hot Chili Peppers to Headline BottleRock 2020 | KQED",
"content": "\u003cp>\u003ca href=\"https://www.bottlerocknapavalley.com/\" target=\"_blank\" rel=\"noopener noreferrer\">BottleRock Napa Valley\u003c/a>, wine country’s premier music and arts festival, returns on May 22–24 with a star-studded lineup of intergenerational acts, including Stevie Nicks, Red Hot Chili Peppers and Dave Matthews Band.\u003c/p>\n\u003cp>The slate of 80-plus performers also features breakout pop star Khalid, chart topper Miley Cyrus, punk icons Blondie, acclaimed hip-hop and neo-soul band Anderson .Paak & the Free Nationals, rising country star Brandi Carlile and more. In addition to its musical offerings, the upscale festival includes a culinary stage and an array of local wine, beer and craft cocktails—plus fine dining options.\u003c/p>\n\u003cp>\u003ca href=\"https://www.bottlerocknapavalley.com/tickets/\" target=\"_blank\" rel=\"noopener noreferrer\">Tickets\u003c/a> go on sale on Jan. 7 at 10am. See the rest of the BottleRock lineup \u003ca href=\"https://www.bottlerocknapavalley.com/2020artists/\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 123,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 5
},
"modified": 1705021567,
"excerpt": "Miley Cyrus, Khalid and Anderson .Paak & the Free Nationals are also slated to perform. ",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Miley Cyrus, Khalid and Anderson .Paak & the Free Nationals are also slated to perform. ",
"title": "Stevie Nicks, Red Hot Chili Peppers to Headline BottleRock 2020 | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Stevie Nicks, Red Hot Chili Peppers to Headline BottleRock 2020",
"datePublished": "2020-01-06T10:08:21-08:00",
"dateModified": "2024-01-11T17:06:07-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "stevie-nicks-red-hot-chili-peppers-to-headline-bottlerock-2020",
"status": "publish",
"templateType": "standard",
"featuredImageType": "standard",
"sticky": false,
"path": "/arts/13872405/stevie-nicks-red-hot-chili-peppers-to-headline-bottlerock-2020",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.bottlerocknapavalley.com/\" target=\"_blank\" rel=\"noopener noreferrer\">BottleRock Napa Valley\u003c/a>, wine country’s premier music and arts festival, returns on May 22–24 with a star-studded lineup of intergenerational acts, including Stevie Nicks, Red Hot Chili Peppers and Dave Matthews Band.\u003c/p>\n\u003cp>The slate of 80-plus performers also features breakout pop star Khalid, chart topper Miley Cyrus, punk icons Blondie, acclaimed hip-hop and neo-soul band Anderson .Paak & the Free Nationals, rising country star Brandi Carlile and more. In addition to its musical offerings, the upscale festival includes a culinary stage and an array of local wine, beer and craft cocktails—plus fine dining options.\u003c/p>\n\u003cp>\u003ca href=\"https://www.bottlerocknapavalley.com/tickets/\" target=\"_blank\" rel=\"noopener noreferrer\">Tickets\u003c/a> go on sale on Jan. 7 at 10am. See the rest of the BottleRock lineup \u003ca href=\"https://www.bottlerocknapavalley.com/2020artists/\" target=\"_blank\" rel=\"noopener noreferrer\">here\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>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13872405/stevie-nicks-red-hot-chili-peppers-to-headline-bottlerock-2020",
"authors": [
"11387"
],
"programs": [
"arts_140"
],
"categories": [
"arts_69"
],
"tags": [
"arts_1853",
"arts_1118",
"arts_1694",
"arts_6012",
"arts_905"
],
"featImg": "arts_13872413",
"label": "arts_140"
},
"news_11754695": {
"type": "posts",
"id": "news_11754695",
"meta": {
"index": "posts_1716263798",
"site": "news",
"id": "11754695",
"score": null,
"sort": [
1577900370000
]
},
"guestAuthors": [],
"slug": "california-sounds-new-years-day-music-that-hasnt-been-heard-in-500-years",
"title": "California Sounds: New Year's Day Music That Hasn't Been Heard in 500 Years",
"publishDate": 1577900370,
"format": "standard",
"headTitle": "California Sounds: New Year’s Day Music That Hasn’t Been Heard in 500 Years | KQED",
"labelTerm": {
"site": "news"
},
"content": "\u003cp>The \u003ca href=\"https://www.britannica.com/topic/Hagia-Sophia\" target=\"_blank\" rel=\"noopener noreferrer\">Hagia Sophia cathedral\u003c/a> in Istanbul is incredibly reverberant — a sound will echo around and remain audible for eleven seconds. That reverberance shaped nearly a thousand years of music written to be performed inside the cathedral. But no one has been able to listen to what it’s like to hear a church choir sing inside the Hagia Sophia for over 500 years. That is, until now.\u003c/p>\n\u003cp>[aside tag='california-sounds' label='Related Coverage.']When the Hagia Sophia was completed in 537 AD, it was the largest building in the world, and for a thousand years it was the biggest cathedral on the planet. Countless songs were written for the acoustics of the Hagia Sophia. The architecture of this one building influenced the whole trajectory of Eastern Orthodox church music.\u003c/p>\n\u003cp>At the end of the 15th century, the Ottomans crushed the Byzantine Empire. They turned the Hagia Sophia into a mosque, and in 1935 it became a museum. Church choirs are not allowed to perform inside, so it has been centuries since anyone heard the music as it was supposed to sound inside the Hagia Sophia.\u003c/p>\n\u003cp>But thanks to some professors at Stanford, that’s no longer the case.\u003c/p>\n\u003cp>About a decade ago, art history professor \u003ca href=\"https://art.stanford.edu/people/bissera-pentcheva\" target=\"_blank\" rel=\"noopener noreferrer\">Bissera Pentcheva\u003c/a> and computer music professor Jonathan Abel started a mission to map the acoustic profile of the Hagia Sophia and created a digital filter that could be applied to any sound. The feat required the latest theories of “convolution reverb,” a few trips to Istanbul and at least one pack of balloons.\u003c/p>\n\u003cp>Finally, to replicate the music heard inside of the Hagia Sophia, they shared their filter with Cappella Romana, a Portland-based choir that specializes in Byzantine chants. Take a listen to hear how Pentcheva, Abel and Cappella Romana have brought back music that hasn’t been heard exactly as it was intended for over 500 years.\u003c/p>\n\u003cp>For the full surround sound effect, throw on a pair of headphones before you listen!\u003c/p>\n\u003chr>\n\u003cp>This story comes to us from Chris Hoff and Sam Harnett of \u003ca href=\"http://www.theworldaccordingtosound.org/\" target=\"_blank\" rel=\"noopener noreferrer\">The World According to Sound podcast\u003c/a>. They’re partnering with the \u003ca href=\"http://lighthouse-sf.org/\" target=\"_blank\" rel=\"noopener noreferrer\">LightHouse for the Blind and Visually Impaired\u003c/a> in San Francisco to help us reimagine California in the rich way blind people experience it every day. The project has additional support from\u003ca href=\"https://calhum.org/\" target=\"_blank\" rel=\"noopener noreferrer\"> California Humanities\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
"blocks": [],
"excerpt": "For centuries, church choirs have not been able to sing in the Hagia Sophia. But now we can hear what they sound like.",
"status": "publish",
"parent": 0,
"modified": 1726007444,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 10,
"wordCount": 396
},
"headData": {
"title": "California Sounds: New Year's Day Music That Hasn't Been Heard in 500 Years | KQED",
"description": "For centuries, church choirs have not been able to sing in the Hagia Sophia. But now we can hear what they sound like.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "NewsArticle",
"headline": "California Sounds: New Year's Day Music That Hasn't Been Heard in 500 Years",
"datePublished": "2020-01-01T09:39:30-08:00",
"dateModified": "2024-09-10T15:30:44-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png",
"isAccessibleForFree": "True",
"publisher": {
"@type": "NewsMediaOrganization",
"@id": "https://www.kqed.org/#organization",
"name": "KQED",
"logo": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png",
"url": "https://www.kqed.org",
"sameAs": [
"https://www.facebook.com/KQED",
"https://twitter.com/KQED",
"https://www.instagram.com/kqed/",
"https://www.tiktok.com/@kqedofficial",
"https://www.linkedin.com/company/kqed",
"https://www.youtube.com/channel/UCeC0IOo7i1P_61zVUWbJ4nw"
]
}
}
},
"audioUrl": "https://www.kqed.org/.stream/anon/radio/RDnews/2019/12/HarnettHagiaSofia.mp3",
"sticky": false,
"audioTrackLength": 432,
"path": "/news/11754695/california-sounds-new-years-day-music-that-hasnt-been-heard-in-500-years",
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The \u003ca href=\"https://www.britannica.com/topic/Hagia-Sophia\" target=\"_blank\" rel=\"noopener noreferrer\">Hagia Sophia cathedral\u003c/a> in Istanbul is incredibly reverberant — a sound will echo around and remain audible for eleven seconds. That reverberance shaped nearly a thousand years of music written to be performed inside the cathedral. But no one has been able to listen to what it’s like to hear a church choir sing inside the Hagia Sophia for over 500 years. That is, until now.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"tag": "california-sounds",
"label": "Related Coverage. "
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>When the Hagia Sophia was completed in 537 AD, it was the largest building in the world, and for a thousand years it was the biggest cathedral on the planet. Countless songs were written for the acoustics of the Hagia Sophia. The architecture of this one building influenced the whole trajectory of Eastern Orthodox church music.\u003c/p>\n\u003cp>At the end of the 15th century, the Ottomans crushed the Byzantine Empire. They turned the Hagia Sophia into a mosque, and in 1935 it became a museum. Church choirs are not allowed to perform inside, so it has been centuries since anyone heard the music as it was supposed to sound inside the Hagia Sophia.\u003c/p>\n\u003cp>But thanks to some professors at Stanford, that’s no longer the case.\u003c/p>\n\u003cp>About a decade ago, art history professor \u003ca href=\"https://art.stanford.edu/people/bissera-pentcheva\" target=\"_blank\" rel=\"noopener noreferrer\">Bissera Pentcheva\u003c/a> and computer music professor Jonathan Abel started a mission to map the acoustic profile of the Hagia Sophia and created a digital filter that could be applied to any sound. The feat required the latest theories of “convolution reverb,” a few trips to Istanbul and at least one pack of balloons.\u003c/p>\n\u003cp>Finally, to replicate the music heard inside of the Hagia Sophia, they shared their filter with Cappella Romana, a Portland-based choir that specializes in Byzantine chants. Take a listen to hear how Pentcheva, Abel and Cappella Romana have brought back music that hasn’t been heard exactly as it was intended for over 500 years.\u003c/p>\n\u003cp>For the full surround sound effect, throw on a pair of headphones before you listen!\u003c/p>\n\u003chr>\n\u003cp>This story comes to us from Chris Hoff and Sam Harnett of \u003ca href=\"http://www.theworldaccordingtosound.org/\" target=\"_blank\" rel=\"noopener noreferrer\">The World According to Sound podcast\u003c/a>. They’re partnering with the \u003ca href=\"http://lighthouse-sf.org/\" target=\"_blank\" rel=\"noopener noreferrer\">LightHouse for the Blind and Visually Impaired\u003c/a> in San Francisco to help us reimagine California in the rich way blind people experience it every day. The project has additional support from\u003ca href=\"https://calhum.org/\" target=\"_blank\" rel=\"noopener noreferrer\"> California Humanities\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>\u003c/p>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/news/11754695/california-sounds-new-years-day-music-that-hasnt-been-heard-in-500-years",
"authors": [
"253"
],
"categories": [
"news_223",
"news_457",
"news_8",
"news_248"
],
"tags": [
"news_25962",
"news_18543",
"news_1425"
],
"featImg": "news_11793525",
"label": "news"
},
"arts_13872237": {
"type": "posts",
"id": "arts_13872237",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13872237",
"score": null,
"sort": [
1577833537000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1577833537,
"format": "standard",
"title": "In Memoriam 2019: The Musicians We Lost",
"headTitle": "In Memoriam 2019: The Musicians We Lost | KQED",
"content": "\u003cp>Heroes of alt-rock and idols of classic Hollywood, jazz luminaries and Pulitzer-winning composers, cult legends and rule-breakers, rising stars and old masters: Music communities around the globe lost dozens of shining voices this year. Here’s NPR Music’s celebration of some of the musicians who left the world in 2019.\u003c/p>\n\u003chr>\n\u003ch3>Clydie King\u003c/h3>\n\u003cp>\u003cem>Aug. 21, 1943 – Jan. 7, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4nph9B2dSXk\u003c/p>\n\u003cp>King began her career by leading her own doo-wop group, but the Dallas native found her way to greater renown as an in-demand backup singer, recording with the likes of Ray Charles, The Rolling Stones, Lynyrd Skynyrd, Steely Dan and Bob Dylan. \u003c/p>\n\u003chr>\n\u003ch3>Joseph Jarman\u003c/h3>\n\u003cp>\u003cem>Sept. 14, 1937 – Jan. 9, 2019\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=iuaBJ8-EVSg\u003c/p>\n\u003cp>An integral member of the Art Ensemble of Chicago who later was ordained as a Buddhist priest, the saxophonist, composer and multi-instrumentalist pushed experimental jazz, and the sounds he coaxed from his instruments, toward new horizons. (\u003ca href=\"https://www.npr.org/2019/01/19/686554564/different-ways-to-see-and-be-the-lives-of-joseph-jarman-and-alvin-fielder\" target=\"_blank\" rel=\"noopener noreferrer\">Read the NPR essay\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Carol Channing\u003c/h3>\n\u003cp>\u003cem>Jan. 31, 1921 – Jan. 15, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=mknDZ88-zfg\u003c/p>\n\u003cp>Though she’ll always be identified with \u003cem>Hello, Dolly!\u003c/em>, Channing’s prolific career in theater, film, television and recording spanned more than six decades. (\u003ca href=\"https://www.npr.org/2019/01/15/105807270/bidding-farewell-to-hello-dolly-actress-carol-channing-dies-at-97\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Oliver Mtukudzi\u003c/h3>\n\u003cp>\u003cem>Sept. 22, 1952 – Jan. 23, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=GhXGyer-cIg\u003c/p>\n\u003cp>Known as “Tuku” to his legion of fans, Mtukudzi often aimed his songwriting at the politics of his native Zimbabwe—celebrating the country’s new independence in the early 1980s and criticizing the rule of Robert Mugabe as it stretched into the 2010s. (\u003ca href=\"https://www.npr.org/2019/01/24/687943803/african-music-legend-oliver-tuku-mtukudzi-dead-at-66\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Michel Legrand\u003c/h3>\n\u003cp>\u003cem>Feb. 24, 1932 – Jan. 26, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=DcFH66IyXCU\u003c/p>\n\u003cp>The French musician was a prolific composer of film scores, with collaborators including directors Jean-Luc Godard, Agnès Varda and Jacques Demy. His work on 1968’s \u003cem>The Thomas Crown Affair\u003c/em> brought him the first of several Oscars and many nominations. (\u003ca href=\"https://www.npr.org/2019/01/26/689050826/michel-legrand-oscar-winning-composer-who-lived-surrounded-by-music-dies-at-86\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>James Ingram\u003c/h3>\n\u003cp>\u003cem>Feb. 16, 1952 – January 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=FUsnVOqrqqE\u003c/p>\n\u003cp>With a signature timbre that instantly evokes the classic R&B sound of the 1980s, Ingram landed two Grammys and two No. 1 hits as a singer and became an in-demand collaborator, co-writing with Quincy Jones and dueting with Linda Ronstadt. (\u003ca href=\"https://www.npr.org/2019/01/26/689050826/michel-legrand-oscar-winning-composer-who-lived-surrounded-by-music-dies-at-86\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Ethel Ennis\u003c/h3>\n\u003cp>\u003cem>Nov. 28, 1932 – Feb. 17, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=jW9X7kHGoho\u003c/p>\n\u003cp>A singer, community builder and regional celebrity—known in Baltimore as the city’s “First Lady of Jazz”—Ennis’ recordings in the mid-20th century became vital contributions to a heyday of vocal jazz and traditional pop. (\u003ca href=\"https://www.wbgo.org/post/ethel-ennis-sophisticated-singer-who-reigned-baltimores-first-lady-jazz-dies-86\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Dominick Argento\u003c/h3>\n\u003cp>\u003cem>Oct. 27, 1927 – Feb. 20, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4bMf2ipOnCo\u003c/p>\n\u003cp>The Pulitzer-winning composer was best known for his lyrical and astringent music for the human voice, writing 13 operas as well as a number of song cycles and choral works. (\u003ca href=\"https://www.npr.org/2019/02/22/697025521/dominick-argento-literature-loving-and-pulitzer-prize-winning-composer-dead-at-9\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Jackie Shane\u003c/h3>\n\u003cp>\u003cem>May 15, 1940 – February 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=yUYW2iwimBw\u003c/p>\n\u003cp>The trailblazing transgender soul singer from Nashville found fame in Toronto in the 1960s, and a cult following later, before retreating underground for decades. She resurfaced in 2017 when a compilation of her recordings drew new attention to her life and career. (\u003ca href=\"https://www.npr.org/sections/therecord/2017/10/25/559775225/jackie-shane-a-force-of-nature-who-disappeared-has-a-story-all-her-own\" target=\"_blank\" rel=\"noopener noreferrer\">Read an NPR essay from 2017\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Peter Tork\u003c/h3>\n\u003cp>\u003cem>Feb. 13, 1942 – Feb. 21, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=xvqeSJlgaNk\u003c/p>\n\u003cp>Tork was the oldest of the made-for-TV rock quartet The Monkees, and a musician in his own right before being cast. The sitcom band fashioned as a prefab answer to The Beatles found its way to real-world No. 1 hits, including “Last Train to Clarksville” and “I’m a Believer.” (\u003ca href=\"https://www.npr.org/2019/02/21/696864784/peter-tork-of-the-monkees-dies-at-77\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Mark Hollis\u003c/h3>\n\u003cp>\u003cem>Jan. 4, 1955 – Feb. 25, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=cFH5JgyZK1I\u003c/p>\n\u003cp>Hollis was the mastermind of the influential U.K. band Talk Talk, which touched both the heights of radio pop with songs like “It’s My Life” and the fringes of what would come to be known as post-rock with albums like \u003cem>Spirit of Eden\u003c/em>. (\u003ca href=\"https://www.npr.org/2019/02/28/698650688/mark-hollis-and-talk-talks-brilliant-nuanced-stubborn-visions\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>André Previn\u003c/h3>\n\u003cp>\u003cem>April 6, 1929 – Feb. 28, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=6CPv7sX7CG8\u003c/p>\n\u003cp>Previn was a celebrated polymath: a composer of Oscar-winning film music, conductor, pianist and music director of major orchestras, including the symphonies of Houston, Pittsburgh and London. (\u003ca href=\"https://www.npr.org/sections/thetwo-way/2019/02/28/517960940/andre-previn-musical-polymath-has-died-at-age-89\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Keith Flint\u003c/h3>\n\u003cp>\u003cem>Sept. 17, 1969 – March 4, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=wmin5WkOuPw\u003c/p>\n\u003cp>Flint was the ragged voice and scowling face of The Prodigy’s barnstorming 1990s singles “Firestarter” and “Breathe,” which made the British dance act a sensation with alternative rock fans and helped popularize big-beat music in America. (\u003ca href=\"https://www.npr.org/2019/03/04/699974575/keith-flint-vocalist-of-techno-popularizers-the-prodigy-dead-at-49\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Hal Blaine\u003c/h3>\n\u003cp>\u003cem>Feb. 5, 1929 – March 11, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ZV5tgZlTEkQ\u003c/p>\n\u003cp>Blaine was part of the session dream team The Wrecking Crew, but his resume was in a class all its own. His drumming backed Grammy-winning and chart-topping songs by Frank Sinatra, The Beach Boys, Simon & Garfunkel and many more, and is the signature pulse of The Ronettes’ “Be My Baby.” (\u003ca href=\"https://www.npr.org/2019/03/12/702485933/hal-blaine-most-recorded-drummer-in-history-dies-at-90\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Dick Dale\u003c/h3>\n\u003cp>\u003cem>May 4, 1937 – March 16, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=mKpsuGMeqHI\u003c/p>\n\u003cp>Born Richard Anthony Monsour, Dale changed the sound of rock and roll in the early 1960s when he upped the reverb on his guitar and applied the Arabic scales of his father’s native Lebanon. His high-energy interpretation of an old song from Asia Minor, “Misirlou,” became surf rock’s calling card. (\u003ca href=\"https://www.npr.org/2019/03/18/704329806/dick-dale-surf-guitar-legend-dead-at-81\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Scott Walker\u003c/h3>\n\u003cp>\u003cem>Jan. 9, 1943 – March 22, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=zP3zCsMC5cE\u003c/p>\n\u003cp>Walker was first known for his work with blue-eyed soul trio The Walker Brothers in the 1960s, but it was his late-career trilogy of challenging art-rock albums that defined his reputation as one of avant-garde music’s most electrifying auteurs. (\u003ca href=\"https://www.npr.org/2019/03/25/706469684/scott-walker-pop-idol-turned-avant-auteur-dies-at-76\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Ranking Roger\u003c/h3>\n\u003cp>\u003cem>Feb. 21, 1963 – March 26, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=SHWrmIzgB5A\u003c/p>\n\u003cp>As a singer for the U.K. band The Beat (known as The English Beat in the U.S.), Roger Charlery helped transform ska into the subgenre two-tone, infusing the Caribbean-rooted music with punk-rock structures and ’80s textures. (\u003ca href=\"https://www.npr.org/2019/03/27/707147386/ranking-roger-frontman-for-the-english-beat-dies-at-56\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Nipsey Hussle\u003c/h3>\n\u003cp>\u003cem>Aug. 15, 1985 – March 31, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=PAcGg_4KKYs\u003c/p>\n\u003cp>A beloved inspirational figure in hip-hop, the rapper and philanthropist born Ermias Joseph Asghedom survived gang life in South Central Los Angeles and legitimized his street hustle, using his entrepreneurial skills to create economic empowerment in his community. (\u003ca href=\"https://www.npr.org/2019/04/01/708675102/nipsey-hussle-grammy-nominated-rapper-and-philanthropist-shot-and-killed\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Beth Carvalho\u003c/h3>\n\u003cp>\u003cem>May 5, 1946 – April 30, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Zav50SgbK8o\u003c/p>\n\u003cp>Known as the “godmother of samba” in Brazil, Carvalho propelled her country’s music forward with her husky voice and infectious performances, which earned her a lifetime achievement honor from the Latin Grammy Awards.