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_13829149": {
"type": "attachments",
"id": "arts_13829149",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13829149",
"found": true
},
"parent": 13829142,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/Wax-Idols-photo-credit-Matthew-Vincent-520x292.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 292
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/Wax-Idols-photo-credit-Matthew-Vincent-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/Wax-Idols-photo-credit-Matthew-Vincent-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/Wax-Idols-photo-credit-Matthew-Vincent-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/Wax-Idols-photo-credit-Matthew-Vincent-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/Wax-Idols-photo-credit-Matthew-Vincent-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/Wax-Idols-photo-credit-Matthew-Vincent.jpg",
"width": 1334,
"height": 750
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/Wax-Idols-photo-credit-Matthew-Vincent-1020x573.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 573
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/Wax-Idols-photo-credit-Matthew-Vincent-1180x663.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 663
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/Wax-Idols-photo-credit-Matthew-Vincent-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/Wax-Idols-photo-credit-Matthew-Vincent-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/Wax-Idols-photo-credit-Matthew-Vincent-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/Wax-Idols-photo-credit-Matthew-Vincent-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/Wax-Idols-photo-credit-Matthew-Vincent-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/Wax-Idols-photo-credit-Matthew-Vincent-1180x663.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 663
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/Wax-Idols-photo-credit-Matthew-Vincent-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/Wax-Idols-photo-credit-Matthew-Vincent-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/Wax-Idols-photo-credit-Matthew-Vincent-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/Wax-Idols-photo-credit-Matthew-Vincent-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1523475222,
"modified": 1535402632,
"caption": "Greer McGettrick, Rachel Travers, Hether Fortune, and Peter Lightning (left to right) of Wax Idols. ",
"description": "Greer McGettrick, Rachel Travers, Hether Fortune, and Peter Lightning (left to right) of Wax Idols. ",
"title": "Wax-Idols-photo-credit-Matthew-Vincent",
"credit": "Matthew Vincent",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13829225": {
"type": "attachments",
"id": "arts_13829225",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13829225",
"found": true
},
"parent": 13829221,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/MKT17UNB_ET0767_EB-1-e1523491363485-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/MKT17UNB_ET0767_EB-1-e1523491363485-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/MKT17UNB_ET0767_EB-1-e1523491363485-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/MKT17UNB_ET0767_EB-1-e1523491363485-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/MKT17UNB_ET0767_EB-1-e1523491363485-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/MKT17UNB_ET0767_EB-1-e1523491363485-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/MKT17UNB_ET0767_EB-1-e1523491363485.jpg",
"width": 2048,
"height": 1152
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/MKT17UNB_ET0767_EB-1-e1523491363485-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/MKT17UNB_ET0767_EB-1-e1523491363485-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/MKT17UNB_ET0767_EB-1-e1523491363485-1200x675.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 675
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/MKT17UNB_ET0767_EB-1-e1523491363485-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/MKT17UNB_ET0767_EB-1-e1523491363485-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/MKT17UNB_ET0767_EB-1-e1523491363485-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/MKT17UNB_ET0767_EB-1-e1523491363485-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/MKT17UNB_ET0767_EB-1-e1523491363485-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/MKT17UNB_ET0767_EB-1-e1523491363485-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/MKT17UNB_ET0767_EB-1-e1523491363485-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/MKT17UNB_ET0767_EB-1-e1523491363485-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/MKT17UNB_ET0767_EB-1-e1523491363485-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/MKT17UNB_ET0767_EB-1-e1523491363485-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/MKT17UNB_ET0767_EB-1-e1523491363485-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/MKT17UNB_ET0767_EB-1-e1523491363485-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1523491255,
"modified": 1523491554,
"caption": "WanTing Zhao is part of ‘Unbound,‘ an orgy of dance at SF Ballet",
"description": "WanTing Zhao is part of ‘Unbound,‘ an orgy of dance at SF Ballet",
"title": "WanTing Zhao is part of ‘Unbound,‘ an orgy of dance at SF Ballet",
"credit": "Eric Tomasson/SF Ballet",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13829210": {
"type": "attachments",
"id": "arts_13829210",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13829210",
"found": true
},
"parent": 13829196,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/Ibeyi-2-e1523488496680-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/Ibeyi-2-960x576.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/Ibeyi-2-e1523488496680-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/Ibeyi-2-e1523488496680-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/Ibeyi-2-e1523488496680-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/Ibeyi-2-e1523488496680-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/Ibeyi-2-e1523488496680.jpg",
"width": 960,
"height": 540
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/Ibeyi-2-e1523488496680-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/Ibeyi-2-e1523488496680-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/Ibeyi-2-e1523488496680-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/Ibeyi-2-e1523488496680-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/Ibeyi-2-e1523488496680-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/Ibeyi-2-e1523488496680-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/Ibeyi-2-e1523488496680-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/Ibeyi-2-e1523488496680-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/Ibeyi-2-e1523488496680-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1523488401,
"modified": 1523494196,
"caption": "The Ibeyi Sisters play the Fillmore April 13.",
"description": "The Ibeyi Sisters play the Fillmore April 13",
"title": "The Ibeyi Sisters play the Fillmore April 13",
"credit": "Courtesy of Ibeyi",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13829093": {
"type": "attachments",
"id": "arts_13829093",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13829093",
"found": true
},
"parent": 13829045,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/spellling-at-feels-bampfa-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/spellling-at-feels-bampfa-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/spellling-at-feels-bampfa-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/spellling-at-feels-bampfa-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/spellling-at-feels-bampfa-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/spellling-at-feels-bampfa-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/spellling-at-feels-bampfa.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/spellling-at-feels-bampfa-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/spellling-at-feels-bampfa-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/spellling-at-feels-bampfa-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/spellling-at-feels-bampfa-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/spellling-at-feels-bampfa-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/spellling-at-feels-bampfa-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/spellling-at-feels-bampfa-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/spellling-at-feels-bampfa-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/spellling-at-feels-bampfa-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/spellling-at-feels-bampfa-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/spellling-at-feels-bampfa-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/spellling-at-feels-bampfa-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/spellling-at-feels-bampfa-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/spellling-at-feels-bampfa-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1523429009,
"modified": 1540407530,
"caption": "Spellling performs at Wine & Bowties' Feels 6 announcement party at the Berkeley Art Museum and Pacific Film Archive on Apr. 10, 2018.",
"description": "Spellling performs at Wine & Bowties' Feels 6 announcement party at the Berkeley Art Museum and Pacific Film Archive on Apr. 10, 2018.",
"title": "spellling at feels bampfa",
"credit": "Nastia Voynovskaya",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13828966": {
"type": "attachments",
"id": "arts_13828966",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13828966",
"found": true
},
"parent": 13828960,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/wim-5-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/wim-5-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/wim-5-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/wim-5-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/wim-5-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/wim-5-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/wim-5.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/wim-5-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/wim-5-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/wim-5-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/wim-5-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/wim-5-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/wim-5-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/wim-5-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/wim-5-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/wim-5-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/wim-5-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/wim-5-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/wim-5-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/wim-5-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/wim-5-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1523294917,
"modified": 1523296105,
"caption": "Tiffany Gouche headlined the Women in Music concert on Apr. 7 at Starline Social Club.",
"description": "Tiffany Gouche headlined the Women in Music concert on Apr. 7 at Starline Social Club.",
"title": "wim 5",
"credit": "Eda Yu",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13828619": {
"type": "attachments",
"id": "arts_13828619",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13828619",
"found": true
},
"parent": 13828618,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/howlinrain_wide-4a1a40e51d25f480f20e53f479c422ed3b5f4179-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/howlinrain_wide-4a1a40e51d25f480f20e53f479c422ed3b5f4179-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/howlinrain_wide-4a1a40e51d25f480f20e53f479c422ed3b5f4179-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/howlinrain_wide-4a1a40e51d25f480f20e53f479c422ed3b5f4179-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/howlinrain_wide-4a1a40e51d25f480f20e53f479c422ed3b5f4179-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/howlinrain_wide-4a1a40e51d25f480f20e53f479c422ed3b5f4179-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/howlinrain_wide-4a1a40e51d25f480f20e53f479c422ed3b5f4179.jpg",