\u003c/p>\n\u003chr>\n\u003ch3>Doris Day\u003c/h3>\n\u003cp>\u003cem>April 3, 1922 – May 13, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=td7lCCO9aaQ\u003c/p>\n\u003cp>A big-band singer and actress who became a titan of classic Hollywood, Day made nearly three dozen films and more than 600 recordings, topping both the \u003cem>Billboard\u003c/em> and box office charts at the height of her career. (\u003ca href=\"https://www.npr.org/2019/05/13/225446337/actress-and-singer-doris-day-hollywoods-girl-next-door-dies-at-97\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Leon Redbone\u003c/h3>\n\u003cp>\u003cem>Aug. 26, 1949 – May 30, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=FUxbInKev-o\u003c/p>\n\u003cp>Playing dusty classics from Tin Pan Alley and ragtime to blues and country with a loose fidelity and a wry style, the famously mysterious artist became an object of fascination and admiration, with famous fans including Bob Dylan, Bonnie Raitt and John Prine. (\u003ca href=\"https://www.npr.org/2019/05/30/728315252/leon-redbone-an-unusual-singer-from-a-bygone-era-has-died\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Roky Erickson\u003c/h3>\n\u003cp>\u003cem>July 15, 1947 – May 31, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=gHK9vj0VE7w\u003c/p>\n\u003cp>Perhaps the embodiment of his hometown’s slogan, “Keep Austin Weird,” the psychedelic lodestar helmed The 13th Floor Elevators and wrote one of garage rock’s original anthems, “You’re Gonna Miss Me,” forging new paths for rock music and becoming a beloved cult figure. (\u003ca href=\"https://www.npr.org/2019/05/31/728821278/roky-erickson-of-the-13th-floor-elevators-dies-at-71\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Dr. John\u003c/h3>\n\u003cp>\u003cem>Nov. 21, 1940 – June 6, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=SCRrXZP8b0I\u003c/p>\n\u003cp>The pianist, guitarist, jive talker and psychedelic godfather born Malcolm John Rebennack was among the most beloved fixtures of New Orleans music, carving wide lanes through blues, jazz and rock with an unmistakable look, voice and personality. (\u003ca href=\"https://www.npr.org/2019/06/06/730481477/dr-john-legend-of-new-orleans-dead-at-77\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Bushwick Bill\u003c/h3>\n\u003cp>\u003cem>Dec. 8, 1966 – June 9, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=IJtHdkyo0hc\u003c/p>\n\u003cp>Born Richard Shaw in Kingston, Jamaica, the MC was a founding member of the pioneering Houston trio Geto Boys, whose dark horrorcore raps helped put the city on hip-hop’s map. (\u003ca href=\"https://www.npr.org/2019/06/10/731076691/bushwick-bill-of-houston-rap-group-geto-boys-dead-at-52\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Dave Bartholomew\u003c/h3>\n\u003cp>\u003cem>Dec. 24, 1918 – June 23, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=LNjuxtjtuWg\u003c/p>\n\u003cp>Best known for collaborating on an extraordinary string of hits with Fats Domino, the New Orleans trumpeter, songwriter, bandleader, producer and arranger was one of the primary architects of the sound that became rock and roll. (\u003ca href=\"https://www.npr.org/2019/06/23/698212277/dave-bartholomew-a-father-of-rock-and-roll-dead-at-100\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>João Gilberto\u003c/h3>\n\u003cp>\u003cem>June 10, 1931 – July 6, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=g6w3a2v_50U\u003c/p>\n\u003cp>Gilberto was the founding master of bossa nova, which drew on Brazil’s African-influenced samba tradition but was performed without the usual battery of drums and rhythm instruments. His intimate and nuanced guitar playing and singing became central to the style. (\u003ca href=\"https://www.npr.org/2019/07/06/739224759/jo-o-gilberto-master-of-bossa-nova-dies-at-88\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Johnny Clegg\u003c/h3>\n\u003cp>\u003cem>June 7, 1953 – July 16, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=qnYtcH4YS44\u003c/p>\n\u003cp>A singer, dancer and activist who co-founded two groundbreaking, racially mixed bands during the apartheid era, Clegg was one of the most celebrated voices in modern South African music. (\u003ca href=\"https://www.npr.org/2019/07/16/738065415/johnny-clegg-a-uniting-voice-against-apartheid-dies-at-66\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Ben Johnston\u003c/h3>\n\u003cp>\u003cem>March 15, 1926 – July 21, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Wp7VjBtOJ74\u003c/p>\n\u003cp>A master of microtonal music, the avant-garde composer heard notes between the standard 12 pitches in an octave to create a wide range of pieces for orchestra, chamber ensembles, piano and stage. (\u003ca href=\"https://www.npr.org/sections/deceptivecadence/2016/12/31/507542859/ben-johnston-hears-the-notes-between-the-notes\" target=\"_blank\" rel=\"noopener noreferrer\">Read an NPR profile from 2016\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Art Neville\u003c/h3>\n\u003cp>\u003cem>Dec. 17, 1937 – July 22, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=TKDMiyRmbik\u003c/p>\n\u003cp>The keyboardist, singer and songwriter sometimes known as “Poppa Funk” was a founding member of The Meters and of The Neville Brothers, the musical family whose soul sound traveled far beyond its home base of New Orleans. (\u003ca href=\"https://www.npr.org/2019/07/22/744150388/art-neville-a-new-orleans-icon-dead-at-81\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>David Berman\u003c/h3>\n\u003cp>\u003cem>Jan. 4, 1967 – Aug. 7, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=XvUBbROsXBw\u003c/p>\n\u003cp>In his songs as Silver Jews and more recently as Purple Mountains, alongside frequent collaborators Pavement and labelmates Bill Callahan and Will Oldham, Berman established himself as a world-class lyricist who embodied indie rock’s literate side. (\u003ca href=\"https://www.npr.org/2019/08/07/749245911/silver-jews-david-berman-dies-at-52\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Celso Piña\u003c/h3>\n\u003cp>\u003cem>April 6, 1953 – Aug. 21, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=z2c5xCmLiAE\u003c/p>\n\u003cp>The prolific and celebrated Mexican accordion player contributed greatly to the evolution of cumbia, bringing the Colombian folk style to stages around the world and deftly blending it with contemporary Latin styles. (\u003ca href=\"https://www.npr.org/sections/altlatino/2019/08/23/753687796/accordion-master-celso-pina-dead-at-66\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Camilo Sesto\u003c/h3>\n\u003cp>\u003cem>Sept. 16, 1946 – Sept. 8, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=xVDmyuzkiPo\u003c/p>\n\u003cp>This Spanish pop sensation amassed dozens of No. 1 songs worldwide, wrote and produced hits for his Latin pop peers and starred in a Spanish-language adaptation of \u003cem>Jesus Christ Superstar\u003c/em>.\u003c/p>\n\u003chr>\n\u003ch3>Daniel Johnston\u003c/h3>\n\u003cp>\u003cem>Jan. 22, 1961 – Sept. 11, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=3OvWFurOBk8\u003c/p>\n\u003cp>The outsider singer, songwriter and visual artist was a true musician’s musician. His guileless lyrics about love and alienation found fans in artists like Tom Waits, Yo La Tengo, Bright Eyes and Kurt Cobain, whose appreciation of his work helped bring it to a wider audience. (\u003ca href=\"https://www.npr.org/2019/09/11/759904906/daniel-johnston-acclaimed-singer-songwriter-dies-at-58\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Ric Ocasek\u003c/h3>\n\u003cp>\u003cem>March 23, 1944 – Sept. 15, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=xuZA6qiJVfU\u003c/p>\n\u003cp>As the leader of The Cars, Ocasek wove offbeat new-wave elements into a hook-savvy Top 40 sound, and rocked a distinctive look perfect for MTV. His influence outlasted the group’s 1980s reign, as he became a commanding producer for a younger generation of alternative bands. (\u003ca href=\"https://www.npr.org/2019/09/15/761076999/ric-ocasek-frontman-of-the-cars-has-died\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Harold Mabern\u003c/h3>\n\u003cp>\u003cem>March 20, 1936 – Sept. 17, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=INPSuX3rck8\u003c/p>\n\u003cp>Mabern was a jazz pianist of percussive fire and boundless soul, with a language that pulled from hard bop, post-bop, Memphis soul and the blues. His penchant for block chords combined McCoy Tyner’s modal coloration with the ringing affirmations of gospel. (\u003ca href=\"https://www.wbgo.org/post/harold-mabern-pianist-who-mastered-post-bop-blues-and-memphis-soul-dead-83\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Christopher Rouse\u003c/h3>\n\u003cp>\u003cem>Feb. 15, 1949 – Sept. 21, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=T4SlLHTLaLc\u003c/p>\n\u003cp>A composer of uncompromisingly expressive works, primarily for orchestra (one of which earned him a Pulitzer Prize), Rouse also taught courses in the history of rock. He once called himself a writer of “fast and furious” music. (\u003ca href=\"https://www.npr.org/sections/deceptivecadence/2019/09/23/763418066/remembering-the-fast-and-furious-music-of-christopher-rouse\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Robert Hunter\u003c/h3>\n\u003cp>\u003cem>June 23, 1941 – Sept. 23, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=pafY6sZt0FE\u003c/p>\n\u003cp>As the Grateful Dead’s behind-the-scenes lyricist, Hunter provided the band with many of its most enduring lines, including the rock radio staple “Truckin’ ” and its immortal refrain, “What a long, strange trip it’s been.” (\u003ca href=\"https://www.npr.org/2019/09/25/763933353/robert-hunters-words-helped-bring-life-to-the-grateful-dead\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>José José\u003c/h3>\n\u003cp>\u003cem>Feb. 17, 1948 – Sept. 28, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=E20G25SCAEg\u003c/p>\n\u003cp>Known as Mexico’s “Prince of Song,” the powerhouse crooner born José Rómulo Sosa Ortiz was a fixture of the Latin charts in the 1970s and ’80s. In the 2000s he received lifetime achievement honors from the Latin Grammys and a star on the Hollywood Walk of Fame. (\u003ca href=\"https://www.npr.org/2019/09/30/765653356/jos-jos-the-prince-of-song-dies-at-age-71\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Jessye Norman\u003c/h3>\n\u003cp>\u003cem>Sept. 15, 1945 – Sept. 30, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=jOIAi2XwuWo\u003c/p>\n\u003cp>Praised for the beauty and opulence of her voice, Norman crafted a distinctive career that spanned decades and styles of music, becoming a leading figure both in the opera house and on the recital stage. Her repertoire was broad, from baroque music to modernists, pop songs and blues to her beloved Duke Ellington. (\u003ca href=\"https://www.npr.org/2019/09/30/765886905/opera-singer-jessye-norman-dies-at-74\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Giya Kancheli\u003c/h3>\n\u003cp>\u003cem>Aug. 10, 1935 – Oct. 2, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=8uv0yNUduOk\u003c/p>\n\u003cp>The Georgian composer’s work spanned seven symphonies and large-scale works (like his \u003cem>Styx \u003c/em>for viola, chorus and orchestra), as well as many intimate pieces for small ensembles and solo instruments, like the sweet, wistful piano tune “When Almonds Blossomed.” (\u003ca href=\"https://www.npr.org/2019/10/02/766505272/composer-giya-kancheli-championed-by-ecm-dies-at-84\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Kim Shattuck\u003c/h3>\n\u003cp>\u003cem>July 17, 1963 – Oct. 2, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=vsxyaZhdW1s\u003c/p>\n\u003cp>Shattuck was best known as the singer, guitarist and primary songwriter of The Muffs, but she was also one of alternative rock’s favorite guest artists, singing on tracks by NOFX and Bowling for Soup and playing bass on tour with the reunited Pixies. (\u003ca href=\"https://www.npr.org/2019/10/03/766780466/kim-shattuck-an-enduring-presence-in-l-a-punk-dead-at-56\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Ginger Baker\u003c/h3>\n\u003cp>\u003cem>Aug. 19, 1939 – Oct. 6, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=8O5IgyDcohQ\u003c/p>\n\u003cp>As the engine room of Cream, Blind Faith and other bands of the 1960s and ’70s, Baker’s intensity, inventiveness and fluency in the polyrhythms of jazz and Afrobeat made him a primary inspiration for generations of rock drummers. (\u003ca href=\"https://www.npr.org/2019/10/06/765781758/ginger-baker-cream-drummer-and-force-of-nature-dies-at-80\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Raymond Leppard\u003c/h3>\n\u003cp>\u003cem>Aug. 11, 1927 – Oct. 22, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=5OCW7KVUbdg\u003c/p>\n\u003cp>With full-bodied performances and pioneering scholarship, the British-born conductor, harpsichordist and composer helped reintroduce audiences to 16th and 17th century Italian masterpieces, and wrote contemporary works for stage and screen. (\u003ca href=\"https://www.npr.org/2019/10/22/771849121/conductor-and-composer-raymond-leppard-a-champion-of-the-old-and-the-new-has-die\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Mariss Jansons\u003c/h3>\n\u003cp>\u003cem>Jan. 14, 1943 – Nov. 30, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=2piCORWRrX0\u003c/p>\n\u003cp>Hailed for incisive and evocative performances of works by Mahler, Tchaikovsky, Rachmaninoff and Strauss, the conductor enjoyed a truly global career, directing major orchestras in Russia, Norway, England and the United States. (\u003ca href=\"https://www.npr.org/2019/12/02/784137730/famed-conductor-mariss-jansons-has-died-age-76\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Juice WRLD\u003c/h3>\n\u003cp>\u003cem>Dec. 2, 1998 – Dec. 8, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=mzB1VGEGcSU\u003c/p>\n\u003cp>The young Chicago rapper born Jarad Anthony Higgins was one of the fastest-rising names in the emo-rap subculture that incubated on SoundCloud before exploding onto the charts. His 2017 single “Lucid Dreams” hit No. 2 on the \u003cem>Billboard\u003c/em> Hot 100, and this March his album \u003cem>Death Race for Love\u003c/em> went to No. 1. (\u003ca href=\"https://www.npr.org/2019/12/08/786064628/reports-rapper-juice-wrld-dead-at-age-21\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Jerry Herman\u003c/h3>\n\u003cp>\u003cem>July 10, 1931 – Dec. 26, 2019\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=qfceR0mJuEc\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The Broadway legend was the songwriter behind hit musicals including \u003cem>Hello, Dolly!\u003c/em>, \u003cem>Mame \u003c/em>and \u003cem>La Cage aux Folles\u003c/em>. His shows created signature roles for their stars and, in the case of \u003cem>Hello, Dolly!\u003c/em>, knocked The Beatles off the top of the \u003cem>Billboard\u003c/em> Hot 100 when Louis Armstrong covered the title tune.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 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=In+Memoriam+2019%3A+The+Musicians+We+Lost&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 2918,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 95
},
"modified": 1705021597,
"excerpt": "NPR Music celebrates the alt-rock heroes, Hollywood idols, Pulitzer-winning composers, jazz luminaries, cult legends, bold activists, old masters and rising stars the world lost this year.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "NPR Music celebrates the alt-rock heroes, Hollywood idols, Pulitzer-winning composers, jazz luminaries, cult legends, bold activists, old masters and rising stars the world lost this year.",
"title": "In Memoriam 2019: The Musicians We Lost | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "In Memoriam 2019: The Musicians We Lost",
"datePublished": "2019-12-31T15:05:37-08:00",
"dateModified": "2024-01-11T17:06:37-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "in-memoriam-2019-the-musicians-we-lost",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=787956750&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprStoryDate": "Tue, 31 Dec 2019 05:06:00 -0500",
"nprLastModifiedDate": "Tue, 31 Dec 2019 15:34:31 -0500",
"featuredImageType": "standard",
"nprHtmlLink": "https://www.npr.org/2019/12/31/787956750/in-memoriam-2019-the-musicians-we-lost?ft=nprml&f=787956750",
"nprAudio": "https://ondemand.npr.org/anon.npr-mp3/npr/me/2019/12/20191231_me_in_memoriam_2019_the_musicians_we_lost.mp3?orgId=1&topicId=613820055&d=429&p=3&story=787956750&ft=nprml&f=787956750",
"nprImageAgency": "Getty Images for Warner Music",
"nprAudioM3u": "http://api.npr.org/m3u/1792545408-505954.m3u?orgId=1&topicId=613820055&d=429&p=3&story=787956750&ft=nprml&f=787956750",
"nprStoryId": "787956750",
"sticky": false,
"nprImageCredit": "Matt Winkelmeyer",
"nprRetrievedStory": "1",
"nprPubDate": "Tue, 31 Dec 2019 15:34:00 -0500",
"path": "/arts/13872237/in-memoriam-2019-the-musicians-we-lost",
"audioUrl": "https://ondemand.npr.org/anon.npr-mp3/npr/me/2019/12/20191231_me_in_memoriam_2019_the_musicians_we_lost.mp3?orgId=1&topicId=613820055&d=429&p=3&story=787956750&ft=nprml&f=787956750",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Heroes of alt-rock and idols of classic Hollywood, jazz luminaries and Pulitzer-winning composers, cult legends and rule-breakers, rising stars and old masters: Music communities around the globe lost dozens of shining voices this year. Here’s NPR Music’s celebration of some of the musicians who left the world in 2019.\u003c/p>\n\u003chr>\n\u003ch3>Clydie King\u003c/h3>\n\u003cp>\u003cem>Aug. 21, 1943 – Jan. 7, 2019\u003c/em>\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/4nph9B2dSXk'\n title='//www.youtube.com/embed/4nph9B2dSXk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>King began her career by leading her own doo-wop group, but the Dallas native found her way to greater renown as an in-demand backup singer, recording with the likes of Ray Charles, The Rolling Stones, Lynyrd Skynyrd, Steely Dan and Bob Dylan. \u003c/p>\n\u003chr>\n\u003ch3>Joseph Jarman\u003c/h3>\n\u003cp>\u003cem>Sept. 14, 1937 – Jan. 9, 2019\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>\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/iuaBJ8-EVSg'\n title='//www.youtube.com/embed/iuaBJ8-EVSg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>An integral member of the Art Ensemble of Chicago who later was ordained as a Buddhist priest, the saxophonist, composer and multi-instrumentalist pushed experimental jazz, and the sounds he coaxed from his instruments, toward new horizons. (\u003ca href=\"https://www.npr.org/2019/01/19/686554564/different-ways-to-see-and-be-the-lives-of-joseph-jarman-and-alvin-fielder\" target=\"_blank\" rel=\"noopener noreferrer\">Read the NPR essay\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Carol Channing\u003c/h3>\n\u003cp>\u003cem>Jan. 31, 1921 – Jan. 15, 2019\u003c/em>\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/mknDZ88-zfg'\n title='//www.youtube.com/embed/mknDZ88-zfg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Though she’ll always be identified with \u003cem>Hello, Dolly!\u003c/em>, Channing’s prolific career in theater, film, television and recording spanned more than six decades. (\u003ca href=\"https://www.npr.org/2019/01/15/105807270/bidding-farewell-to-hello-dolly-actress-carol-channing-dies-at-97\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Oliver Mtukudzi\u003c/h3>\n\u003cp>\u003cem>Sept. 22, 1952 – Jan. 23, 2019\u003c/em>\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/GhXGyer-cIg'\n title='//www.youtube.com/embed/GhXGyer-cIg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Known as “Tuku” to his legion of fans, Mtukudzi often aimed his songwriting at the politics of his native Zimbabwe—celebrating the country’s new independence in the early 1980s and criticizing the rule of Robert Mugabe as it stretched into the 2010s. (\u003ca href=\"https://www.npr.org/2019/01/24/687943803/african-music-legend-oliver-tuku-mtukudzi-dead-at-66\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Michel Legrand\u003c/h3>\n\u003cp>\u003cem>Feb. 24, 1932 – Jan. 26, 2019\u003c/em>\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/DcFH66IyXCU'\n title='//www.youtube.com/embed/DcFH66IyXCU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The French musician was a prolific composer of film scores, with collaborators including directors Jean-Luc Godard, Agnès Varda and Jacques Demy. His work on 1968’s \u003cem>The Thomas Crown Affair\u003c/em> brought him the first of several Oscars and many nominations. (\u003ca href=\"https://www.npr.org/2019/01/26/689050826/michel-legrand-oscar-winning-composer-who-lived-surrounded-by-music-dies-at-86\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>James Ingram\u003c/h3>\n\u003cp>\u003cem>Feb. 16, 1952 – January 2019\u003c/em>\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/FUsnVOqrqqE'\n title='//www.youtube.com/embed/FUsnVOqrqqE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>With a signature timbre that instantly evokes the classic R&B sound of the 1980s, Ingram landed two Grammys and two No. 1 hits as a singer and became an in-demand collaborator, co-writing with Quincy Jones and dueting with Linda Ronstadt. (\u003ca href=\"https://www.npr.org/2019/01/26/689050826/michel-legrand-oscar-winning-composer-who-lived-surrounded-by-music-dies-at-86\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Ethel Ennis\u003c/h3>\n\u003cp>\u003cem>Nov. 28, 1932 – Feb. 17, 2019\u003c/em>\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/jW9X7kHGoho'\n title='//www.youtube.com/embed/jW9X7kHGoho'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>A singer, community builder and regional celebrity—known in Baltimore as the city’s “First Lady of Jazz”—Ennis’ recordings in the mid-20th century became vital contributions to a heyday of vocal jazz and traditional pop. (\u003ca href=\"https://www.wbgo.org/post/ethel-ennis-sophisticated-singer-who-reigned-baltimores-first-lady-jazz-dies-86\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Dominick Argento\u003c/h3>\n\u003cp>\u003cem>Oct. 27, 1927 – Feb. 20, 2019\u003c/em>\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/4bMf2ipOnCo'\n title='//www.youtube.com/embed/4bMf2ipOnCo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The Pulitzer-winning composer was best known for his lyrical and astringent music for the human voice, writing 13 operas as well as a number of song cycles and choral works. (\u003ca href=\"https://www.npr.org/2019/02/22/697025521/dominick-argento-literature-loving-and-pulitzer-prize-winning-composer-dead-at-9\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Jackie Shane\u003c/h3>\n\u003cp>\u003cem>May 15, 1940 – February 2019\u003c/em>\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/yUYW2iwimBw'\n title='//www.youtube.com/embed/yUYW2iwimBw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The trailblazing transgender soul singer from Nashville found fame in Toronto in the 1960s, and a cult following later, before retreating underground for decades. She resurfaced in 2017 when a compilation of her recordings drew new attention to her life and career. (\u003ca href=\"https://www.npr.org/sections/therecord/2017/10/25/559775225/jackie-shane-a-force-of-nature-who-disappeared-has-a-story-all-her-own\" target=\"_blank\" rel=\"noopener noreferrer\">Read an NPR essay from 2017\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Peter Tork\u003c/h3>\n\u003cp>\u003cem>Feb. 13, 1942 – Feb. 21, 2019\u003c/em>\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/xvqeSJlgaNk'\n title='//www.youtube.com/embed/xvqeSJlgaNk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Tork was the oldest of the made-for-TV rock quartet The Monkees, and a musician in his own right before being cast. The sitcom band fashioned as a prefab answer to The Beatles found its way to real-world No. 1 hits, including “Last Train to Clarksville” and “I’m a Believer.” (\u003ca href=\"https://www.npr.org/2019/02/21/696864784/peter-tork-of-the-monkees-dies-at-77\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Mark Hollis\u003c/h3>\n\u003cp>\u003cem>Jan. 4, 1955 – Feb. 25, 2019\u003c/em>\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/cFH5JgyZK1I'\n title='//www.youtube.com/embed/cFH5JgyZK1I'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Hollis was the mastermind of the influential U.K. band Talk Talk, which touched both the heights of radio pop with songs like “It’s My Life” and the fringes of what would come to be known as post-rock with albums like \u003cem>Spirit of Eden\u003c/em>. (\u003ca href=\"https://www.npr.org/2019/02/28/698650688/mark-hollis-and-talk-talks-brilliant-nuanced-stubborn-visions\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>André Previn\u003c/h3>\n\u003cp>\u003cem>April 6, 1929 – Feb. 28, 2019\u003c/em>\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/6CPv7sX7CG8'\n