"width": 2048,
"height": 1152
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/howlinrain_wide-4a1a40e51d25f480f20e53f479c422ed3b5f4179-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/howlinrain_wide-4a1a40e51d25f480f20e53f479c422ed3b5f4179-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/howlinrain_wide-4a1a40e51d25f480f20e53f479c422ed3b5f4179-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/howlinrain_wide-4a1a40e51d25f480f20e53f479c422ed3b5f4179-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/howlinrain_wide-4a1a40e51d25f480f20e53f479c422ed3b5f4179-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/howlinrain_wide-4a1a40e51d25f480f20e53f479c422ed3b5f4179-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/howlinrain_wide-4a1a40e51d25f480f20e53f479c422ed3b5f4179-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/howlinrain_wide-4a1a40e51d25f480f20e53f479c422ed3b5f4179-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/howlinrain_wide-4a1a40e51d25f480f20e53f479c422ed3b5f4179-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/howlinrain_wide-4a1a40e51d25f480f20e53f479c422ed3b5f4179-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/howlinrain_wide-4a1a40e51d25f480f20e53f479c422ed3b5f4179-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/howlinrain_wide-4a1a40e51d25f480f20e53f479c422ed3b5f4179-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/howlinrain_wide-4a1a40e51d25f480f20e53f479c422ed3b5f4179-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/howlinrain_wide-4a1a40e51d25f480f20e53f479c422ed3b5f4179-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1522865798,
"modified": 1522961545,
"caption": "Howlin Rain's 'The Alligator Bride' comes out June 8.",
"description": "Howlin Rain's 'The Alligator Bride' comes out June 8.",
"title": "Howlin Rain's The Alligator Bride comes out June 8.",
"credit": "Kristy Walker/Courtesy of the artist",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13828799": {
"type": "attachments",
"id": "arts_13828799",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13828799",
"found": true
},
"parent": 13828649,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/LJ5-1-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/LJ5-1-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/LJ5-1-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/LJ5-1-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/LJ5-1-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/LJ5-1-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/LJ5-1.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/LJ5-1-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/LJ5-1-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/LJ5-1-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/LJ5-1-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/LJ5-1-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/LJ5-1-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/LJ5-1-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/LJ5-1-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/LJ5-1-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/LJ5-1-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/LJ5-1-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/LJ5-1-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/LJ5-1-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/LJ5-1-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1522955201,
"modified": 1522955276,
"caption": "James Jackson and Lilie Hoy (right) of Yassou in the garden of Zoo Labs in Oakland.",
"description": "James Jackson and Lilie Hoy (right) of Yassou in the garden of Zoo Labs in Oakland.",
"title": "LJ5",
"credit": "Graham Holoch",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13828738": {
"type": "attachments",
"id": "arts_13828738",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13828738",
"found": true
},
"parent": 13828633,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/RS30274_Carter-War-Bride-1940-qut-520x346.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 346
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/RS30274_Carter-War-Bride-1940-qut-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/RS30274_Carter-War-Bride-1940-qut-160x107.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 107
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/RS30274_Carter-War-Bride-1940-qut-960x640.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 640
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/RS30274_Carter-War-Bride-1940-qut-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/RS30274_Carter-War-Bride-1940-qut-375x250.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 250
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/RS30274_Carter-War-Bride-1940-qut.jpg",
"width": 1920,
"height": 1279
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/RS30274_Carter-War-Bride-1940-qut-1020x679.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 679
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/RS30274_Carter-War-Bride-1940-qut-1180x786.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 786
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/RS30274_Carter-War-Bride-1940-qut-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/RS30274_Carter-War-Bride-1940-qut-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/RS30274_Carter-War-Bride-1940-qut-800x533.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 533
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/RS30274_Carter-War-Bride-1940-qut-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/RS30274_Carter-War-Bride-1940-qut-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/RS30274_Carter-War-Bride-1940-qut-1920x1279.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1279