title='//www.youtube.com/embed/6CPv7sX7CG8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Previn was a celebrated polymath: a composer of Oscar-winning film music, conductor, pianist and music director of major orchestras, including the symphonies of Houston, Pittsburgh and London. (\u003ca href=\"https://www.npr.org/sections/thetwo-way/2019/02/28/517960940/andre-previn-musical-polymath-has-died-at-age-89\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Keith Flint\u003c/h3>\n\u003cp>\u003cem>Sept. 17, 1969 – March 4, 2019\u003c/em>\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/wmin5WkOuPw'\n title='//www.youtube.com/embed/wmin5WkOuPw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Flint was the ragged voice and scowling face of The Prodigy’s barnstorming 1990s singles “Firestarter” and “Breathe,” which made the British dance act a sensation with alternative rock fans and helped popularize big-beat music in America. (\u003ca href=\"https://www.npr.org/2019/03/04/699974575/keith-flint-vocalist-of-techno-popularizers-the-prodigy-dead-at-49\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Hal Blaine\u003c/h3>\n\u003cp>\u003cem>Feb. 5, 1929 – March 11, 2019\u003c/em>\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/ZV5tgZlTEkQ'\n title='//www.youtube.com/embed/ZV5tgZlTEkQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Blaine was part of the session dream team The Wrecking Crew, but his resume was in a class all its own. His drumming backed Grammy-winning and chart-topping songs by Frank Sinatra, The Beach Boys, Simon & Garfunkel and many more, and is the signature pulse of The Ronettes’ “Be My Baby.” (\u003ca href=\"https://www.npr.org/2019/03/12/702485933/hal-blaine-most-recorded-drummer-in-history-dies-at-90\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Dick Dale\u003c/h3>\n\u003cp>\u003cem>May 4, 1937 – March 16, 2019\u003c/em>\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/mKpsuGMeqHI'\n title='//www.youtube.com/embed/mKpsuGMeqHI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Born Richard Anthony Monsour, Dale changed the sound of rock and roll in the early 1960s when he upped the reverb on his guitar and applied the Arabic scales of his father’s native Lebanon. His high-energy interpretation of an old song from Asia Minor, “Misirlou,” became surf rock’s calling card. (\u003ca href=\"https://www.npr.org/2019/03/18/704329806/dick-dale-surf-guitar-legend-dead-at-81\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Scott Walker\u003c/h3>\n\u003cp>\u003cem>Jan. 9, 1943 – March 22, 2019\u003c/em>\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/zP3zCsMC5cE'\n title='//www.youtube.com/embed/zP3zCsMC5cE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Walker was first known for his work with blue-eyed soul trio The Walker Brothers in the 1960s, but it was his late-career trilogy of challenging art-rock albums that defined his reputation as one of avant-garde music’s most electrifying auteurs. (\u003ca href=\"https://www.npr.org/2019/03/25/706469684/scott-walker-pop-idol-turned-avant-auteur-dies-at-76\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Ranking Roger\u003c/h3>\n\u003cp>\u003cem>Feb. 21, 1963 – March 26, 2019\u003c/em>\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/SHWrmIzgB5A'\n title='//www.youtube.com/embed/SHWrmIzgB5A'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>As a singer for the U.K. band The Beat (known as The English Beat in the U.S.), Roger Charlery helped transform ska into the subgenre two-tone, infusing the Caribbean-rooted music with punk-rock structures and ’80s textures. (\u003ca href=\"https://www.npr.org/2019/03/27/707147386/ranking-roger-frontman-for-the-english-beat-dies-at-56\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Nipsey Hussle\u003c/h3>\n\u003cp>\u003cem>Aug. 15, 1985 – March 31, 2019\u003c/em>\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/PAcGg_4KKYs'\n title='//www.youtube.com/embed/PAcGg_4KKYs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>A beloved inspirational figure in hip-hop, the rapper and philanthropist born Ermias Joseph Asghedom survived gang life in South Central Los Angeles and legitimized his street hustle, using his entrepreneurial skills to create economic empowerment in his community. (\u003ca href=\"https://www.npr.org/2019/04/01/708675102/nipsey-hussle-grammy-nominated-rapper-and-philanthropist-shot-and-killed\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Beth Carvalho\u003c/h3>\n\u003cp>\u003cem>May 5, 1946 – April 30, 2019\u003c/em>\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/Zav50SgbK8o'\n title='//www.youtube.com/embed/Zav50SgbK8o'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Known as the “godmother of samba” in Brazil, Carvalho propelled her country’s music forward with her husky voice and infectious performances, which earned her a lifetime achievement honor from the Latin Grammy Awards.\u003c/p>\n\u003chr>\n\u003ch3>Doris Day\u003c/h3>\n\u003cp>\u003cem>April 3, 1922 – May 13, 2019\u003c/em>\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/td7lCCO9aaQ'\n title='//www.youtube.com/embed/td7lCCO9aaQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>A big-band singer and actress who became a titan of classic Hollywood, Day made nearly three dozen films and more than 600 recordings, topping both the \u003cem>Billboard\u003c/em> and box office charts at the height of her career. (\u003ca href=\"https://www.npr.org/2019/05/13/225446337/actress-and-singer-doris-day-hollywoods-girl-next-door-dies-at-97\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Leon Redbone\u003c/h3>\n\u003cp>\u003cem>Aug. 26, 1949 – May 30, 2019\u003c/em>\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/FUxbInKev-o'\n title='//www.youtube.com/embed/FUxbInKev-o'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Playing dusty classics from Tin Pan Alley and ragtime to blues and country with a loose fidelity and a wry style, the famously mysterious artist became an object of fascination and admiration, with famous fans including Bob Dylan, Bonnie Raitt and John Prine. (\u003ca href=\"https://www.npr.org/2019/05/30/728315252/leon-redbone-an-unusual-singer-from-a-bygone-era-has-died\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Roky Erickson\u003c/h3>\n\u003cp>\u003cem>July 15, 1947 – May 31, 2019\u003c/em>\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/gHK9vj0VE7w'\n title='//www.youtube.com/embed/gHK9vj0VE7w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Perhaps the embodiment of his hometown’s slogan, “Keep Austin Weird,” the psychedelic lodestar helmed The 13th Floor Elevators and wrote one of garage rock’s original anthems, “You’re Gonna Miss Me,” forging new paths for rock music and becoming a beloved cult figure. (\u003ca href=\"https://www.npr.org/2019/05/31/728821278/roky-erickson-of-the-13th-floor-elevators-dies-at-71\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Dr. John\u003c/h3>\n\u003cp>\u003cem>Nov. 21, 1940 – June 6, 2019\u003c/em>\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/SCRrXZP8b0I'\n title='//www.youtube.com/embed/SCRrXZP8b0I'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The pianist, guitarist, jive talker and psychedelic godfather born Malcolm John Rebennack was among the most beloved fixtures of New Orleans music, carving wide lanes through blues, jazz and rock with an unmistakable look, voice and personality. (\u003ca href=\"https://www.npr.org/2019/06/06/730481477/dr-john-legend-of-new-orleans-dead-at-77\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Bushwick Bill\u003c/h3>\n\u003cp>\u003cem>Dec. 8, 1966 – June 9, 2019\u003c/em>\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/IJtHdkyo0hc'\n title='//www.youtube.com/embed/IJtHdkyo0hc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Born Richard Shaw in Kingston, Jamaica, the MC was a founding member of the pioneering Houston trio Geto Boys, whose dark horrorcore raps helped put the city on hip-hop’s map. (\u003ca href=\"https://www.npr.org/2019/06/10/731076691/bushwick-bill-of-houston-rap-group-geto-boys-dead-at-52\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Dave Bartholomew\u003c/h3>\n\u003cp>\u003cem>Dec. 24, 1918 – June 23, 2019\u003c/em>\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/LNjuxtjtuWg'\n title='//www.youtube.com/embed/LNjuxtjtuWg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Best known for collaborating on an extraordinary string of hits with Fats Domino, the New Orleans trumpeter, songwriter, bandleader, producer and arranger was one of the primary architects of the sound that became rock and roll. (\u003ca href=\"https://www.npr.org/2019/06/23/698212277/dave-bartholomew-a-father-of-rock-and-roll-dead-at-100\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>João Gilberto\u003c/h3>\n\u003cp>\u003cem>June 10, 1931 – July 6, 2019\u003c/em>\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/g6w3a2v_50U'\n title='//www.youtube.com/embed/g6w3a2v_50U'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Gilberto was the founding master of bossa nova, which drew on Brazil’s African-influenced samba tradition but was performed without the usual battery of drums and rhythm instruments. His intimate and nuanced guitar playing and singing became central to the style. (\u003ca href=\"https://www.npr.org/2019/07/06/739224759/jo-o-gilberto-master-of-bossa-nova-dies-at-88\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Johnny Clegg\u003c/h3>\n\u003cp>\u003cem>June 7, 1953 – July 16, 2019\u003c/em>\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/qnYtcH4YS44'\n title='//www.youtube.com/embed/qnYtcH4YS44'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>A singer, dancer and activist who co-founded two groundbreaking, racially mixed bands during the apartheid era, Clegg was one of the most celebrated voices in modern South African music. (\u003ca href=\"https://www.npr.org/2019/07/16/738065415/johnny-clegg-a-uniting-voice-against-apartheid-dies-at-66\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Ben Johnston\u003c/h3>\n\u003cp>\u003cem>March 15, 1926 – July 21, 2019\u003c/em>\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/Wp7VjBtOJ74'\n title='//www.youtube.com/embed/Wp7VjBtOJ74'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>A master of microtonal music, the avant-garde composer heard notes between the standard 12 pitches in an octave to create a wide range of pieces for orchestra, chamber ensembles, piano and stage. (\u003ca href=\"https://www.npr.org/sections/deceptivecadence/2016/12/31/507542859/ben-johnston-hears-the-notes-between-the-notes\" target=\"_blank\" rel=\"noopener noreferrer\">Read an NPR profile from 2016\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Art Neville\u003c/h3>\n\u003cp>\u003cem>Dec. 17, 1937 – July 22, 2019\u003c/em>\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/TKDMiyRmbik'\n title='//www.youtube.com/embed/TKDMiyRmbik'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The keyboardist, singer and songwriter sometimes known as “Poppa Funk” was a founding member of The Meters and of The Neville Brothers, the musical family whose soul sound traveled far beyond its home base of New Orleans. (\u003ca href=\"https://www.npr.org/2019/07/22/744150388/art-neville-a-new-orleans-icon-dead-at-81\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>David Berman\u003c/h3>\n\u003cp>\u003cem>Jan. 4, 1967 – Aug. 7, 2019\u003c/em>\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/XvUBbROsXBw'\n title='//www.youtube.com/embed/XvUBbROsXBw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In his songs as Silver Jews and more recently as Purple Mountains, alongside frequent collaborators Pavement and labelmates Bill Callahan and Will Oldham, Berman established himself as a world-class lyricist who embodied indie rock’s literate side. (\u003ca href=\"https://www.npr.org/2019/08/07/749245911/silver-jews-david-berman-dies-at-52\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Celso Piña\u003c/h3>\n\u003cp>\u003cem>April 6, 1953 – Aug. 21, 2019\u003c/em>\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/z2c5xCmLiAE'\n title='//www.youtube.com/embed/z2c5xCmLiAE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The prolific and celebrated Mexican accordion player contributed greatly to the evolution of cumbia, bringing the Colombian folk style to stages around the world and deftly blending it with contemporary Latin styles. (\u003ca href=\"https://www.npr.org/sections/altlatino/2019/08/23/753687796/accordion-master-celso-pina-dead-at-66\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Camilo Sesto\u003c/h3>\n\u003cp>\u003cem>Sept. 16, 1946 – Sept. 8, 2019\u003c/em>\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/xVDmyuzkiPo'\n title='//www.youtube.com/embed/xVDmyuzkiPo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>This Spanish pop sensation amassed dozens of No. 1 songs worldwide, wrote and produced hits for his Latin pop peers and starred in a Spanish-language adaptation of \u003cem>Jesus Christ Superstar\u003c/em>.\u003c/p>\n\u003chr>\n\u003ch3>Daniel Johnston\u003c/h3>\n\u003cp>\u003cem>Jan. 22, 1961 – Sept. 11, 2019\u003c/em>\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/3OvWFurOBk8'\n title='//www.youtube.com/embed/3OvWFurOBk8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The outsider singer, songwriter and visual artist was a true musician’s musician. His guileless lyrics about love and alienation found fans in artists like Tom Waits, Yo La Tengo, Bright Eyes and Kurt Cobain, whose appreciation of his work helped bring it to a wider audience. (\u003ca href=\"https://www.npr.org/2019/09/11/759904906/daniel-johnston-acclaimed-singer-songwriter-dies-at-58\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Ric Ocasek\u003c/h3>\n\u003cp>\u003cem>March 23, 1944 – Sept. 15, 2019\u003c/em>\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/xuZA6qiJVfU'\n title='//www.youtube.com/embed/xuZA6qiJVfU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>As the leader of The Cars, Ocasek wove offbeat new-wave elements into a hook-savvy Top 40 sound, and rocked a distinctive look perfect for MTV. His influence outlasted the group’s 1980s reign, as he became a commanding producer for a younger generation of alternative bands. (\u003ca href=\"https://www.npr.org/2019/09/15/761076999/ric-ocasek-frontman-of-the-cars-has-died\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Harold Mabern\u003c/h3>\n\u003cp>\u003cem>March 20, 1936 – Sept. 17, 2019\u003c/em>\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/INPSuX3rck8'\n title='//www.youtube.com/embed/INPSuX3rck8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Mabern was a jazz pianist of percussive fire and boundless soul, with a language that pulled from hard bop, post-bop, Memphis soul and the blues. His penchant for block chords combined McCoy Tyner’s modal coloration with the ringing affirmations of gospel. (\u003ca href=\"https://www.wbgo.org/post/harold-mabern-pianist-who-mastered-post-bop-blues-and-memphis-soul-dead-83\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Christopher Rouse\u003c/h3>\n\u003cp>\u003cem>Feb. 15, 1949 – Sept. 21, 2019\u003c/em>\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/T4SlLHTLaLc'\n title='//www.youtube.com/embed/T4SlLHTLaLc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>A composer of uncompromisingly expressive works, primarily for orchestra (one of which earned him a Pulitzer Prize), Rouse also taught courses in the history of rock. He once called himself a writer of “fast and furious” music. (\u003ca href=\"https://www.npr.org/sections/deceptivecadence/2019/09/23/763418066/remembering-the-fast-and-furious-music-of-christopher-rouse\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Robert Hunter\u003c/h3>\n\u003cp>\u003cem>June 23, 1941 – Sept. 23, 2019\u003c/em>\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/pafY6sZt0FE'\n title='//www.youtube.com/embed/pafY6sZt0FE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>As the Grateful Dead’s behind-the-scenes lyricist, Hunter provided the band with many of its most enduring lines, including the rock radio staple “Truckin’ ” and its immortal refrain, “What a long, strange trip it’s been.” (\u003ca href=\"https://www.npr.org/2019/09/25/763933353/robert-hunters-words-helped-bring-life-to-the-grateful-dead\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>José José\u003c/h3>\n\u003cp>\u003cem>Feb. 17, 1948 – Sept. 28, 2019\u003c/em>\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/E20G25SCAEg'\n title='//www.youtube.com/embed/E20G25SCAEg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Known as Mexico’s “Prince of Song,” the powerhouse crooner born José Rómulo Sosa Ortiz was a fixture of the Latin charts in the 1970s and ’80s. In the 2000s he received lifetime achievement honors from the Latin Grammys and a star on the Hollywood Walk of Fame. (\u003ca href=\"https://www.npr.org/2019/09/30/765653356/jos-jos-the-prince-of-song-dies-at-age-71\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Jessye Norman\u003c/h3>\n\u003cp>\u003cem>Sept. 15, 1945 – Sept. 30, 2019\u003c/em>\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/jOIAi2XwuWo'\n title='//www.youtube.com/embed/jOIAi2XwuWo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Praised for the beauty and opulence of her voice, Norman crafted a distinctive career that spanned decades and styles of music, becoming a leading figure both in the opera house and on the recital stage. Her repertoire was broad, from baroque music to modernists, pop songs and blues to her beloved Duke Ellington. (\u003ca href=\"https://www.npr.org/2019/09/30/765886905/opera-singer-jessye-norman-dies-at-74\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Giya Kancheli\u003c/h3>\n\u003cp>\u003cem>Aug. 10, 1935 – Oct. 2, 2019\u003c/em>\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/8uv0yNUduOk'\n title='//www.youtube.com/embed/8uv0yNUduOk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The Georgian composer’s work spanned seven symphonies and large-scale works (like his \u003cem>Styx \u003c/em>for viola, chorus and orchestra), as well as many intimate pieces for small ensembles and solo instruments, like the sweet, wistful piano tune “When Almonds Blossomed.” (\u003ca href=\"https://www.npr.org/2019/10/02/766505272/composer-giya-kancheli-championed-by-ecm-dies-at-84\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Kim Shattuck\u003c/h3>\n\u003cp>\u003cem>July 17, 1963 – Oct. 2, 2019\u003c/em>\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/vsxyaZhdW1s'\n title='//www.youtube.com/embed/vsxyaZhdW1s'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Shattuck was best known as the singer, guitarist and primary songwriter of The Muffs, but she was also one of alternative rock’s favorite guest artists, singing on tracks by NOFX and Bowling for Soup and playing bass on tour with the reunited Pixies. (\u003ca href=\"https://www.npr.org/2019/10/03/766780466/kim-shattuck-an-enduring-presence-in-l-a-punk-dead-at-56\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Ginger Baker\u003c/h3>\n\u003cp>\u003cem>Aug. 19, 1939 – Oct. 6, 2019\u003c/em>\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/8O5IgyDcohQ'\n title='//www.youtube.com/embed/8O5IgyDcohQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>As the engine room of Cream, Blind Faith and other bands of the 1960s and ’70s, Baker’s intensity, inventiveness and fluency in the polyrhythms of jazz and Afrobeat made him a primary inspiration for generations of rock drummers. (\u003ca href=\"https://www.npr.org/2019/10/06/765781758/ginger-baker-cream-drummer-and-force-of-nature-dies-at-80\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Raymond Leppard\u003c/h3>\n\u003cp>\u003cem>Aug. 11, 1927 – Oct. 22, 2019\u003c/em>\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/5OCW7KVUbdg'\n title='//www.youtube.com/embed/5OCW7KVUbdg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>With full-bodied performances and pioneering scholarship, the British-born conductor, harpsichordist and composer helped reintroduce audiences to 16th and 17th century Italian masterpieces, and wrote contemporary works for stage and screen. (\u003ca href=\"https://www.npr.org/2019/10/22/771849121/conductor-and-composer-raymond-leppard-a-champion-of-the-old-and-the-new-has-die\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Mariss Jansons\u003c/h3>\n\u003cp>\u003cem>Jan. 14, 1943 – Nov. 30, 2019\u003c/em>\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/2piCORWRrX0'\n title='//www.youtube.com/embed/2piCORWRrX0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Hailed for incisive and evocative performances of works by Mahler, Tchaikovsky, Rachmaninoff and Strauss, the conductor enjoyed a truly global career, directing major orchestras in Russia, Norway, England and the United States. (\u003ca href=\"https://www.npr.org/2019/12/02/784137730/famed-conductor-mariss-jansons-has-died-age-76\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Juice WRLD\u003c/h3>\n\u003cp>\u003cem>Dec. 2, 1998 – Dec. 8, 2019\u003c/em>\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/mzB1VGEGcSU'\n title='//www.youtube.com/embed/mzB1VGEGcSU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The young Chicago rapper born Jarad Anthony Higgins was one of the fastest-rising names in the emo-rap subculture that incubated on SoundCloud before exploding onto the charts. His 2017 single “Lucid Dreams” hit No. 2 on the \u003cem>Billboard\u003c/em> Hot 100, and this March his album \u003cem>Death Race for Love\u003c/em> went to No. 1. (\u003ca href=\"https://www.npr.org/2019/12/08/786064628/reports-rapper-juice-wrld-dead-at-age-21\" target=\"_blank\" rel=\"noopener noreferrer\">Read the full obituary\u003c/a>)\u003c/p>\n\u003chr>\n\u003ch3>Jerry Herman\u003c/h3>\n\u003cp>\u003cem>July 10, 1931 – Dec. 26, 2019\u003c/em>\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/qfceR0mJuEc'\n title='//www.youtube.com/embed/qfceR0mJuEc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\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>The Broadway legend was the songwriter behind hit musicals including \u003cem>Hello, Dolly!\u003c/em>, \u003cem>Mame \u003c/em>and \u003cem>La Cage aux Folles\u003c/em>. His shows created signature roles for their stars and, in the case of \u003cem>Hello, Dolly!\u003c/em>, knocked The Beatles off the top of the \u003cem>Billboard\u003c/em> Hot 100 when Louis Armstrong covered the title tune.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 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=In+Memoriam+2019%3A+The+Musicians+We+Lost&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13872237/in-memoriam-2019-the-musicians-we-lost",
"authors": [
"92"
],
"categories": [
"arts_69",
"arts_1564"
],
"tags": [
"arts_9464",
"arts_7525",
"arts_1091"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13872238",
"label": "arts_137"
},
"arts_13871386": {
"type": "posts",
"id": "arts_13871386",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13871386",
"score": null,
"sort": [
1577131236000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1577131236,
"format": "standard",
"title": "Watch Ringo Starr and Sammy Davis Jr. in 1985's Bonkers 'Alice in Wonderland'",
"headTitle": "Watch Ringo Starr and Sammy Davis Jr. in 1985’s Bonkers ‘Alice in Wonderland’ | KQED",
"content": "\u003cp>TV musicals have never been the most dignified way for stars to stay in touch with their fans. Consider Carrie Underwood’s \u003ca href=\"https://www.youtube.com/watch?v=5XwsglZbJZg\" target=\"_blank\" rel=\"noopener noreferrer\">stiff-as-a-board acting\u003c/a> in 2013’s \u003cem>Sound of Music Live!\u003c/em> Or perhaps \u003ca href=\"https://www.kqed.org/pop/82437/abcs-dirty-dancing-remake-succeeded-in-making-all-those-live-tv-musicals-seem-not-so-bad\" target=\"_blank\" rel=\"noopener noreferrer\">Abigail Breslin’s choreographed nightmare\u003c/a> in ABC’s \u003cem>Dirty Dancing\u003c/em> remake. And lest we forget poor Allison Williams having to crazy-eye her way through the unintentionally hilarious \u003cem>Peter Pan Live\u003c/em> in 2014.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13871488 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/AbsoluteCalmBushbaby-size_restricted.gif\" alt=\"\" width=\"450\" height=\"360\">\u003c/p>\n\u003cp>This is in no way a recent phenomena, with regrettable TV musicals stretching back through the decades across many networks. One of the most notable—and oft forgotten—is a 34-year-old production of \u003cem>Alice in Wonderland \u003c/em>that still stands as a shining example of how weird things can get when you shove a bunch of famous people into stupid costumes and make them sing and dance for the nation’s amusement.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Cx0LNH4lx9c\u003c/p>\n\u003cp>Aired on CBS just in time for Christmas 1985, this two-part, three-hour movie—ostensibly aimed at kids—had a cast designed to appeal almost exclusively to parents and grandparents. Telly Savalas was the Cheshire Cat, Shelley Winters was the Dodo Bird, Patrick Duffy was the Goat and Carol Channing was the White Queen. The closest thing to a young hottie in the cast was a fresh-from-\u003cem>Happy Days\u003c/em> Scott Baio as Pat the Pig. (A pre-fame John Stamos also showed up as Haigha the Messenger, but let’s leave that in the accident category.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>No one suffered more in this thing, though, than Beatles drummer Ringo Starr as the Mock Turtle, and Rat Pack boundary-breaker Sammy Davis Jr. as the Caterpillar. It’s hard to imagine the bounty these legends were offered to make this endeavor seem worthwhile, but the passage of time has made it abundantly clear that, whatever it was, it wasn’t enough.\u003c/p>\n\u003cp>Nothing can quite prepare you for Ringo as the Mock Turtle, wearing yellow tights, fluffy ears (one of which is pierced because: reptilian rock star?) and a giant shell. At the time, this might not have seemed terribly far from Paul McCartney releasing novelty children’s song “\u003ca href=\"https://www.youtube.com/watch?v=A0fuVoSa3dc\" target=\"_blank\" rel=\"noopener noreferrer\">We All Stand Together\u003c/a>” (a 1984 collaboration with cartoon frogs), but there can be no question that this literal ode to nonsense is worse. Much, much worse.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=O7SAvwZcNoU\u003c/p>\n\u003cp>Then there’s poor Sammy—a star that survived segregation, mob threats, military service and a near-fatal car crash, just to end up, well, here. Watch on in horror now as “Mr. Show Business” himself dresses up like a caterpillar, then suffers through the indignity of 1980s old-man rapping—a stylistic choice that can’t possibly have been his.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=kFi4DJ80bV4\u003c/p>\n\u003cp>Reviews about this particular production of \u003cem>Alice\u003c/em> remain mixed. One \u003ca href=\"https://www.imdb.com/title/tt0088693/reviews?ref_=tt_urv\" target=\"_blank\" rel=\"noopener noreferrer\">IMDB reviewer\u003c/a> says: “Children of all ages will delight in this fun-filled adventure, from the crying baby that turns into a pig, to Sally Struthers playing a loud mouthed flower.”\u003c/p>\n\u003cp>Another cautions: “If you watch this expecting great acting performances and great cinematic moments with inspiring music then you are a fool… [It] got some of the most recognizable faces of Hollywood to put on stupid costumes and act crazy.”\u003c/p>\n\u003cp>“The costumes, location and choreography made an unsettling combination,” one \u003ca href=\"https://www.youtube.com/watch?v=_n3EvVLBdps\" target=\"_blank\" rel=\"noopener noreferrer\">YouTube reviewer noted\u003c/a> a couple of months ago. “An odd blend of twisted and overly sentimental.”\u003c/p>\n\u003cp>In the end, 1985’s \u003cem>Alice\u003c/em> is a reminder of that bygone age when families typically watched TV together, the challenge for networks to appeal to multiple generations at once, and the truly bizarre programming that sometimes followed.\u003c/p>\n\u003cp>If you think this is something \u003cem>your\u003c/em> family might wish to get into this holiday, Part 1 is below. Approach with caution.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=vyH_Vhh22AE\u003c/p>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 667,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 14
},
"modified": 1705021626,
"excerpt": "This star-studded, three-hour production stands as one of the most surreal experiments in TV history.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "This star-studded, three-hour production stands as one of the most surreal experiments in TV history.",
"title": "Watch Ringo Starr and Sammy Davis Jr. in 1985's Bonkers 'Alice in Wonderland' | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Watch Ringo Starr and Sammy Davis Jr. in 1985's Bonkers 'Alice in Wonderland'",
"datePublished": "2019-12-23T12:00:36-08:00",
"dateModified": "2024-01-11T17:07:06-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "watch-ringo-starr-and-sammy-davis-jr-in-1985s-bonkers-alice-in-wonderland",
"status": "publish",
"templateType": "standard",
"featuredImageType": "standard",
"sticky": false,
"path": "/arts/13871386/watch-ringo-starr-and-sammy-davis-jr-in-1985s-bonkers-alice-in-wonderland",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>TV musicals have never been the most dignified way for stars to stay in touch with their fans. Consider Carrie Underwood’s \u003ca href=\"https://www.youtube.com/watch?v=5XwsglZbJZg\" target=\"_blank\" rel=\"noopener noreferrer\">stiff-as-a-board acting\u003c/a> in 2013’s \u003cem>Sound of Music Live!\u003c/em> Or perhaps \u003ca href=\"https://www.kqed.org/pop/82437/abcs-dirty-dancing-remake-succeeded-in-making-all-those-live-tv-musicals-seem-not-so-bad\" target=\"_blank\" rel=\"noopener noreferrer\">Abigail Breslin’s choreographed nightmare\u003c/a> in ABC’s \u003cem>Dirty Dancing\u003c/em> remake. And lest we forget poor Allison Williams having to crazy-eye her way through the unintentionally hilarious \u003cem>Peter Pan Live\u003c/em> in 2014.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13871488 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/AbsoluteCalmBushbaby-size_restricted.gif\" alt=\"\" width=\"450\" height=\"360\">\u003c/p>\n\u003cp>This is in no way a recent phenomena, with regrettable TV musicals stretching back through the decades across many networks. One of the most notable—and oft forgotten—is a 34-year-old production of \u003cem>Alice in Wonderland \u003c/em>that still stands as a shining example of how weird things can get when you shove a bunch of famous people into stupid costumes and make them sing and dance for the nation’s amusement.\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/Cx0LNH4lx9c'\n title='//www.youtube.com/embed/Cx0LNH4lx9c'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Aired on CBS just in time for Christmas 1985, this two-part, three-hour movie—ostensibly aimed at kids—had a cast designed to appeal almost exclusively to parents and grandparents. Telly Savalas was the Cheshire Cat, Shelley Winters was the Dodo Bird, Patrick Duffy was the Goat and Carol Channing was the White Queen. The closest thing to a young hottie in the cast was a fresh-from-\u003cem>Happy Days\u003c/em> Scott Baio as Pat the Pig. (A pre-fame John Stamos also showed up as Haigha the Messenger, but let’s leave that in the accident category.)\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>No one suffered more in this thing, though, than Beatles drummer Ringo Starr as the Mock Turtle, and Rat Pack boundary-breaker Sammy Davis Jr. as the Caterpillar. It’s hard to imagine the bounty these legends were offered to make this endeavor seem worthwhile, but the passage of time has made it abundantly clear that, whatever it was, it wasn’t enough.\u003c/p>\n\u003cp>Nothing can quite prepare you for Ringo as the Mock Turtle, wearing yellow tights, fluffy ears (one of which is pierced because: reptilian rock star?) and a giant shell. At the time, this might not have seemed terribly far from Paul McCartney releasing novelty children’s song “\u003ca href=\"https://www.youtube.com/watch?v=A0fuVoSa3dc\" target=\"_blank\" rel=\"noopener noreferrer\">We All Stand Together\u003c/a>” (a 1984 collaboration with cartoon frogs), but there can be no question that this literal ode to nonsense is worse. Much, much worse.\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/O7SAvwZcNoU'\n title='//www.youtube.com/embed/O7SAvwZcNoU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Then there’s poor Sammy—a star that survived segregation, mob threats, military service and a near-fatal car crash, just to end up, well, here. Watch on in horror now as “Mr. Show Business” himself dresses up like a caterpillar, then suffers through the indignity of 1980s old-man rapping—a stylistic choice that can’t possibly have been his.\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/kFi4DJ80bV4'\n title='//www.youtube.com/embed/kFi4DJ80bV4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Reviews about this particular production of \u003cem>Alice\u003c/em> remain mixed. One \u003ca href=\"https://www.imdb.com/title/tt0088693/reviews?ref_=tt_urv\" target=\"_blank\" rel=\"noopener noreferrer\">IMDB reviewer\u003c/a> says: “Children of all ages will delight in this fun-filled adventure, from the crying baby that turns into a pig, to Sally Struthers playing a loud mouthed flower.”\u003c/p>\n\u003cp>Another cautions: “If you watch this expecting great acting performances and great cinematic moments with inspiring music then you are a fool… [It] got some of the most recognizable faces of Hollywood to put on stupid costumes and act crazy.”\u003c/p>\n\u003cp>“The costumes, location and choreography made an unsettling combination,” one \u003ca href=\"https://www.youtube.com/watch?v=_n3EvVLBdps\" target=\"_blank\" rel=\"noopener noreferrer\">YouTube reviewer noted\u003c/a> a couple of months ago. “An odd blend of twisted and overly sentimental.”\u003c/p>\n\u003cp>In the end, 1985’s \u003cem>Alice\u003c/em> is a reminder of that bygone age when families typically watched TV together, the challenge for networks to appeal to multiple generations at once, and the truly bizarre programming that sometimes followed.\u003c/p>\n\u003cp>If you think this is something \u003cem>your\u003c/em> family might wish to get into this holiday, Part 1 is below. Approach with caution.\u003c/p>\n\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/vyH_Vhh22AE'\n title='//www.youtube.com/embed/vyH_Vhh22AE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13871386/watch-ringo-starr-and-sammy-davis-jr-in-1985s-bonkers-alice-in-wonderland",
"authors": [
"11242"
],
"categories": [
"arts_69",
"arts_75",
"arts_990"
],
"tags": [
"arts_8481"
],
"featImg": "arts_13871660",
"label": "arts"
},
"arts_13871749": {
"type": "posts",
"id": "arts_13871749",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13871749",
"score": null,
"sort": [
1576792532000
]
},
"guestAuthors": [],
"slug": "the-do-list-agnes-varda-ghostface-killah-and-more-picks-for-the-years-end",
"title": "The Do List: Agnes Varda, Ghostface Killah and More Picks for the Year's End",
"publishDate": 1576792532,
"format": "audio",
"headTitle": "The Do List: Agnes Varda, Ghostface Killah and More Picks for the Year’s End | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003cp>Looking for things to do in the Bay Area this weekend? The Do List has you covered with concerts, festivals, exhibitions, plays, performances and more.\u003c/p>\n\u003cp>You can listen to this week’s episode with KQED’s Gabe Meline, Sarah Hotchkiss and Nastia Voynovskaya above, or read about our picks below.\u003c/p>\n\u003cp>\u003cstrong>Ghostface Killah\u003c/strong>: This Wu-Tang icon comes to town this Sunday, but he’s not playing a hip-hop nightclub—he’s performing at Yoshi’s in Oakland. Yoshi’s, a jazz supper club, has been broadening its booking into rap lately, which makes sense. Let’s face it, rap is getting older. Now 49, Ghostface has always had a wonderfully throaty tone, and a beautiful surrealism. (As part of a bad review, the writer Ta-Nehisi Coates once derided him as “Amiri Baraka tripping on bathtub acid.” I don’t know about you, but that’s a plus in my book.) Ghostface Killah plays Sunday, Dec. 22, at Yoshi’s in Oakland. \u003ca href=\"https://www.yoshis.com/e/ghostface-killah-77966958271/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—G.M.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Agnès Varda Retrospective\u003c/strong>: Agnès Varda, who passed away earlier this year at the age of 90, was often called the “grandmother of French New Wave cinema.” She was the only female director in the scene, and hugely influential in its development, so it’s appropriate that it takes two Bay Area institutions to do her career justice. BAMPFA and SFMOMA have teamed up to co-present \u003cem>Agnès Varda: An Irresistible Force\u003c/em>, a national touring retrospective of her films that spans six decades, including her final work, \u003cem>Varda by Agnès\u003c/em>. (Don’t know where to start? Try one of our favorites, \u003cem>\u003ca href=\"https://ev7.evenue.net/cgi-bin/ncommerce3/SEGetEventInfo?ticketCode=GS%3APFA%3AP19-20%3AP0111203%3A&linkID=cal-pfa&shopperContext=&pc=&caller=&appCode=&groupCode=AVIF&cgc=\" rel=\"noopener noreferrer\" target=\"_blank\">Cleo from 5 to 7\u003c/a>\u003c/em>.) The series starts at BAMPFA this Friday, Dec. 20, and at SFMOMA on Thursday, Jan. 9. \u003ca href=\"https://bampfa.org/program/agnes-varda-irresistible-force\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—S.H.\u003c/em> \u003c/p>\n\u003cp>\u003cstrong>SOB x RBE Bay Holiday Ball\u003c/strong>: It’s been awesome watching the rise of Vallejo rap group SOB x RBE in recent years. They’re three young guys who have this really explosive chemistry: Daboii and Slimmy B rap in a gruff bark, while Yung T.O.’s smooth, melodic delivery makes think of him as Gen Z’s version of Nate Dogg. Their new track “Ain’t Got Time” is produced by superstar producer Zaytoven, a San Francisco native, and the trio celebrates the holidays this year Bay Area style with opening acts 24KGoldn, Pimp Tobi and more. That’s on Friday, Dec. 27, at the Warfield in San Francisco. \u003ca href=\"https://www.thewarfieldtheatre.com/events/detail/385723\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—N.V.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>‘Lost at Sea: Art Recovered from Shipwrecks’\u003c/strong>: I want to quickly plug this show I just saw at the Asian Art Museum, which, yes, is all about art recovered from shipwrecks. It uses two particular shipwrecks as case studies to talk about how objects get into museum collections, and what those various journeys can tell us about trade routes, colonial practices, international maritime law and underwater archeology. It’s a super small show, but it’s packed with provocative questions that will change the way you look at historical objects on pedestals forever after. It’s up now and on view at the Asian Art Museum through March 22, 2020. \u003ca href=\"http://www.asianart.org/exhibitions/lost-at-sea\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—S.H.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>John Oliver\u003c/strong>: Late night talk show hosts haven’t had it easy these past three years. You know what all comedians say about the Trump era—“How can you satirize something that’s already satire”? But night after night, John Oliver pulls it off, and at the end of this year he settles in for a residency at the Masonic on Nob Hill, doing standup, social commentary, and—I’m sure—talking about the impeachment in D.C.. He’s at the Masonic in San Francisco for three nights, Dec. 31 through Jan. 2. \u003ca href=\"https://sfmasonic.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—G.M.\u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "Listen to this week's roundup of things to do in the Bay Area, including the Asian Art Museum, SOB x RBE, John Oliver and more.",
"status": "publish",
"parent": 0,
"modified": 1726764567,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 9,
"wordCount": 673
},
"headData": {
"title": "The Do List: Agnes Varda, Ghostface Killah and More Picks for the Year's End | KQED",
"description": "Listen to this week's roundup of things to do in the Bay Area, including the Asian Art Museum, SOB x RBE, John Oliver and more.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "The Do List: Agnes Varda, Ghostface Killah and More Picks for the Year's End",
"datePublished": "2019-12-19T13:55:32-08:00",
"dateModified": "2024-09-19T09:49:27-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"audioUrl": "https://www.kqed.org/.stream/anon/radio/tcr/2019/12/TheDoListforThursdayDec.mp3",
"sticky": false,
"templateType": "standard",
"featuredImageType": "standard",
"startTime": 1576742400,
"endTime": 1546416000,
"startTimeString": "Dec. 19, 2019–Jan. 2, 2020",
"path": "/arts/13871749/the-do-list-agnes-varda-ghostface-killah-and-more-picks-for-the-years-end",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Looking for things to do in the Bay Area this weekend? The Do List has you covered with concerts, festivals, exhibitions, plays, performances and more.\u003c/p>\n\u003cp>You can listen to this week’s episode with KQED’s Gabe Meline, Sarah Hotchkiss and Nastia Voynovskaya above, or read about our picks below.\u003c/p>\n\u003cp>\u003cstrong>Ghostface Killah\u003c/strong>: This Wu-Tang icon comes to town this Sunday, but he’s not playing a hip-hop nightclub—he’s performing at Yoshi’s in Oakland. Yoshi’s, a jazz supper club, has been broadening its booking into rap lately, which makes sense. Let’s face it, rap is getting older. Now 49, Ghostface has always had a wonderfully throaty tone, and a beautiful surrealism. (As part of a bad review, the writer Ta-Nehisi Coates once derided him as “Amiri Baraka tripping on bathtub acid.” I don’t know about you, but that’s a plus in my book.) Ghostface Killah plays Sunday, Dec. 22, at Yoshi’s in Oakland. \u003ca href=\"https://www.yoshis.com/e/ghostface-killah-77966958271/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—G.M.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Agnès Varda Retrospective\u003c/strong>: Agnès Varda, who passed away earlier this year at the age of 90, was often called the “grandmother of French New Wave cinema.” She was the only female director in the scene, and hugely influential in its development, so it’s appropriate that it takes two Bay Area institutions to do her career justice. BAMPFA and SFMOMA have teamed up to co-present \u003cem>Agnès Varda: An Irresistible Force\u003c/em>, a national touring retrospective of her films that spans six decades, including her final work, \u003cem>Varda by Agnès\u003c/em>. (Don’t know where to start? Try one of our favorites, \u003cem>\u003ca href=\"https://ev7.evenue.net/cgi-bin/ncommerce3/SEGetEventInfo?ticketCode=GS%3APFA%3AP19-20%3AP0111203%3A&linkID=cal-pfa&shopperContext=&pc=&caller=&appCode=&groupCode=AVIF&cgc=\" rel=\"noopener noreferrer\" target=\"_blank\">Cleo from 5 to 7\u003c/a>\u003c/em>.) The series starts at BAMPFA this Friday, Dec. 20, and at SFMOMA on Thursday, Jan. 9. \u003ca href=\"https://bampfa.org/program/agnes-varda-irresistible-force\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—S.H.\u003c/em> \u003c/p>\n\u003cp>\u003cstrong>SOB x RBE Bay Holiday Ball\u003c/strong>: It’s been awesome watching the rise of Vallejo rap group SOB x RBE in recent years. They’re three young guys who have this really explosive chemistry: Daboii and Slimmy B rap in a gruff bark, while Yung T.O.’s smooth, melodic delivery makes think of him as Gen Z’s version of Nate Dogg. Their new track “Ain’t Got Time” is produced by superstar producer Zaytoven, a San Francisco native, and the trio celebrates the holidays this year Bay Area style with opening acts 24KGoldn, Pimp Tobi and more. That’s on Friday, Dec. 27, at the Warfield in San Francisco. \u003ca href=\"https://www.thewarfieldtheatre.com/events/detail/385723\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—N.V.\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>\n\u003cp>\u003cstrong>‘Lost at Sea: Art Recovered from Shipwrecks’\u003c/strong>: I want to quickly plug this show I just saw at the Asian Art Museum, which, yes, is all about art recovered from shipwrecks. It uses two particular shipwrecks as case studies to talk about how objects get into museum collections, and what those various journeys can tell us about trade routes, colonial practices, international maritime law and underwater archeology. It’s a super small show, but it’s packed with provocative questions that will change the way you look at historical objects on pedestals forever after. It’s up now and on view at the Asian Art Museum through March 22, 2020. \u003ca href=\"http://www.asianart.org/exhibitions/lost-at-sea\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—S.H.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>John Oliver\u003c/strong>: Late night talk show hosts haven’t had it easy these past three years. You know what all comedians say about the Trump era—“How can you satirize something that’s already satire”? But night after night, John Oliver pulls it off, and at the end of this year he settles in for a residency at the Masonic on Nob Hill, doing standup, social commentary, and—I’m sure—talking about the impeachment in D.C.. He’s at the Masonic in San Francisco for three nights, Dec. 31 through Jan. 2. \u003ca href=\"https://sfmasonic.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—G.M.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13871749/the-do-list-agnes-varda-ghostface-killah-and-more-picks-for-the-years-end",
"authors": [
"185",
"61",
"11387"
],
"programs": [
"arts_140"
],
"categories": [
"arts_73",
"arts_74",
"arts_69",
"arts_75",
"arts_70"
],
"tags": [
"arts_2903",
"arts_2250",
"arts_2227",
"arts_549",
"arts_6387",
"arts_1381",
"arts_4107"
],
"featImg": "arts_13871843",
"label": "arts_140"
},
"arts_13871840": {
"type": "posts",
"id": "arts_13871840",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13871840",
"score": null,
"sort": [
1576792090000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1576792090,
"format": "standard",
"title": "Awkwafina to Star in Film Exploring California Punk and Asian Restaurants",
"headTitle": "Awkwafina to Star in Film Exploring California Punk and Asian Restaurants | KQED",
"content": "\u003cp>\u003cem>Crazy Rich Asians\u003c/em> star Awkwafina has signed on to an as-yet-untitled Topic Studios film exploring the role of Asian restaurants in the California punk scenes of the 1970s and 1980s, \u003ca href=\"https://deadline.com/2019/12/awkwafina-topic-studios-feature-chinatown-restaurants-punk-music-1202811249/\">Deadline\u003c/a> reports.\u003c/p>\n\u003cp>The film is inspired by a Topic.com piece by Madeline Leung Coleman, “How Chinese Food Fueled the Rise of California Punk.” The \u003ca href=\"https://www.topic.com/how-chinese-food-fueled-the-rise-of-california-punk\">article\u003c/a> examines how Asian restaurateurs in Los Angeles, San Francisco and Sacramento in the late 1970s opened their doors to first-wave punk bands during the country’s recession.\u003c/p>\n\u003cp>Featured in the piece is the Mabuhay Gardens, a Filipino supper club in North Beach known as the first and most important venue for San Francisco punk, thanks to the support of proprietor Ness Aquino.\u003c/p>\n\u003cp>The Broadway venue, which began hosting shows in 1976, featured groups such as Crime, the Dead Kennedys and the Avengers, and was booked by storied promoter Dirk Dirksen. The “Fab Mab,” as it was known to punk patrons, is the setting of many live photographs by Ruby Ray and Bruce Conner, while its red alleyway (now \u003ca href=\"https://chucksperry.net/dirk-dirksen-pope-of-punk-gets-street-named-after-him/\" rel=\"noopener noreferrer\" target=\"_blank\">officially renamed\u003c/a> for Dirksen) served as a sort of portrait studio for the artist Jim Jocoy.\u003c/p>\n\u003cp>\u003cem>Louder, Faster, Shorter,\u003c/em> a 1978 film by Mindaugis Bagdon, documents performances at a benefit concert that year at the Mabuhay for striking coal miners in Kentucky, and provides a striking snapshot of the early San Francisco punk scene’s undisputed epicenter. \u003c/p>\n\u003cp>Few details are available about the Topic Studios film featuring Awkwafina, and it’s unclear whether it will be set in San Francisco.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 267,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 8