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/RS30274_Carter-War-Bride-1940-qut-1180x786.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 786
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/RS30274_Carter-War-Bride-1940-qut-1920x1279.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1279
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/RS30274_Carter-War-Bride-1940-qut-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/RS30274_Carter-War-Bride-1940-qut-768x512.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 512
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/RS30274_Carter-War-Bride-1940-qut-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/RS30274_Carter-War-Bride-1940-qut-240x160.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 160
}
},
"publishDate": 1522897251,
"modified": 1522897282,
"caption": "Clarence Holbrook Carter's \"War Bride\" (1940) captures a moment in time when American artists began to fear industrialization and its present and future impact on humankind. The painting ends the exhibition \"Cult of the Machine\" at the de Young Museum in San Francisco.",
"description": "Clarence Holbrook Carter's \"War Bride\" (1940) captures a moment in time when American artists began to fear industrialization and its present and future impact on humankind. The painting ends the exhibition \"Cult of the Machine\" at the de Young Museum in San Francisco.",
"title": "Clarence Holbrook Carter (American, 1904–2000)",
"credit": "Photo: Courtesy of the de Young Museum",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13828710": {
"type": "attachments",
"id": "arts_13828710",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13828710",
"found": true
},
"parent": 13828705,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/20180402_204929-2-520x346.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 346
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/20180402_204929-2-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/20180402_204929-2-160x106.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 106
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/20180402_204929-2-960x638.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 638
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/20180402_204929-2-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/20180402_204929-2-375x249.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 249
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/20180402_204929-2.jpg",
"width": 2017,
"height": 1341
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/20180402_204929-2-1020x678.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 678
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/20180402_204929-2-1180x785.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 785
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/20180402_204929-2-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/20180402_204929-2-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/20180402_204929-2-800x532.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 532
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/20180402_204929-2-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/20180402_204929-2-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/20180402_204929-2-1920x1277.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1277
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/20180402_204929-2-1180x785.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 785
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/20180402_204929-2-1920x1277.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1277
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/20180402_204929-2-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/20180402_204929-2-768x511.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 511
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/20180402_204929-2-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/20180402_204929-2-240x160.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 160
}
},
"publishDate": 1522890465,
"modified": 1522890591,
"caption": "Mezzo-soprano Suzanna Guzman is backed by members of San Mateo’s Masterworks Chorale as she rehearses the role of Ultima in the opera Bless Me, Ultima.\n",
"description": "Mezzo-soprano Suzanna Guzman is backed by members of San Mateo’s Masterworks Chorale as she rehearses the role of Ultima in the opera Bless Me, Ultima.\n",
"title": "20180402_204929 2",
"credit": "Photo: Courtesy of Tamara Liu",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13828704": {
"type": "attachments",
"id": "arts_13828704",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13828704",
"found": true
},
"parent": 13828695,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/Haim2-520x347.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 347
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/Haim2-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/Haim2-160x107.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 107
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/Haim2-960x640.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 640
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/Haim2-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/Haim2-375x250.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 250
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/Haim2.jpg",
"width": 1920,
"height": 1280
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/Haim2-1020x680.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 680
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/Haim2-1180x787.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 787
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/Haim2-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/Haim2-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/Haim2-800x533.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 533