},
"modified": 1705021641,
"excerpt": "The as-yet-unnamed film is about the connection between punk and Asian restaurants, including Mabuhay Gardens in North Beach.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The as-yet-unnamed film is about the connection between punk and Asian restaurants, including Mabuhay Gardens in North Beach.",
"title": "Awkwafina to Star in Film Exploring California Punk and Asian Restaurants | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Awkwafina to Star in Film Exploring California Punk and Asian Restaurants",
"datePublished": "2019-12-19T13:48:10-08:00",
"dateModified": "2024-01-11T17:07:21-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "awkwafina-to-star-in-film-exploring-california-punk-and-asian-restaurants",
"status": "publish",
"templateType": "standard",
"featuredImageType": "standard",
"sticky": false,
"path": "/arts/13871840/awkwafina-to-star-in-film-exploring-california-punk-and-asian-restaurants",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Crazy Rich Asians\u003c/em> star Awkwafina has signed on to an as-yet-untitled Topic Studios film exploring the role of Asian restaurants in the California punk scenes of the 1970s and 1980s, \u003ca href=\"https://deadline.com/2019/12/awkwafina-topic-studios-feature-chinatown-restaurants-punk-music-1202811249/\">Deadline\u003c/a> reports.\u003c/p>\n\u003cp>The film is inspired by a Topic.com piece by Madeline Leung Coleman, “How Chinese Food Fueled the Rise of California Punk.” The \u003ca href=\"https://www.topic.com/how-chinese-food-fueled-the-rise-of-california-punk\">article\u003c/a> examines how Asian restaurateurs in Los Angeles, San Francisco and Sacramento in the late 1970s opened their doors to first-wave punk bands during the country’s recession.\u003c/p>\n\u003cp>Featured in the piece is the Mabuhay Gardens, a Filipino supper club in North Beach known as the first and most important venue for San Francisco punk, thanks to the support of proprietor Ness Aquino.\u003c/p>\n\u003cp>The Broadway venue, which began hosting shows in 1976, featured groups such as Crime, the Dead Kennedys and the Avengers, and was booked by storied promoter Dirk Dirksen. The “Fab Mab,” as it was known to punk patrons, is the setting of many live photographs by Ruby Ray and Bruce Conner, while its red alleyway (now \u003ca href=\"https://chucksperry.net/dirk-dirksen-pope-of-punk-gets-street-named-after-him/\" rel=\"noopener noreferrer\" target=\"_blank\">officially renamed\u003c/a> for Dirksen) served as a sort of portrait studio for the artist Jim Jocoy.\u003c/p>\n\u003cp>\u003cem>Louder, Faster, Shorter,\u003c/em> a 1978 film by Mindaugis Bagdon, documents performances at a benefit concert that year at the Mabuhay for striking coal miners in Kentucky, and provides a striking snapshot of the early San Francisco punk scene’s undisputed epicenter. \u003c/p>\n\u003cp>Few details are available about the Topic Studios film featuring Awkwafina, and it’s unclear whether it will be set in San Francisco.\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>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13871840/awkwafina-to-star-in-film-exploring-california-punk-and-asian-restaurants",
"authors": [
"11091"
],
"categories": [
"arts_1",
"arts_74",
"arts_69"
],
"tags": [
"arts_549",
"arts_1118",
"arts_596",
"arts_913"
],
"featImg": "arts_13871858",
"label": "arts"
},
"arts_13871739": {
"type": "posts",
"id": "arts_13871739",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13871739",
"score": null,
"sort": [
1576717114000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1576717114,
"format": "aside",
"title": "The Best Bay Area Albums of the 2010s",
"headTitle": "The Best Bay Area Albums of the 2010s | KQED",
"content": "\u003cp>The Bay Area is a region oozing with creativity in every scene and genre, so summing up a decade of local music in a single short list is no easy task. Here, KQED Arts & Culture’s music editor humbly offers 20 of the most memorable and impactful albums of the 2010s.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/7JC1vAUtlOwe8AJ3hLmr91\" width=\"700\" height=\"120\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Thee Oh Sees, \u003cem>Carrion Crawler/The Dream\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2011, In the Red Records\u003c/strong>\u003cbr>\nThee Oh Sees channel a need for speed on \u003cem>Carrion Crawler/The Dream\u003c/em>, an album that finds the garage rockers’ instrumentation lurching at high BPMs between poppy refrains and psychedelic guitar solos that stretch on for miles. Anchored by two drummers, the album’s sturdy rhythm section allows John Dwyer, a ringleader of the San Francisco garage rock scene in the early part of the decade, to get wild and weird with guitars and vocals.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1644131755/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>The Seshen, \u003cem>The Seshen\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2012, self-released\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Seven-piece band The Seshen have proven to be one of the Bay Area’s most fun-to-watch live acts this decade, fusing neo-soul and R&B production with jazzy live instrumentation and fluttering layers of vocals by Lalin St. Juste and Akasha Orr. On their self-titled debut, their group synergy manifests as a kaleidoscopic pop sound that’s sleek and expansive in equal measure.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3108730587/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Shannon and the Clams, \u003cem>Dreams in the Rat House\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2013, Hardly Art\u003c/strong>\u003cbr>\nThis decade saw Oakland rockers Shannon and the Clams transform from warehouse party mainstays to a nationally acclaimed act working with the Black Keys’ Dan Auerbach. Full of freewheeling mischief, \u003cem>Dreams in the Rat House\u003c/em> swings between sweet doo-wop harmonies, rowdy country stomps and reverb-heavy punk riffs, and Shannon Shaw’s robust, pleading voice overflows with feeling.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3949757894/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Botanist, \u003cem>IV: Mandragora\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2013, The Flenser\u003c/strong>\u003cbr>\nWith the slow pace of elected officials’ action on climate change, despair is understandable. Which is why, perhaps, the dark chaos of post-black metal is a fitting genre for Botanist, an artist whose apocalyptic album \u003cem>IV: Mandragora\u003c/em> evokes a vengeful Mother Nature wiping out humans. Botanist’s lighting-speed hammered dulcimer infuses the album with eeriness; the artist screeches in a croak that sounds like a thousand-year-old redwood clearing its throat to speak. \u003cem>IV: Mandragora\u003c/em> is the sound of nature in revolt.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=2338106943/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Queens D.Light, \u003cem>California Wildflower\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2014, self-released\u003c/strong>\u003cbr>\nQueens D.Light’s \u003cem>California Wildflower\u003c/em> unfurls a deep personal mythology to boom-bap beats, jazz interludes and psychedelic flourishes. While discovering new dimensions of her sexuality and capacity for love, Queens looks to the Yoruba deity Oshun, the river goddess associated with luxury and pleasure. In her lyrics, sensuality is a means of connecting with the divine within oneself. This stellar hip-hop debut introduced Queens D.Light as a singular voice whose vision can’t be confined to a single medium, as her multifaceted event curation and filmmaking throughout the 2010s attests.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" width=\"100%\" height=\"450\" scrolling=\"no\" frameborder=\"no\" allow=\"autoplay\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/playlists/48447943&color=%23ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Kehlani, \u003cem>Cloud 19\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2014, Wheels of Steel Ent.\u003c/strong>\u003cbr>\nWith \u003cem>Cloud 19\u003c/em>, Kehlani became known as a prodigious R&B singer-songwriter with angelic, acrobatic vocal runs and lyrics wise beyond her years. Kehlani penned the project shortly after graduating from Oakland School for the Arts. With her warm voice and nostalgic references (Montell Jordan and Musiq Soulchild get shout outs), \u003cem>Cloud 19\u003c/em> and its infectious lead single “FWU” established her as an artist bridging the past and future of R&B. Even after Kehlani’s multiple Grammy nominations and Billboard chart success, this early mixtape remains a cult classic.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/7fP1DdLng8DwEQZB2srvl0\" width=\"700\" height=\"120\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Lil B, \u003cem>Hoop Life\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2014, Based World Records\u003c/strong>\u003cbr>\nBefore “Soundcloud rap” became a household term, Berkeley native Lil B was pumping out mixtapes that spanned dozens (and sometimes hundreds) of songs. Though his music varied in quality, Lil B embraced the immediacy of self-publishing on the internet, and used social media to craft a persona (although not without controversy) before such strategies became standard for independent artists. \u003cem>Hoop Life\u003c/em>, his NBA-themed mixtape, features a diss track against then-Warriors rival Kevin Durant, and it positioned Lil B to become an unlikely basketball authority as his hometown team ascended to the NBA Championships in 2015. His “curses” on Durant and James Harden became some of the decade’s most memorable basketball lore, and \u003cem>Hoop Life\u003c/em> was the soundtrack.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1805295426/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Black Spirituals, \u003cem>Black Interiors\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2015, Ratskin Records / 60Hurts\u003c/strong>\u003cbr>\nBlack Spirituals’ \u003cem>Black Interiors\u003c/em> harnesses the improvisational qualities of free jazz, but each note emanating from Zachary James Watkins’ guitar wails with discordant tension, like Jimi Hendrix’s “Star Spangled Banner” slowed to a crawl and wrapped in barbed wire. The album established the duo, also comprised of percussionist Marshall Trammell, as one of Oakland’s most innovative experimental acts, bridging the DIY scene, academia and contemporary classical.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/3utWbzZz4YqSW0HGLqyovN\" width=\"700\" height=\"120\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>P-Lo and Kool John, \u003cem>Moovie!\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2015, self-released\u003c/strong>\u003cbr>\nAs children of the hyphy movement, the East Bay collective HBK Gang evolved the uptempo, homegrown 2000s rap sound into party music for the new generation. A prime example of this is P-Lo and Kool John’s \u003cem>Moovie!\u003c/em>, an album best played in the club, or somewhere between 2am and 4am on the way to the afterparty. With “3 White Hoes,” “Blue Hunnids” and “Bitch I Look Good,” the duo gave us minimalist twerk anthems with ample bass to rattle your speakers.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/1jKclz9xknsgxOK9XGAXRi\" width=\"700\" height=\"120\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Kamaiyah, \u003cem>A Good Night in the Ghetto\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2016\u003c/strong>\u003cbr>\nWith her viral single “How Does It Feel,” Kamaiyah made a rap anthem for everyday working people trying to make their way in an increasingly unaffordable Bay Area. In contrast to the one-percenter ethos that dominated the radio this decade, her debut mixtape \u003cem>A Good Night in the Ghetto\u003c/em> speaks to those who don’t necessarily seek excessively flashy things—just comfort and stability. With the feel-good energy of an intimate house party, \u003cem>A Good Night in the Ghetto\u003c/em> propelled Kamaiyah as one of the Bay Area’s most well-known voices.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1240226381/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Cherushii, \u003cem>Manic\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2016\u003c/strong>\u003cbr>\nCherushii presents her sparkling vision of the dance floor as a place for connection and liberation on \u003cem>Manic\u003c/em>, an ebullient collection of house tracks. With its funky pulse and playful synths that shimmy and bounce, the EP recalls ’90s house acts like Crystal Waters and Inner City. The instrumental version of the title track features a saxophone solo by Marcia Miget—it’s the project’s most ecstatic highpoint, and a convincing argument for why brass belongs in club music. Cherushii passed away in the Ghost Ship fire the same year \u003cem>Manic\u003c/em> was released, and the project lives on as a record of her infectiously joyful vision.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=856121914/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Rayana Jay, \u003cem>Sorry About Last Night\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2016, self-released\u003c/strong>\u003cbr>\nDrunken regrets, problematic lovers, undefined “situationships”—it’s all part of dating in your 20s, and Rayana Jay’s standout R&B debut \u003cem>Sorry About Last Night\u003c/em> captures all of its uncertainties and painful growing pains. Set to smooth, sparse production, her velvety voice takes center stage as she expertly builds earworm melodies. Lead single “Sleepy Brown,” which propelled Jay to the national stage, has a vintage, funky feel you can’t help but sway and step to.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1941114977/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Club Chai, \u003cem>Club Chai Vol. 1\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2017, Club Chai\u003c/strong>\u003cbr>\nIt’s hard to name a collective that’s shaped the Bay Area’s club music scene more this decade than Club Chai. With the compilation \u003cem>Club Chai Vol. 1\u003c/em>, 8ULENTINA and FOOZOOL lay out their thesis for the genre-amorphous label and party. The suspenseful original tracks produced by the founders for the compilation give Middle Eastern percussion a ghostly sheen. The album also features work by some of electronic music’s most exciting new voices, including darkwave experimentalist Spellling, techno producer Russell E.L. Butler and haunted cumbia remixer Turbo Sonidero. Each artist pulls from different cultural backgrounds and subgenres, and all push the envelope of what electronic music can be.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1762232894/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>King Woman, \u003cem>Created in the Image of Suffering\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2017, Relapse Records\u003c/strong>\u003cbr>\nKing Woman’s slow-burning, sludgy album \u003cem>Created in the Image of Suffering\u003c/em> swallows listeners in swathes of heavy distortion. The doom metal project, one of Kristina Esfandiari’s many musical alter-egos, served as an outlet for the artist to process the experience of leaving a religious community. Her droning voice is weighed down by an audible anguish as she parses through her disillusionment with Christianity. Layers of gauzy guitar riffs build up with the ornate intricacy of gothic architecture, and crashing cymbals offer opportunities for deeply satisfying catharsis.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/5XgUtV3205kTcgoSLNf8ix\" width=\"700\" height=\"120\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Fantastic Negrito, \u003cem>The Last Days of Oakland\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2017, Blackball Universe\u003c/strong>\u003cbr>\nLiving among Oakland’s extreme wealth inequality can feel maddening, and with \u003cem>The Last Days of Oakland\u003c/em>, Fantastic Negrito offers an impressionistic portrait of the opposing forces that define life in the town—the result being a 2017 Grammy award for Best Contemporary Blues Album. With its gritty guitar solos, driving rhythms and Fantastic Negrito’s howling vocals, it captures the cognitive dissonance of witnessing thousands of people who’ve lost their homes living in abject poverty on the streets. \u003cem>The Last Days of Oakland\u003c/em> is an urgent dispatch that appeals to listeners’ moral consciousness.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/6ztEEOoAi6xyYhiiDn3gxc\" width=\"700\" height=\"120\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>SOB x RBE, \u003cem>SOB x RBE\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2017, EMPIRE\u003c/strong>\u003cbr>\nWith their debut mixtape, SOB x RBE jolted the Bay Area awake with their unbridled energy and explosive chemistry of flows. “Anti” and “Lane Switching” quickly rose from viral hits to radio mainstays, showcasing how DaBoii, Slimmy B and Lul G’s gruff barks alongside crooner Yhung T.O.’s soulful-gangster hooks (think the Gen Z version of Nate Dogg). Now a trio without Lul G, SOB x RBE brought on the latest evolution of West Coast street rap—one that’s fiery and aggressive, with whiplash-inducing speed.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=523521630/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Kronos Quartet and Trio Da Kali, \u003cem>Ladilikan\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2017, World Circuit Limited\u003c/strong>\u003cbr>\nOne of the most adventurous ensembles in the contemporary classical world, Kronos Quartet engaged in many unorthodox collaborations this decade. One of the highlights was their work with virtuosic Malian ensemble Trio Da Kali. With singer Hawa Kassé Mady Diabaté’s rich, booming voice, Lassana Mamadou Kouyaté’s dexterous balafon percussion and Mamadou Diabaté’s string work on the ngoni, the album interlaces the liveliness of traditional Malian griot music with elegant string playing. The collaboration proved to be a fruitful one, as Diabaté took part in Kronos’ \u003cem>50 for the Future\u003c/em> Project, which commissions new works from diverse composers each year.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/7JSvfznch1vfoMOJxd7zPb\" width=\"700\" height=\"120\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Ambrose Akinmusire,\u003cem> A Rift in Decorum\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2017, Blue Note\u003c/strong>\u003cbr>\nCritics have called Ambrose Akinmusire a trumpet wunderkind since his Berkeley High days, and his live album \u003cem>A Rift in Decorum\u003c/em>, recorded at New York’s historic Village Vanguard, shows him pushing his instrument to the limits of its expressive possibilities. Accompanied by bass, piano and drums, Akinmusire’s trumpet oscillates from emanating long, pained wails and running through rapid-fire riffs. The spacious, pensive compositions allow him plenty of room to explore.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=4268731096/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Toro y Moi, \u003cem>Outer Peace\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2019, Carpark Records\u003c/strong>\u003cbr>\nToro y Moi’s \u003cem>Outer Peace\u003c/em> came during a period of the artist stepping into his full powers as a songwriter, performer and visual artist, and the album’s funky celebrations of the creative grind speak to his role as a catalyst in the local scene. For the album, Toro enlisted conga player Brijean Murphy (a formidable solo artist in her own right), whose expert percussion adds richness to Toro’s propulsive grooves. \u003cem>Outer Peace\u003c/em>’s upbeat sounds represented a departure from his more wistful, airy chillwave of years past, and its bold, confident energy looks good on him.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=136764004/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>Spellling, \u003cem>Mazy Fly\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2019, Sacred Bones Records\u003c/strong>\u003cbr>\nBridging darkwave, synth-pop and even disco, Spellling’s \u003cem>Mazy Fly\u003c/em> sees the artist adding a full-bodied intricacy to her loop-pedal sorcery. Guest appearances from collaborators on percussion, guitar, violin and sax flesh out Spellling’s layers of looped keys and delicate, lace-like vocals. Within this architecture, the singer explores subtle, spiritual themes—including on the chilling track “Haunted Water,” which delves into the karmic baggage of the transatlantic slave trade.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": true,
"hasAudio": true,
"hasPolis": false,
"wordCount": 2078,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [
"https://bandcamp.com/EmbeddedPlayer/album=1644131755/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/",
"https://bandcamp.com/EmbeddedPlayer/album=3108730587/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/",
"https://bandcamp.com/EmbeddedPlayer/album=3949757894/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/",
"https://bandcamp.com/EmbeddedPlayer/album=2338106943/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/",
"https://bandcamp.com/EmbeddedPlayer/album=1805295426/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/",
"https://bandcamp.com/EmbeddedPlayer/album=1240226381/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/",
"https://bandcamp.com/EmbeddedPlayer/album=856121914/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/",
"https://bandcamp.com/EmbeddedPlayer/album=1941114977/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/",
"https://bandcamp.com/EmbeddedPlayer/album=1762232894/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/",
"https://bandcamp.com/EmbeddedPlayer/album=523521630/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/",
"https://bandcamp.com/EmbeddedPlayer/album=4268731096/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/",
"https://bandcamp.com/EmbeddedPlayer/album=136764004/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/"
],
"paragraphCount": 44
},
"modified": 1705021644,
"excerpt": "Our music editor humbly offers 20 of the most memorable and impactful local albums of the decade.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Our music editor humbly offers 20 of the most memorable and impactful local albums of the decade.",
"title": "The Best Bay Area Albums of the 2010s | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "The Best Bay Area Albums of the 2010s",
"datePublished": "2019-12-18T16:58:34-08:00",
"dateModified": "2024-01-11T17:07:24-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "the-best-bay-area-albums-of-the-2010s",
"status": "publish",
"templateType": "standard",
"excludeFromSiteSearch": "Include",
"featuredImageType": "standard",
"sticky": false,
"articleAge": "0",
"path": "/arts/13871739/the-best-bay-area-albums-of-the-2010s",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Bay Area is a region oozing with creativity in every scene and genre, so summing up a decade of local music in a single short list is no easy task. Here, KQED Arts & Culture’s music editor humbly offers 20 of the most memorable and impactful albums of the 2010s.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/7JC1vAUtlOwe8AJ3hLmr91\" width=\"700\" height=\"120\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Thee Oh Sees, \u003cem>Carrion Crawler/The Dream\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2011, In the Red Records\u003c/strong>\u003cbr>\nThee Oh Sees channel a need for speed on \u003cem>Carrion Crawler/The Dream\u003c/em>, an album that finds the garage rockers’ instrumentation lurching at high BPMs between poppy refrains and psychedelic guitar solos that stretch on for miles. Anchored by two drummers, the album’s sturdy rhythm section allows John Dwyer, a ringleader of the San Francisco garage rock scene in the early part of the decade, to get wild and weird with guitars and vocals.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1644131755/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>The Seshen, \u003cem>The Seshen\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2012, self-released\u003c/strong>\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>Seven-piece band The Seshen have proven to be one of the Bay Area’s most fun-to-watch live acts this decade, fusing neo-soul and R&B production with jazzy live instrumentation and fluttering layers of vocals by Lalin St. Juste and Akasha Orr. On their self-titled debut, their group synergy manifests as a kaleidoscopic pop sound that’s sleek and expansive in equal measure.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3108730587/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Shannon and the Clams, \u003cem>Dreams in the Rat House\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2013, Hardly Art\u003c/strong>\u003cbr>\nThis decade saw Oakland rockers Shannon and the Clams transform from warehouse party mainstays to a nationally acclaimed act working with the Black Keys’ Dan Auerbach. Full of freewheeling mischief, \u003cem>Dreams in the Rat House\u003c/em> swings between sweet doo-wop harmonies, rowdy country stomps and reverb-heavy punk riffs, and Shannon Shaw’s robust, pleading voice overflows with feeling.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3949757894/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Botanist, \u003cem>IV: Mandragora\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2013, The Flenser\u003c/strong>\u003cbr>\nWith the slow pace of elected officials’ action on climate change, despair is understandable. Which is why, perhaps, the dark chaos of post-black metal is a fitting genre for Botanist, an artist whose apocalyptic album \u003cem>IV: Mandragora\u003c/em> evokes a vengeful Mother Nature wiping out humans. Botanist’s lighting-speed hammered dulcimer infuses the album with eeriness; the artist screeches in a croak that sounds like a thousand-year-old redwood clearing its throat to speak. \u003cem>IV: Mandragora\u003c/em> is the sound of nature in revolt.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=2338106943/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Queens D.Light, \u003cem>California Wildflower\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2014, self-released\u003c/strong>\u003cbr>\nQueens D.Light’s \u003cem>California Wildflower\u003c/em> unfurls a deep personal mythology to boom-bap beats, jazz interludes and psychedelic flourishes. While discovering new dimensions of her sexuality and capacity for love, Queens looks to the Yoruba deity Oshun, the river goddess associated with luxury and pleasure. In her lyrics, sensuality is a means of connecting with the divine within oneself. This stellar hip-hop debut introduced Queens D.Light as a singular voice whose vision can’t be confined to a single medium, as her multifaceted event curation and filmmaking throughout the 2010s attests.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" width=\"100%\" height=\"450\" scrolling=\"no\" frameborder=\"no\" allow=\"autoplay\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/playlists/48447943&color=%23ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Kehlani, \u003cem>Cloud 19\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2014, Wheels of Steel Ent.\u003c/strong>\u003cbr>\nWith \u003cem>Cloud 19\u003c/em>, Kehlani became known as a prodigious R&B singer-songwriter with angelic, acrobatic vocal runs and lyrics wise beyond her years. Kehlani penned the project shortly after graduating from Oakland School for the Arts. With her warm voice and nostalgic references (Montell Jordan and Musiq Soulchild get shout outs), \u003cem>Cloud 19\u003c/em> and its infectious lead single “FWU” established her as an artist bridging the past and future of R&B. Even after Kehlani’s multiple Grammy nominations and Billboard chart success, this early mixtape remains a cult classic.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/7fP1DdLng8DwEQZB2srvl0\" width=\"700\" height=\"120\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Lil B, \u003cem>Hoop Life\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2014, Based World Records\u003c/strong>\u003cbr>\nBefore “Soundcloud rap” became a household term, Berkeley native Lil B was pumping out mixtapes that spanned dozens (and sometimes hundreds) of songs. Though his music varied in quality, Lil B embraced the immediacy of self-publishing on the internet, and used social media to craft a persona (although not without controversy) before such strategies became standard for independent artists. \u003cem>Hoop Life\u003c/em>, his NBA-themed mixtape, features a diss track against then-Warriors rival Kevin Durant, and it positioned Lil B to become an unlikely basketball authority as his hometown team ascended to the NBA Championships in 2015. His “curses” on Durant and James Harden became some of the decade’s most memorable basketball lore, and \u003cem>Hoop Life\u003c/em> was the soundtrack.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1805295426/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Black Spirituals, \u003cem>Black Interiors\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2015, Ratskin Records / 60Hurts\u003c/strong>\u003cbr>\nBlack Spirituals’ \u003cem>Black Interiors\u003c/em> harnesses the improvisational qualities of free jazz, but each note emanating from Zachary James Watkins’ guitar wails with discordant tension, like Jimi Hendrix’s “Star Spangled Banner” slowed to a crawl and wrapped in barbed wire. The album established the duo, also comprised of percussionist Marshall Trammell, as one of Oakland’s most innovative experimental acts, bridging the DIY scene, academia and contemporary classical.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/3utWbzZz4YqSW0HGLqyovN\" width=\"700\" height=\"120\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>P-Lo and Kool John, \u003cem>Moovie!\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2015, self-released\u003c/strong>\u003cbr>\nAs children of the hyphy movement, the East Bay collective HBK Gang evolved the uptempo, homegrown 2000s rap sound into party music for the new generation. A prime example of this is P-Lo and Kool John’s \u003cem>Moovie!\u003c/em>, an album best played in the club, or somewhere between 2am and 4am on the way to the afterparty. With “3 White Hoes,” “Blue Hunnids” and “Bitch I Look Good,” the duo gave us minimalist twerk anthems with ample bass to rattle your speakers.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/1jKclz9xknsgxOK9XGAXRi\" width=\"700\" height=\"120\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Kamaiyah, \u003cem>A Good Night in the Ghetto\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2016\u003c/strong>\u003cbr>\nWith her viral single “How Does It Feel,” Kamaiyah made a rap anthem for everyday working people trying to make their way in an increasingly unaffordable Bay Area. In contrast to the one-percenter ethos that dominated the radio this decade, her debut mixtape \u003cem>A Good Night in the Ghetto\u003c/em> speaks to those who don’t necessarily seek excessively flashy things—just comfort and stability. With the feel-good energy of an intimate house party, \u003cem>A Good Night in the Ghetto\u003c/em> propelled Kamaiyah as one of the Bay Area’s most well-known voices.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1240226381/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Cherushii, \u003cem>Manic\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2016\u003c/strong>\u003cbr>\nCherushii presents her sparkling vision of the dance floor as a place for connection and liberation on \u003cem>Manic\u003c/em>, an ebullient collection of house tracks. With its funky pulse and playful synths that shimmy and bounce, the EP recalls ’90s house acts like Crystal Waters and Inner City. The instrumental version of the title track features a saxophone solo by Marcia Miget—it’s the project’s most ecstatic highpoint, and a convincing argument for why brass belongs in club music. Cherushii passed away in the Ghost Ship fire the same year \u003cem>Manic\u003c/em> was released, and the project lives on as a record of her infectiously joyful vision.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=856121914/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Rayana Jay, \u003cem>Sorry About Last Night\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2016, self-released\u003c/strong>\u003cbr>\nDrunken regrets, problematic lovers, undefined “situationships”—it’s all part of dating in your 20s, and Rayana Jay’s standout R&B debut \u003cem>Sorry About Last Night\u003c/em> captures all of its uncertainties and painful growing pains. Set to smooth, sparse production, her velvety voice takes center stage as she expertly builds earworm melodies. Lead single “Sleepy Brown,” which propelled Jay to the national stage, has a vintage, funky feel you can’t help but sway and step to.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1941114977/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Club Chai, \u003cem>Club Chai Vol. 1\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2017, Club Chai\u003c/strong>\u003cbr>\nIt’s hard to name a collective that’s shaped the Bay Area’s club music scene more this decade than Club Chai. With the compilation \u003cem>Club Chai Vol. 1\u003c/em>, 8ULENTINA and FOOZOOL lay out their thesis for the genre-amorphous label and party. The suspenseful original tracks produced by the founders for the compilation give Middle Eastern percussion a ghostly sheen. The album also features work by some of electronic music’s most exciting new voices, including darkwave experimentalist Spellling, techno producer Russell E.L. Butler and haunted cumbia remixer Turbo Sonidero. Each artist pulls from different cultural backgrounds and subgenres, and all push the envelope of what electronic music can be.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1762232894/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>King Woman, \u003cem>Created in the Image of Suffering\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2017, Relapse Records\u003c/strong>\u003cbr>\nKing Woman’s slow-burning, sludgy album \u003cem>Created in the Image of Suffering\u003c/em> swallows listeners in swathes of heavy distortion. The doom metal project, one of Kristina Esfandiari’s many musical alter-egos, served as an outlet for the artist to process the experience of leaving a religious community. Her droning voice is weighed down by an audible anguish as she parses through her disillusionment with Christianity. Layers of gauzy guitar riffs build up with the ornate intricacy of gothic architecture, and crashing cymbals offer opportunities for deeply satisfying catharsis.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/5XgUtV3205kTcgoSLNf8ix\" width=\"700\" height=\"120\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Fantastic Negrito, \u003cem>The Last Days of Oakland\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2017, Blackball Universe\u003c/strong>\u003cbr>\nLiving among Oakland’s extreme wealth inequality can feel maddening, and with \u003cem>The Last Days of Oakland\u003c/em>, Fantastic Negrito offers an impressionistic portrait of the opposing forces that define life in the town—the result being a 2017 Grammy award for Best Contemporary Blues Album. With its gritty guitar solos, driving rhythms and Fantastic Negrito’s howling vocals, it captures the cognitive dissonance of witnessing thousands of people who’ve lost their homes living in abject poverty on the streets. \u003cem>The Last Days of Oakland\u003c/em> is an urgent dispatch that appeals to listeners’ moral consciousness.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/6ztEEOoAi6xyYhiiDn3gxc\" width=\"700\" height=\"120\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>SOB x RBE, \u003cem>SOB x RBE\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2017, EMPIRE\u003c/strong>\u003cbr>\nWith their debut mixtape, SOB x RBE jolted the Bay Area awake with their unbridled energy and explosive chemistry of flows. “Anti” and “Lane Switching” quickly rose from viral hits to radio mainstays, showcasing how DaBoii, Slimmy B and Lul G’s gruff barks alongside crooner Yhung T.O.’s soulful-gangster hooks (think the Gen Z version of Nate Dogg). Now a trio without Lul G, SOB x RBE brought on the latest evolution of West Coast street rap—one that’s fiery and aggressive, with whiplash-inducing speed.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=523521630/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Kronos Quartet and Trio Da Kali, \u003cem>Ladilikan\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2017, World Circuit Limited\u003c/strong>\u003cbr>\nOne of the most adventurous ensembles in the contemporary classical world, Kronos Quartet engaged in many unorthodox collaborations this decade. One of the highlights was their work with virtuosic Malian ensemble Trio Da Kali. With singer Hawa Kassé Mady Diabaté’s rich, booming voice, Lassana Mamadou Kouyaté’s dexterous balafon percussion and Mamadou Diabaté’s string work on the ngoni, the album interlaces the liveliness of traditional Malian griot music with elegant string playing. The collaboration proved to be a fruitful one, as Diabaté took part in Kronos’ \u003cem>50 for the Future\u003c/em> Project, which commissions new works from diverse composers each year.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/7JSvfznch1vfoMOJxd7zPb\" width=\"700\" height=\"120\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Ambrose Akinmusire,\u003cem> A Rift in Decorum\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2017, Blue Note\u003c/strong>\u003cbr>\nCritics have called Ambrose Akinmusire a trumpet wunderkind since his Berkeley High days, and his live album \u003cem>A Rift in Decorum\u003c/em>, recorded at New York’s historic Village Vanguard, shows him pushing his instrument to the limits of its expressive possibilities. Accompanied by bass, piano and drums, Akinmusire’s trumpet oscillates from emanating long, pained wails and running through rapid-fire riffs. The spacious, pensive compositions allow him plenty of room to explore.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=4268731096/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Toro y Moi, \u003cem>Outer Peace\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2019, Carpark Records\u003c/strong>\u003cbr>\nToro y Moi’s \u003cem>Outer Peace\u003c/em> came during a period of the artist stepping into his full powers as a songwriter, performer and visual artist, and the album’s funky celebrations of the creative grind speak to his role as a catalyst in the local scene. For the album, Toro enlisted conga player Brijean Murphy (a formidable solo artist in her own right), whose expert percussion adds richness to Toro’s propulsive grooves. \u003cem>Outer Peace\u003c/em>’s upbeat sounds represented a departure from his more wistful, airy chillwave of years past, and its bold, confident energy looks good on him.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=136764004/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\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>\u003cstrong>Spellling, \u003cem>Mazy Fly\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>2019, Sacred Bones Records\u003c/strong>\u003cbr>\nBridging darkwave, synth-pop and even disco, Spellling’s \u003cem>Mazy Fly\u003c/em> sees the artist adding a full-bodied intricacy to her loop-pedal sorcery. Guest appearances from collaborators on percussion, guitar, violin and sax flesh out Spellling’s layers of looped keys and delicate, lace-like vocals. Within this architecture, the singer explores subtle, spiritual themes—including on the chilling track “Haunted Water,” which delves into the karmic baggage of the transatlantic slave trade.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13871739/the-best-bay-area-albums-of-the-2010s",
"authors": [
"11387"
],
"categories": [
"arts_69",
"arts_235"
],
"tags": [
"arts_1501",
"arts_1588",
"arts_1118",
"arts_831",
"arts_21788",
"arts_1420",
"arts_1558",
"arts_1829",
"arts_2244",
"arts_1803",
"arts_1723",
"arts_3823",
"arts_2623",
"arts_2021",
"arts_9344",
"arts_3973"
],
"featImg": "arts_13933782",
"label": "arts"
},
"arts_13871726": {
"type": "posts",
"id": "arts_13871726",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13871726",
"score": null,
"sort": [
1576699296000
]
},
"guestAuthors": [],
"slug": "sf-developer-displaces-club-bnb-and-club-21-reducing-oakland-lgbtq-bars-by-half",
"title": "SF Developer Displaces Club BnB and Club 21, Reducing Oakland LGBTQ Bars By Half",
"publishDate": 1576699296,
"format": "standard",
"headTitle": "SF Developer Displaces Club BnB and Club 21, Reducing Oakland LGBTQ Bars By Half | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>\u003cem>Updated Monday, 10 a.m. \u003c/em>\u003c/p>\n\u003cp>Club BnB and Club 21, two adjoining LGBTQ nightclubs near downtown Oakland, will shutter by Jan. 15, 2020 as a result of the landlord doubling the rent, according to general manager Carlos Uribe.\u003c/p>\n\u003cp>The loss of the multi-floor clubs reduces the number of LGBTQ nightlife establishments in Oakland from four to two, with only Port Bar and the White Horse Inn remaining. “We’re losing a queer space to gentrification, one that specifically caters to people of color,” Uribe said.\u003c/p>\n\u003cp>The clubs, with a combined capacity of more than 700, regularly offer subsidized space to community groups. On weekends, the clubs draw hundreds of patrons for events such as drag bingo and La Bota Loca, a \u003cem>ranchera\u003c/em>– and \u003cem>banda\u003c/em>-themed party featuring DJs and internationally touring live acts.\u003c/p>\n\u003cp>“There’s nothing like it in Oakland,” Uribe said of La Bota Loca. “It’s a safe space for queer Latinx people centered on an aspect of Mexican culture that can be hyper-masculine.”\u003c/p>\n\u003cfigure id=\"attachment_13871729\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13871729\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/BnB-and-21-Exterior-800x450.jpg\" alt=\"Club BnB and Club 21, adjoining LGBTQ nightclubs near downtown Oakland, will shutter by Jan. 15, 2020.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/BnB-and-21-Exterior-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/BnB-and-21-Exterior-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/BnB-and-21-Exterior-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/BnB-and-21-Exterior-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/BnB-and-21-Exterior-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/BnB-and-21-Exterior.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Club BnB and Club 21, adjoining LGBTQ nightclubs near downtown Oakland, will shutter by Jan. 15, 2020. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Broadway and Franklin Street clubs employ some 40 people, many of them for more than a decade, and the businesses have in recent months sought a new location without success.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The market is difficult,” Uribe said, noting the high-cost of commercial rent plus competition for suitable raw warehouse space from cannabis cultivators.\u003c/p>\n\u003cp>The 2120 Broadway property was acquired in May of 2018 for approximately $8 million by a company tied to Ellis Partners, a San Francisco real-estate developer, county records show.\u003c/p>\n\u003cp>Ellis proposed that the clubs either begin paying $45,040/month, more than twice their current rent, or leave the building by January, according to Uribe. The clubs are on a month-to-month lease.\u003c/p>\n\u003cfigure id=\"attachment_13871730\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13871730\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/2121-Franklin-Realty-Brochure-800x450.jpg\" alt='A realty brochure advertises the building as \"creative office space.\"' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/2121-Franklin-Realty-Brochure-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/2121-Franklin-Realty-Brochure-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/2121-Franklin-Realty-Brochure-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/2121-Franklin-Realty-Brochure-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/2121-Franklin-Realty-Brochure-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/2121-Franklin-Realty-Brochure.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A realty brochure advertises the building as “creative office space.”\u003c/figcaption>\u003c/figure>\n\u003cp>Ellis Partners did not respond to a request for comment Tuesday. In Oakland, the firm is known for developing an incoming 18-story office building at 1100 Broadway marketed as \u003ca href=\"https://www.thekeyoakland.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The Key\u003c/a>.\u003c/p>\n\u003cp>A realty brochure acquired by KQED advertises the 23,000 square-foot Club BnB and Club 21 building as “creative office space” available in the third quarter of 2020. A rendering shows the exterior with an abstract design in place of the current water justice-themed mural from 2011.\u003c/p>\n\u003cp>Nancypili Hernandez, coordinator of the \u003cem>Water Writes\u003c/em> mural, which shows young people of color as environmental stewards, reached out to Ellis Partners after seeing the rendering published by KQED.\u003c/p>\n\u003cp>“The mock-up shows a white-washed wall with random abstract patterns where our mural lives,” Hernandez said. “This image holds value now more than ever, and we hope to work with the new owners to preserve it.”\u003c/p>\n\u003cp>The 6,000-square-foot piece features the work of artists including Vogue, Bounce, DIME, Agana, Cece Carpio and Josue Rojas, and is part of a multi-city series sponsored by environmentalist group the Estria Foundation.\u003c/p>\n\u003cp>Club BnB has existed in different locations in Oakland under the name Bench and Bar since 1976, Uribe said. It operated in the current building 2004-2010 before moving to 17th Street. Club 21 took its place in 2010, and then both clubs reopened in the current building in 2015.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Uribe said the clubs’ parent company is owned by Frank Ciglar, a board member of the Oakland Pride organization, who bought out his former business partner Charles Bisbee in 2016.\u003c/p>\n\n",
"blocks": [],
"excerpt": "The adjoining LGBTQ nightclubs in downtown Oakland will shutter by Jan. 15, 2020. ",
"status": "publish",
"parent": 0,
"modified": 1726764579,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 18,
"wordCount": 605
},
"headData": {
"title": "SF Developer Displaces Club BnB and Club 21, Reducing Oakland LGBTQ Bars By Half | KQED",
"description": "The adjoining LGBTQ nightclubs in downtown Oakland will shutter by Jan. 15, 2020. ",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "SF Developer Displaces Club BnB and Club 21, Reducing Oakland LGBTQ Bars By Half",
"datePublished": "2019-12-18T12:01:36-08:00",
"dateModified": "2024-09-19T09:49:39-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"templateType": "standard",
"featuredImageType": "standard",
"path": "/arts/13871726/sf-developer-displaces-club-bnb-and-club-21-reducing-oakland-lgbtq-bars-by-half",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Updated Monday, 10 a.m. \u003c/em>\u003c/p>\n\u003cp>Club BnB and Club 21, two adjoining LGBTQ nightclubs near downtown Oakland, will shutter by Jan. 15, 2020 as a result of the landlord doubling the rent, according to general manager Carlos Uribe.\u003c/p>\n\u003cp>The loss of the multi-floor clubs reduces the number of LGBTQ nightlife establishments in Oakland from four to two, with only Port Bar and the White Horse Inn remaining. “We’re losing a queer space to gentrification, one that specifically caters to people of color,” Uribe said.\u003c/p>\n\u003cp>The clubs, with a combined capacity of more than 700, regularly offer subsidized space to community groups. On weekends, the clubs draw hundreds of patrons for events such as drag bingo and La Bota Loca, a \u003cem>ranchera\u003c/em>– and \u003cem>banda\u003c/em>-themed party featuring DJs and internationally touring live acts.\u003c/p>\n\u003cp>“There’s nothing like it in Oakland,” Uribe said of La Bota Loca. “It’s a safe space for queer Latinx people centered on an aspect of Mexican culture that can be hyper-masculine.”\u003c/p>\n\u003cfigure id=\"attachment_13871729\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13871729\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/BnB-and-21-Exterior-800x450.jpg\" alt=\"Club BnB and Club 21, adjoining LGBTQ nightclubs near downtown Oakland, will shutter by Jan. 15, 2020.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/BnB-and-21-Exterior-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/BnB-and-21-Exterior-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/BnB-and-21-Exterior-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/BnB-and-21-Exterior-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/BnB-and-21-Exterior-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/BnB-and-21-Exterior.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Club BnB and Club 21, adjoining LGBTQ nightclubs near downtown Oakland, will shutter by Jan. 15, 2020. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Broadway and Franklin Street clubs employ some 40 people, many of them for more than a decade, and the businesses have in recent months sought a new location without success.\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>“The market is difficult,” Uribe said, noting the high-cost of commercial rent plus competition for suitable raw warehouse space from cannabis cultivators.\u003c/p>\n\u003cp>The 2120 Broadway property was acquired in May of 2018 for approximately $8 million by a company tied to Ellis Partners, a San Francisco real-estate developer, county records show.\u003c/p>\n\u003cp>Ellis proposed that the clubs either begin paying $45,040/month, more than twice their current rent, or leave the building by January, according to Uribe. The clubs are on a month-to-month lease.\u003c/p>\n\u003cfigure id=\"attachment_13871730\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13871730\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/2121-Franklin-Realty-Brochure-800x450.jpg\" alt='A realty brochure advertises the building as \"creative office space.\"' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/2121-Franklin-Realty-Brochure-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/2121-Franklin-Realty-Brochure-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/2121-Franklin-Realty-Brochure-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/2121-Franklin-Realty-Brochure-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/2121-Franklin-Realty-Brochure-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/2121-Franklin-Realty-Brochure.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A realty brochure advertises the building as “creative office space.”\u003c/figcaption>\u003c/figure>\n\u003cp>Ellis Partners did not respond to a request for comment Tuesday. In Oakland, the firm is known for developing an incoming 18-story office building at 1100 Broadway marketed as \u003ca href=\"https://www.thekeyoakland.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The Key\u003c/a>.\u003c/p>\n\u003cp>A realty brochure acquired by KQED advertises the 23,000 square-foot Club BnB and Club 21 building as “creative office space” available in the third quarter of 2020. A rendering shows the exterior with an abstract design in place of the current water justice-themed mural from 2011.\u003c/p>\n\u003cp>Nancypili Hernandez, coordinator of the \u003cem>Water Writes\u003c/em> mural, which shows young people of color as environmental stewards, reached out to Ellis Partners after seeing the rendering published by KQED.\u003c/p>\n\u003cp>“The mock-up shows a white-washed wall with random abstract patterns where our mural lives,” Hernandez said. “This image holds value now more than ever, and we hope to work with the new owners to preserve it.”\u003c/p>\n\u003cp>The 6,000-square-foot piece features the work of artists including Vogue, Bounce, DIME, Agana, Cece Carpio and Josue Rojas, and is part of a multi-city series sponsored by environmentalist group the Estria Foundation.\u003c/p>\n\u003cp>Club BnB has existed in different locations in Oakland under the name Bench and Bar since 1976, Uribe said. It operated in the current building 2004-2010 before moving to 17th Street. Club 21 took its place in 2010, and then both clubs reopened in the current building in 2015.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Uribe said the clubs’ parent company is owned by Frank Ciglar, a board member of the Oakland Pride organization, who bought out his former business partner Charles Bisbee in 2016.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13871726/sf-developer-displaces-club-bnb-and-club-21-reducing-oakland-lgbtq-bars-by-half",
"authors": [
"11091"
],
"categories": [
"arts_1",
"arts_69",
"arts_235"
],
"tags": [
"arts_5914",
"arts_1118",
"arts_1332",
"arts_3226",
"arts_746",
"arts_596",
"arts_1143"
],
"featImg": "arts_13871728",
"label": "arts"
},
"arts_13871610": {
"type": "posts",
"id": "arts_13871610",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13871610",
"score": null,
"sort": [
1576535486000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1576535486,
"format": "standard",
"title": "After 25 Years, Mariah Carey's 'All I Want For Christmas is You' is No. 1 at Last",
"headTitle": "After 25 Years, Mariah Carey’s ‘All I Want For Christmas is You’ is No. 1 at Last | KQED",
"content": "\u003cp>It’s no longer uncommon for pop songs to experience a slow rise to the top of the pop charts. Just this year, \u003ca href=\"https://www.npr.org/artists/718208340/lil-nas-x\">Lil Nas X\u003c/a>‘s “Old Town Road” followed a long and \u003ca href=\"https://www.npr.org/2019/07/18/743121439/lil-nas-x-old-town-road-billie-eilish-bad-guy-remix-billboard-charts\">remix-strewn\u003c/a> path to 19 weeks at No. 1, while \u003ca href=\"https://www.npr.org/artists/502301111/lizzo\">Lizzo\u003c/a> experienced huge hits with songs originally released in 2017 (“Truth Hurts”) and 2016 (“Good As Hell”). But this is another level altogether: \u003ca href=\"https://www.npr.org/artists/15324690/mariah-carey\">Mariah Carey\u003c/a>‘s holiday juggernaut “All I Want for Christmas Is You” \u003cem>just this week\u003c/em> topped the \u003cem>Billboard\u003c/em> Hot 100 for the first time in the song’s 25-year history.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=yXQViqx6GMY\u003c/p>\n\u003cp>Back in 2013, my colleague and pal \u003ca href=\"https://www.npr.org/people/706635917/chris-klimek\">Chris Klimek\u003c/a>—as thoroughgoing an expert on Christmas music as you’ll find—\u003ca href=\"https://slate.com/human-interest/2013/12/new-christmas-songs-from-kelly-clarkson-and-mary-j-blige-wont-become-holiday-classics-why.html\">wrote a piece for \u003cem>Slate\u003c/em>\u003c/a> in which he wondered why no new holiday songs had pierced the public consciousness since “All I Want for Christmas Is You.” (As he wrote at the time, “The holiday-song canon is closed.”) Now, at least for this particular week in December 2019, Carey’s classic doesn’t just represent the last word in holiday songs; it’s the last word in \u003cem>songs\u003c/em>, period.\u003c/p>\n\u003cp>The newfound chart dominance of “All I Want for Christmas”—it climbed as high as No. 3 last holiday season—can be chalked up to any number of factors, including nostalgia, the ever-growing influence of streaming services and the fact that “All I Want for Christmas” has aged remarkably well. It’s a deeply durable song; as if you need proof, consider 1) that it’s probably already stuck in your head and 2) Carey’s 2012 performance of the song with Jimmy Fallon, The Roots and an assortment of instruments found in any given elementary-school classroom.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=sWEfszb9h8Q&feature=emb_logo\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But you also can’t discount the sheer accumulated strength of Carey herself: with “All I Want for Christmas Is You,” the singer is just one No. 1 hit shy of the record—20—set by \u003ca href=\"https://www.npr.org/artists/15229570/the-beatles\">The Beatles\u003c/a>. When she had a mere 18 No. 1 hits, she was mired in a tie for second with some also-ran by the name of \u003ca href=\"https://www.npr.org/artists/15624007/elvis-presley\">Elvis Presley\u003c/a>.\u003c/p>\n\u003cp>Fortunately for Lil Nas X, the record \u003cem>he\u003c/em> set in 2019—those 19 consecutive weeks at No. 1—is almost certainly safe, given that interest in “All I Want for Christmas Is You” is likely to decline, however temporarily, in just a week and a half.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Merry Christmas (Deluxe Anniversary Edition) \u003cem>is out now via \u003c/em>\u003ca href=\"https://mariahcarey.lnk.to/MerryChristmas25\">\u003cem>Legacy Recordings\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 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=After+25+Years%2C+Mariah+Carey%27s+%27All+I+Want+For+Christmas+Is+You%27+Is+No.+1+At+Last&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 476,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 8
},
"modified": 1705021661,
"excerpt": "Released in 1994, this modern Christmas classic tapped out at No. 3 last season. This year, the Queen of Christmas claims her No. 1 crown. ",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Released in 1994, this modern Christmas classic tapped out at No. 3 last season. This year, the Queen of Christmas claims her No. 1 crown. ",
"title": "After 25 Years, Mariah Carey's 'All I Want For Christmas is You' is No. 1 at Last | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "After 25 Years, Mariah Carey's 'All I Want For Christmas is You' is No. 1 at Last",
"datePublished": "2019-12-16T14:31:26-08:00",
"dateModified": "2024-01-11T17:07:41-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "after-25-years-mariah-careys-all-i-want-for-christmas-is-you-is-no-1-at-last",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=788491272&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprStoryDate": "Mon, 16 Dec 2019 14:26:06 -0500",
"nprLastModifiedDate": "Mon, 16 Dec 2019 14:28:36 -0500",
"featuredImageType": "standard",
"nprHtmlLink": "https://www.npr.org/2019/12/16/788491272/after-25-years-mariah-careys-all-i-want-for-christmas-is-you-is-no-1-at-last?ft=nprml&f=788491272",
"nprImageAgency": "Getty Images",
"nprStoryId": "788491272",
"nprByline": "Stephen Thompson",
"sticky": false,
"nprImageCredit": "Michael Loccisano",
"nprRetrievedStory": "1",
"nprPubDate": "Mon, 16 Dec 2019 14:26:00 -0500",
"path": "/arts/13871610/after-25-years-mariah-careys-all-i-want-for-christmas-is-you-is-no-1-at-last",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s no longer uncommon for pop songs to experience a slow rise to the top of the pop charts. Just this year, \u003ca href=\"https://www.npr.org/artists/718208340/lil-nas-x\">Lil Nas X\u003c/a>‘s “Old Town Road” followed a long and \u003ca href=\"https://www.npr.org/2019/07/18/743121439/lil-nas-x-old-town-road-billie-eilish-bad-guy-remix-billboard-charts\">remix-strewn\u003c/a> path to 19 weeks at No. 1, while \u003ca href=\"https://www.npr.org/artists/502301111/lizzo\">Lizzo\u003c/a> experienced huge hits with songs originally released in 2017 (“Truth Hurts”) and 2016 (“Good As Hell”). But this is another level altogether: \u003ca href=\"https://www.npr.org/artists/15324690/mariah-carey\">Mariah Carey\u003c/a>‘s holiday juggernaut “All I Want for Christmas Is You” \u003cem>just this week\u003c/em> topped the \u003cem>Billboard\u003c/em> Hot 100 for the first time in the song’s 25-year history.\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/yXQViqx6GMY'\n title='//www.youtube.com/embed/yXQViqx6GMY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Back in 2013, my colleague and pal \u003ca href=\"https://www.npr.org/people/706635917/chris-klimek\">Chris Klimek\u003c/a>—as thoroughgoing an expert on Christmas music as you’ll find—\u003ca href=\"https://slate.com/human-interest/2013/12/new-christmas-songs-from-kelly-clarkson-and-mary-j-blige-wont-become-holiday-classics-why.html\">wrote a piece for \u003cem>Slate\u003c/em>\u003c/a> in which he wondered why no new holiday songs had pierced the public consciousness since “All I Want for Christmas Is You.” (As he wrote at the time, “The holiday-song canon is closed.”) Now, at least for this particular week in December 2019, Carey’s classic doesn’t just represent the last word in holiday songs; it’s the last word in \u003cem>songs\u003c/em>, period.\u003c/p>\n\u003cp>The newfound chart dominance of “All I Want for Christmas”—it climbed as high as No. 3 last holiday season—can be chalked up to any number of factors, including nostalgia, the ever-growing influence of streaming services and the fact that “All I Want for Christmas” has aged remarkably well. It’s a deeply durable song; as if you need proof, consider 1) that it’s probably already stuck in your head and 2) Carey’s 2012 performance of the song with Jimmy Fallon, The Roots and an assortment of instruments found in any given elementary-school classroom.\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/sWEfszb9h8Q'\n title='//www.youtube.com/embed/sWEfszb9h8Q'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\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>But you also can’t discount the sheer accumulated strength of Carey herself: with “All I Want for Christmas Is You,” the singer is just one No. 1 hit shy of the record—20—set by \u003ca href=\"https://www.npr.org/artists/15229570/the-beatles\">The Beatles\u003c/a>. When she had a mere 18 No. 1 hits, she was mired in a tie for second with some also-ran by the name of \u003ca href=\"https://www.npr.org/artists/15624007/elvis-presley\">Elvis Presley\u003c/a>.\u003c/p>\n\u003cp>Fortunately for Lil Nas X, the record \u003cem>he\u003c/em> set in 2019—those 19 consecutive weeks at No. 1—is almost certainly safe, given that interest in “All I Want for Christmas Is You” is likely to decline, however temporarily, in just a week and a half.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Merry Christmas (Deluxe Anniversary Edition) \u003cem>is out now via \u003c/em>\u003ca href=\"https://mariahcarey.lnk.to/MerryChristmas25\">\u003cem>Legacy Recordings\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 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=After+25+Years%2C+Mariah+Carey%27s+%27All+I+Want+For+Christmas+Is+You%27+Is+No.+1+At+Last&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13871610/after-25-years-mariah-careys-all-i-want-for-christmas-is-you-is-no-1-at-last",
"authors": [
"byline_arts_13871610"
],
"categories": [
"arts_69",
"arts_75"
],
"tags": [
"arts_11323",
"arts_3388",
"arts_9396",
"arts_3247"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13871611",
"label": "arts_137"
},
"arts_13871375": {
"type": "posts",
"id": "arts_13871375",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13871375",
"score": null,
"sort": [
1576262654000
]
},
"guestAuthors": [],
"slug": "the-do-list-cats-purring-nutcrackers-twirling-and-more-for-dec-12-19",
"title": "The Do List: Cats Purring, Nutcrackers Twirling and More for Dec. 12-19",
"publishDate": 1576262654,
"format": "audio",
"headTitle": "The Do List: Cats Purring, Nutcrackers Twirling and More for Dec. 12-19 | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003cp>Looking for things to do in the Bay Area this weekend? The Do List has you covered with concerts, festivals, exhibitions, plays, performances and more.\u003c/p>\n\u003cp>You can listen to this week’s episode with KQED’s Gabe Meline, Sarah Hotchkiss and Sam Lefebvre above, or read about our picks below.\u003c/p>\n\u003cp>\u003cstrong>Terry Fox, ‘The Labyrinth Scored for the Purrs of 11 Different Cats’\u003c/strong>: Here’s a fun one: \u003ca href=\"https://www.youtube.com/watch?v=iTSCVMxjXNg\" rel=\"noopener noreferrer\" target=\"_blank\">the sound of 11 cats purring\u003c/a>, layered together by artist Terry Fox, in an exhibition at BAMPFA. The sound of a cat purr is obviously a calming one, and Fox designed it to be listened to while walking a cathedral-style labyrinth in this 1977 piece, \u003cem>The Labyrinth Scored for the Purrs of 11 Different Cats\u003c/em>. The purr of each individual cat is meant to represent one of the 11 concentric rings of the labyrinth as you walk it—and friends, this is your last chance, because this totally one-of-a-kind experience ends this weekend, Dec. 15, at BAMPFA in downtown Berkeley. \u003ca href=\"https://bampfa.org/program/terry-fox-resonance\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—GM\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Art With Elders Holiday Sale\u003c/strong>: Here’s a slightly more conventional suggestion this week. It’s a one-day holiday art show and sale at Cushion Works, a Mission District project space… And maybe you’re thinking… Another holiday sale? But this one’s slightly different. All the work comes from the Art With Elders program, a really incredible nonprofit that provides art classes for Bay Area seniors in long-term care communities like Laguna Honda Hospital. And this is a specially curated display of that work. That’s Sunday, Dec. 15, at Cushion Works in San Francisco. \u003ca href=\"https://www.artwithelders.org/2019/12/cushion-works-holiday-show-and-sale/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—SH\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Hip-Hop at the Fine Art Museum\u003c/strong>: There’s an exhibit we’ve talked about previously on the Do List called \u003cem>Soul of a Nation\u003c/em>—a massive exhibition celebrating black artists and black power at the de Young. What’s new this weekend is what I’m 99% sure has never happened before there: a show by a hip-hop group at the museum. Saturday brings the Oakland group Souls of Mischief to the de Young, in both a live show and a screening of their documentary, \u003cem>‘Til Infinity\u003c/em>. A big bonus here is that museum admission is free that day for Bay Area residents, including admission to \u003cem>Soul of a Nation\u003c/em>. That’s Saturday, Dec. 14, at the de Young Museum in San Francisco. \u003ca href=\"https://deyoung.famsf.org/calendar/free-saturdays-musical-performance-souls-mischief-til-infinity-souls-mischief-film\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—GM\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>ABO Comix Release Party\u003c/strong>: ABO Comix publishes autobiographical comics by and for queer and transgender prisoners incarcerated around the country. The Oakland publisher is part of a movement centering prison abolition in the struggle for LGBTQ liberation, and considers part of that work to be diligently corresponding with queer prisoners and figuring out how to get them money for their artwork. In the past couple years, ABO has raised more than $10,000 for its artists. This weekend, ABO celebrates the release of its third anthology with a show featuring a local punk band called Anti Repression Music. That’s on Saturday, Dec. 14, at Classic Cars West in Oakland. \u003ca href=\"https://oaklandartmurmur.org/events/abo-comix-iii-release-party/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—SL\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>‘The Nutcracker’\u003c/strong>: I know, I know—you can see \u003cem>The Nutcracker\u003c/em> on approximately twelve billion stages this month. I’ve got two to recommend. The first is the big kahuna: the SF Ballet’s \u003cem>Nutcracker\u003c/em>. I finally saw this last year, and all I can say is believe the hype. It’s dazzling with a breathtaking set, top-tier dancing, you can’t go wrong. That runs at the War Memorial Opera House through Dec. 29. Details here. But then there’s a version of \u003cem>The Nutcracker\u003c/em> in Oakland that’s a little different. There’s no nutcracker. No mouse, even. It’s called \u003cem>KOLA: An Afro Diasporic Remix of the Nutcracker\u003c/em>. The lead character, Nzingha, travels through the African diaspora learning different dances, like Afro-Haitian, Afro-Cuban, jazz, hip-hop, break-dancing and more. That runs now through Dec. 22 at Castlemont High School in Oakland. \u003ca href=\"https://www.thepeoplesconservatory.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—GM\u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "On this week's Do List, we're talking about Terry Fox, Souls of Mischief, ABO Comix, a remix of 'The Nutcracker' and more.",
"status": "publish",
"parent": 0,
"modified": 1753208758,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 9,
"wordCount": 706
},
"headData": {
"title": "The Do List: Cats Purring, Nutcrackers Twirling and More for Dec. 12-19 | KQED",
"description": "On this week's Do List, we're talking about Terry Fox, Souls of Mischief, ABO Comix, a remix of 'The Nutcracker' and more.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "The Do List: Cats Purring, Nutcrackers Twirling and More for Dec. 12-19",
"datePublished": "2019-12-13T10:44:14-08:00",
"dateModified": "2025-07-22T11:25:58-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"primaryCategory": {
"termId": 73,
"slug": "literature",
"name": "Books"
},
"audioUrl": "https://www.kqed.org/.stream/anon/radio//2019/12/TheDoListforThursDec.mp3",
"sticky": false,
"templateType": "standard",
"featuredImageType": "standard",
"startTime": 1576137600,
"endTime": 1576828800,
"startTimeString": "Dec. 12-19, 2019",
"path": "/arts/13871375/the-do-list-cats-purring-nutcrackers-twirling-and-more-for-dec-12-19",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Looking for things to do in the Bay Area this weekend? The Do List has you covered with concerts, festivals, exhibitions, plays, performances and more.\u003c/p>\n\u003cp>You can listen to this week’s episode with KQED’s Gabe Meline, Sarah Hotchkiss and Sam Lefebvre above, or read about our picks below.\u003c/p>\n\u003cp>\u003cstrong>Terry Fox, ‘The Labyrinth Scored for the Purrs of 11 Different Cats’\u003c/strong>: Here’s a fun one: \u003ca href=\"https://www.youtube.com/watch?v=iTSCVMxjXNg\" rel=\"noopener noreferrer\" target=\"_blank\">the sound of 11 cats purring\u003c/a>, layered together by artist Terry Fox, in an exhibition at BAMPFA. The sound of a cat purr is obviously a calming one, and Fox designed it to be listened to while walking a cathedral-style labyrinth in this 1977 piece, \u003cem>The Labyrinth Scored for the Purrs of 11 Different Cats\u003c/em>. The purr of each individual cat is meant to represent one of the 11 concentric rings of the labyrinth as you walk it—and friends, this is your last chance, because this totally one-of-a-kind experience ends this weekend, Dec. 15, at BAMPFA in downtown Berkeley. \u003ca href=\"https://bampfa.org/program/terry-fox-resonance\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—GM\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Art With Elders Holiday Sale\u003c/strong>: Here’s a slightly more conventional suggestion this week. It’s a one-day holiday art show and sale at Cushion Works, a Mission District project space… And maybe you’re thinking… Another holiday sale? But this one’s slightly different. All the work comes from the Art With Elders program, a really incredible nonprofit that provides art classes for Bay Area seniors in long-term care communities like Laguna Honda Hospital. And this is a specially curated display of that work. That’s Sunday, Dec. 15, at Cushion Works in San Francisco. \u003ca href=\"https://www.artwithelders.org/2019/12/cushion-works-holiday-show-and-sale/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—SH\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Hip-Hop at the Fine Art Museum\u003c/strong>: There’s an exhibit we’ve talked about previously on the Do List called \u003cem>Soul of a Nation\u003c/em>—a massive exhibition celebrating black artists and black power at the de Young. What’s new this weekend is what I’m 99% sure has never happened before there: a show by a hip-hop group at the museum. Saturday brings the Oakland group Souls of Mischief to the de Young, in both a live show and a screening of their documentary, \u003cem>‘Til Infinity\u003c/em>. A big bonus here is that museum admission is free that day for Bay Area residents, including admission to \u003cem>Soul of a Nation\u003c/em>. That’s Saturday, Dec. 14, at the de Young Museum in San Francisco. \u003ca href=\"https://deyoung.famsf.org/calendar/free-saturdays-musical-performance-souls-mischief-til-infinity-souls-mischief-film\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—GM\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>\n\u003cp>\u003cstrong>ABO Comix Release Party\u003c/strong>: ABO Comix publishes autobiographical comics by and for queer and transgender prisoners incarcerated around the country. The Oakland publisher is part of a movement centering prison abolition in the struggle for LGBTQ liberation, and considers part of that work to be diligently corresponding with queer prisoners and figuring out how to get them money for their artwork. In the past couple years, ABO has raised more than $10,000 for its artists. This weekend, ABO celebrates the release of its third anthology with a show featuring a local punk band called Anti Repression Music. That’s on Saturday, Dec. 14, at Classic Cars West in Oakland. \u003ca href=\"https://oaklandartmurmur.org/events/abo-comix-iii-release-party/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—SL\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>‘The Nutcracker’\u003c/strong>: I know, I know—you can see \u003cem>The Nutcracker\u003c/em> on approximately twelve billion stages this month. I’ve got two to recommend. The first is the big kahuna: the SF Ballet’s \u003cem>Nutcracker\u003c/em>. I finally saw this last year, and all I can say is believe the hype. It’s dazzling with a breathtaking set, top-tier dancing, you can’t go wrong. That runs at the War Memorial Opera House through Dec. 29. Details here. But then there’s a version of \u003cem>The Nutcracker\u003c/em> in Oakland that’s a little different. There’s no nutcracker. No mouse, even. It’s called \u003cem>KOLA: An Afro Diasporic Remix of the Nutcracker\u003c/em>. The lead character, Nzingha, travels through the African diaspora learning different dances, like Afro-Haitian, Afro-Cuban, jazz, hip-hop, break-dancing and more. That runs now through Dec. 22 at Castlemont High School in Oakland. \u003ca href=\"https://www.thepeoplesconservatory.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—GM\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13871375/the-do-list-cats-purring-nutcrackers-twirling-and-more-for-dec-12-19",
"authors": [
"185",
"61",
"11091"
],
"programs": [
"arts_140"
],
"categories": [
"arts_73",
"arts_966",
"arts_69",
"arts_70"
],
"tags": [
"arts_2227",
"arts_9340",
"arts_879",
"arts_1210",
"arts_831"
],
"featImg": "arts_13871565",
"label": "arts_140"
}
},
"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": 1524,
"size": 12
},
"vitalsOnly": false,
"totalRequested": 12,
"isLoading": false,
"isLoadingMore": true,
"total": {
"value": 4900,
"relation": "eq"
},
"items": [
"arts_13872608",
"arts_13872505",
"arts_13872405",
"news_11754695",
"arts_13872237",
"arts_13871386",
"arts_13871749",
"arts_13871840",
"arts_13871739",
"arts_13871726",
"arts_13871610",
"arts_13871375"
],
"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_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_9604": {
"type": "terms",
"id": "arts_9604",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "9604",
"found": true
},
"relationships": {},
"featImg": null,
"name": "artist exploitation",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "artist exploitation Archives | KQED Arts",
"ogDescription": null
},
"ttid": 9616,
"slug": "artist-exploitation",
"isLoading": false,
"link": "/arts/tag/artist-exploitation"
},
"arts_7469": {
"type": "terms",
"id": "arts_7469",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "7469",
"found": true
},
"relationships": {},
"featImg": null,
"name": "fair pay",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "fair pay Archives | KQED Arts",
"ogDescription": null
},
"ttid": 7481,
"slug": "fair-pay",
"isLoading": false,
"link": "/arts/tag/fair-pay"
},
"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_7471": {
"type": "terms",
"id": "arts_7471",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "7471",
"found": true
},
"relationships": {},
"featImg": null,
"name": "passion exploitation",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "passion exploitation Archives | KQED Arts",
"ogDescription": null
},
"ttid": 7483,
"slug": "passion-exploitation",
"isLoading": false,
"link": "/arts/tag/passion-exploitation"
},
"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_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_1853": {
"type": "terms",
"id": "arts_1853",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1853",
"found": true
},
"relationships": {},
"featImg": null,
"name": "bottlerock",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "bottlerock Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1865,
"slug": "bottlerock",
"isLoading": false,
"link": "/arts/tag/bottlerock"
},
"arts_1694": {
"type": "terms",
"id": "arts_1694",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1694",
"found": true
},
"relationships": {},
"featImg": null,
"name": "music festivals",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "music festivals Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1706,
"slug": "music-festivals",
"isLoading": false,
"link": "/arts/tag/music-festivals"
},
"arts_6012": {
"type": "terms",
"id": "arts_6012",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "6012",
"found": true
},
"relationships": {},
"featImg": null,
"name": "pop music",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "pop music Archives | KQED Arts",
"ogDescription": null
},
"ttid": 6024,
"slug": "pop-music",
"isLoading": false,
"link": "/arts/tag/pop-music"
},
"arts_905": {
"type": "terms",
"id": "arts_905",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "905",
"found": true
},
"relationships": {},
"featImg": null,
"name": "rock",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "rock Archives | KQED Arts",
"ogDescription": null
},
"ttid": 923,
"slug": "rock",
"isLoading": false,
"link": "/arts/tag/rock"
},
"news_223": {
"type": "terms",
"id": "news_223",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "223",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Arts and Culture",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Arts and Culture Archives | KQED News",
"ogDescription": null
},
"ttid": 231,
"slug": "arts-and-culture",
"isLoading": false,
"link": "/news/category/arts-and-culture"
},
"news_457": {
"type": "terms",
"id": "news_457",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "457",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Health",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Health Archives | KQED News",
"ogDescription": null
},
"ttid": 16998,
"slug": "health",
"isLoading": false,
"link": "/news/category/health"
},
"news_8": {
"type": "terms",
"id": "news_8",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "8",
"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 News",
"ogDescription": null
},
"ttid": 8,
"slug": "news",
"isLoading": false,
"link": "/news/category/news"
},
"news_248": {
"type": "terms",
"id": "news_248",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "248",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Technology",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Technology Archives | KQED News",
"ogDescription": null
},
"ttid": 256,
"slug": "technology",
"isLoading": false,
"link": "/news/category/technology"
},
"news_25962": {
"type": "terms",
"id": "news_25962",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "25962",
"found": true
},
"relationships": {},
"featImg": null,
"name": "California Sounds",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "California Sounds Archives | KQED News",
"ogDescription": null
},
"ttid": 25979,
"slug": "california-sounds",
"isLoading": false,
"link": "/news/tag/california-sounds"
},
"news_18543": {
"type": "terms",
"id": "news_18543",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "18543",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Health",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Health Archives | KQED News",
"ogDescription": null
},
"ttid": 466,
"slug": "health",
"isLoading": false,
"link": "/news/tag/health"
},
"news_1425": {
"type": "terms",
"id": "news_1425",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "1425",
"found": true
},
"relationships": {},
"featImg": null,
"name": "music",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "music Archives | KQED News",
"ogDescription": null
},
"ttid": 1437,
"slug": "music",
"isLoading": false,
"link": "/news/tag/music"
},
"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_9464": {
"type": "terms",
"id": "arts_9464",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "9464",
"found": true
},
"relationships": {},
"featImg": null,
"name": "2019",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "2019 Archives | KQED Arts",
"ogDescription": null
},
"ttid": 9476,
"slug": "2019",
"isLoading": false,
"link": "/arts/tag/2019"
},
"arts_7525": {
"type": "terms",
"id": "arts_7525",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "7525",
"found": true
},
"relationships": {},
"featImg": null,
"name": "in memoriam",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "in memoriam Archives | KQED Arts",
"ogDescription": null
},
"ttid": 7537,
"slug": "in-memoriam",
"isLoading": false,
"link": "/arts/tag/in-memoriam"
},
"arts_1091": {
"type": "terms",
"id": "arts_1091",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1091",
"found": true
},
"relationships": {},
"featImg": null,
"name": "obit",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "obit Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1108,
"slug": "obit",
"isLoading": false,
"link": "/arts/tag/obit"
},
"arts_75": {
"type": "terms",
"id": "arts_75",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "75",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Pop Culture",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Pop Culture Archives | KQED Arts",
"ogDescription": null
},
"ttid": 76,
"slug": "popculture",
"isLoading": false,
"link": "/arts/category/popculture"
},
"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_8481": {
"type": "terms",
"id": "arts_8481",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "8481",
"found": true
},
"relationships": {},
"featImg": null,
"name": "CBS",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "CBS Archives | KQED Arts",
"ogDescription": null
},
"ttid": 8493,
"slug": "cbs",
"isLoading": false,
"link": "/arts/tag/cbs"
},
"arts_73": {
"type": "terms",
"id": "arts_73",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "73",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Books",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Books Archives | KQED Arts",
"ogDescription": null
},
"ttid": 74,
"slug": "literature",
"isLoading": false,
"link": "/arts/category/literature"
},
"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_70": {
"type": "terms",
"id": "arts_70",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "70",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Visual Arts",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Visual Arts Archives | KQED Arts",
"ogDescription": null
},
"ttid": 71,
"slug": "visualarts",
"isLoading": false,
"link": "/arts/category/visualarts"
},
"arts_2903": {
"type": "terms",
"id": "arts_2903",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2903",
"found": true
},
"relationships": {},
"featImg": null,
"name": "agnes varda",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "agnes varda Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2915,
"slug": "agnes-varda",
"isLoading": false,
"link": "/arts/tag/agnes-varda"
},
"arts_2250": {
"type": "terms",
"id": "arts_2250",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2250",
"found": true
},
"relationships": {},
"name": "Asian Art Museum",
"slug": "asian-art-museum",
"taxonomy": "tag",
"description": null,
"featImg": null,
"headData": {
"title": "Asian Art Museum | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 2262,
"isLoading": false,
"link": "/arts/tag/asian-art-museum"
},
"arts_2227": {
"type": "terms",
"id": "arts_2227",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2227",
"found": true
},
"relationships": {},
"featImg": null,
"name": "BAMPFA",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "BAMPFA Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2239,
"slug": "bampfa",
"isLoading": false,
"link": "/arts/tag/bampfa"
},
"arts_549": {
"type": "terms",
"id": "arts_549",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "549",
"found": true
},
"relationships": {},
"featImg": null,
"name": "comedy",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "comedy Archives | KQED Arts",
"ogDescription": null
},
"ttid": 550,
"slug": "comedy",
"isLoading": false,
"link": "/arts/tag/comedy"
},
"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_1381": {
"type": "terms",
"id": "arts_1381",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1381",
"found": true
},
"relationships": {},
"featImg": null,
"name": "SFMOMA",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "SFMOMA Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1393,
"slug": "sfmoma",
"isLoading": false,
"link": "/arts/tag/sfmoma"
},
"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_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_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_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_1501": {
"type": "terms",
"id": "arts_1501",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1501",
"found": true
},
"relationships": {},
"featImg": null,
"name": "electronic music",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "electronic music Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1513,
"slug": "electronic-music",
"isLoading": false,
"link": "/arts/tag/electronic-music"
},
"arts_1588": {
"type": "terms",
"id": "arts_1588",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1588",
"found": true
},
"relationships": {},
"featImg": null,
"name": "fantastic negrito",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "fantastic negrito Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1600,
"slug": "fantastic-negrito",
"isLoading": false,
"link": "/arts/tag/fantastic-negrito"
},
"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_21788": {
"type": "terms",
"id": "arts_21788",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21788",
"found": true
},
"relationships": {},
"featImg": null,
"name": "indie rock",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "indie rock Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21800,
"slug": "indie-rock",
"isLoading": false,
"link": "/arts/tag/indie-rock"
},
"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_1558": {
"type": "terms",
"id": "arts_1558",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1558",
"found": true
},
"relationships": {},
"featImg": null,
"name": "kamaiyah",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "kamaiyah Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1570,
"slug": "kamaiyah",
"isLoading": false,
"link": "/arts/tag/kamaiyah"
},
"arts_1829": {
"type": "terms",
"id": "arts_1829",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1829",
"found": true
},
"relationships": {},
"featImg": null,
"name": "kehlani",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "kehlani Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1841,
"slug": "kehlani",
"isLoading": false,
"link": "/arts/tag/kehlani"
},
"arts_2244": {
"type": "terms",
"id": "arts_2244",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2244",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Kronos Quartet",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Kronos Quartet Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2256,
"slug": "kronos-quartet",
"isLoading": false,
"link": "/arts/tag/kronos-quartet"
},
"arts_1803": {
"type": "terms",
"id": "arts_1803",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1803",
"found": true
},
"relationships": {},
"name": "P-Lo",
"slug": "p-lo",
"taxonomy": "tag",
"description": null,
"featImg": null,
"headData": {
"title": "P-Lo | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 1815,
"isLoading": false,
"link": "/arts/tag/p-lo"
},
"arts_1723": {
"type": "terms",
"id": "arts_1723",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1723",
"found": true
},
"relationships": {},
"featImg": null,
"name": "rayana jay",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "rayana jay Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1735,
"slug": "rayana-jay",
"isLoading": false,
"link": "/arts/tag/rayana-jay"
},
"arts_3823": {
"type": "terms",
"id": "arts_3823",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3823",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Shannon and the Clams",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Shannon and the Clams Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3835,
"slug": "shannon-and-the-clams",
"isLoading": false,
"link": "/arts/tag/shannon-and-the-clams"
},
"arts_2623": {
"type": "terms",
"id": "arts_2623",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2623",
"found": true
},
"relationships": {},
"featImg": null,
"name": "SOB x RBE",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "SOB x RBE Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2635,
"slug": "sob-x-rbe",
"isLoading": false,
"link": "/arts/tag/sob-x-rbe"
},
"arts_2021": {
"type": "terms",
"id": "arts_2021",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2021",
"found": true
},
"relationships": {},
"featImg": null,
"name": "spellling",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "spellling Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2033,
"slug": "spellling",
"isLoading": false,
"link": "/arts/tag/spellling"
},
"arts_9344": {
"type": "terms",
"id": "arts_9344",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "9344",
"found": true
},
"relationships": {},
"featImg": null,
"name": "the 2010s",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "the 2010s Archives | KQED Arts",
"ogDescription": null
},
"ttid": 9356,
"slug": "the-2010s",
"isLoading": false,
"link": "/arts/tag/the-2010s"
},
"arts_3973": {
"type": "terms",
"id": "arts_3973",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3973",
"found": true
},
"relationships": {},
"featImg": null,
"name": "The Seshen",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "The Seshen Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3985,
"slug": "the-seshen",
"isLoading": false,
"link": "/arts/tag/the-seshen"
},
"arts_5914": {
"type": "terms",
"id": "arts_5914",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "5914",
"found": true
},
"relationships": {},
"featImg": null,
"name": "displacement",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "displacement Archives | KQED Arts",
"ogDescription": null
},
"ttid": 5926,
"slug": "displacement",
"isLoading": false,
"link": "/arts/tag/displacement"
},
"arts_1332": {
"type": "terms",
"id": "arts_1332",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1332",
"found": true
},
"relationships": {},
"featImg": null,
"name": "gentrification",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "gentrification Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1344,
"slug": "gentrification",
"isLoading": false,
"link": "/arts/tag/gentrification"
},
"arts_3226": {
"type": "terms",
"id": "arts_3226",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3226",
"found": true
},
"relationships": {},
"name": "LGBTQ+",
"slug": "lgbtq",
"taxonomy": "tag",
"description": null,
"featImg": null,
"headData": {
"title": "LGBTQ+ | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 3238,
"isLoading": false,
"link": "/arts/tag/lgbtq"
},
"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_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_11323": {
"type": "terms",
"id": "arts_11323",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "11323",
"found": true
},
"relationships": {},
"featImg": null,
"name": "celebrities",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "celebrities Archives | KQED Arts",
"ogDescription": null
},
"ttid": 11335,
"slug": "celebrities",
"isLoading": false,
"link": "/arts/tag/celebrities"
},
"arts_3388": {
"type": "terms",
"id": "arts_3388",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3388",
"found": true
},
"relationships": {},
"featImg": null,
"name": "christmas",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "christmas Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3400,
"slug": "christmas",
"isLoading": false,
"link": "/arts/tag/christmas"
},
"arts_9396": {
"type": "terms",
"id": "arts_9396",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "9396",
"found": true
},
"relationships": {},
"featImg": null,
"name": "christmas songs",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "christmas songs Archives | KQED Arts",
"ogDescription": null
},
"ttid": 9408,
"slug": "christmas-songs",
"isLoading": false,
"link": "/arts/tag/christmas-songs"
},
"arts_3247": {
"type": "terms",
"id": "arts_3247",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3247",
"found": true
},
"relationships": {},
"featImg": null,
"name": "holidays",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "holidays Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3259,
"slug": "holidays",
"isLoading": false,
"link": "/arts/tag/holidays"
},
"arts_966": {
"type": "terms",
"id": "arts_966",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "966",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Dance",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Dance Archives | KQED Arts",
"ogDescription": null
},
"ttid": 984,
"slug": "dance",
"isLoading": false,
"link": "/arts/category/dance"
},
"arts_9340": {
"type": "terms",
"id": "arts_9340",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "9340",
"found": true
},
"relationships": {},
"featImg": null,
"name": "cats",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "cats Archives | KQED Arts",
"ogDescription": null
},
"ttid": 9352,
"slug": "cats",
"isLoading": false,
"link": "/arts/tag/cats"
},
"arts_879": {
"type": "terms",
"id": "arts_879",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "879",
"found": true
},
"relationships": {},
"featImg": null,
"name": "dance",
"description": "Covering dance events in the Bay Area and more.",
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": "Covering dance events in the Bay Area and more.",
"title": "dance Archives | KQED Arts",
"ogDescription": null
},
"ttid": 897,
"slug": "dance",
"isLoading": false,
"link": "/arts/tag/dance"
},
"arts_1210": {
"type": "terms",
"id": "arts_1210",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1210",
"found": true
},
"relationships": {},
"featImg": null,
"name": "de Young Museum",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "de Young Museum Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1222,
"slug": "de-young-museum",
"isLoading": false,
"link": "/arts/tag/de-young-museum"
}
},
"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
}
}