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/Haim2-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/Haim2-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/Haim2-1920x1280.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1280
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/Haim2-1180x787.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 787
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/Haim2-1920x1280.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1280
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/Haim2-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/Haim2-768x512.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 512
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/Haim2-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/Haim2-240x160.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 160
}
},
"publishDate": 1522889066,
"modified": 1522889160,
"caption": "(L-R) Musicians Danielle Haim, Alana Haim and Este Haim of HAIM perform onstage during Bumble Presents: Empowering Connections at Fair Market on March 10, 2018 in Austin, Texas.",
"description": "(L-R) Musicians Danielle Haim, Alana Haim and Este Haim of HAIM perform onstage during Bumble Presents: Empowering Connections at Fair Market on March 10, 2018 in Austin, Texas.",
"title": "Bumble Presents: Empowering Connections",
"credit": "Photo: Courtesy of Photo by Vivien Killilea/Getty Images",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13828698": {
"type": "attachments",
"id": "arts_13828698",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13828698",
"found": true
},
"parent": 13828645,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/Charles20Amirkhanian20credit20Michael20Melnyk20-201mb-1-520x346.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 346
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/Charles20Amirkhanian20credit20Michael20Melnyk20-201mb-1-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/Charles20Amirkhanian20credit20Michael20Melnyk20-201mb-1-160x106.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 106
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/Charles20Amirkhanian20credit20Michael20Melnyk20-201mb-1-960x639.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 639
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/Charles20Amirkhanian20credit20Michael20Melnyk20-201mb-1-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/Charles20Amirkhanian20credit20Michael20Melnyk20-201mb-1-375x250.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 250
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/Charles20Amirkhanian20credit20Michael20Melnyk20-201mb-1.jpg",
"width": 2048,
"height": 1363
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/Charles20Amirkhanian20credit20Michael20Melnyk20-201mb-1-1020x679.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 679
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/Charles20Amirkhanian20credit20Michael20Melnyk20-201mb-1-1180x785.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 785
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/Charles20Amirkhanian20credit20Michael20Melnyk20-201mb-1-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/Charles20Amirkhanian20credit20Michael20Melnyk20-201mb-1-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/Charles20Amirkhanian20credit20Michael20Melnyk20-201mb-1-800x532.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 532
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/Charles20Amirkhanian20credit20Michael20Melnyk20-201mb-1-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/Charles20Amirkhanian20credit20Michael20Melnyk20-201mb-1-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/Charles20Amirkhanian20credit20Michael20Melnyk20-201mb-1-1920x1278.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1278
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/Charles20Amirkhanian20credit20Michael20Melnyk20-201mb-1-1180x785.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 785
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/Charles20Amirkhanian20credit20Michael20Melnyk20-201mb-1-1920x1278.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1278
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/Charles20Amirkhanian20credit20Michael20Melnyk20-201mb-1-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/Charles20Amirkhanian20credit20Michael20Melnyk20-201mb-1-768x511.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 511
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/Charles20Amirkhanian20credit20Michael20Melnyk20-201mb-1-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/Charles20Amirkhanian20credit20Michael20Melnyk20-201mb-1-240x160.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 160
}
},
"publishDate": 1522886837,
"modified": 1522886921,
"caption": "Charles Amirkhanian is Artistic Director of the Other Minds Festival, now in its 23rd year.",
"description": "Charles Amirkhanian is Artistic Director of the Other Minds Festival, now in its 23rd year.",
"title": "CharlesAmirkhaniancreditMichaelMelnyk-1mb",
"credit": "Photo: Courtesy of Mike Melnyk",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13828643": {
"type": "attachments",
"id": "arts_13828643",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13828643",
"found": true
},
"parent": 13828637,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/RS30266_TheGreenFog_byPamelaGentile_015-qut-520x347.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 347
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/RS30266_TheGreenFog_byPamelaGentile_015-qut-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/RS30266_TheGreenFog_byPamelaGentile_015-qut-160x107.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 107
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/RS30266_TheGreenFog_byPamelaGentile_015-qut-960x640.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 640
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/RS30266_TheGreenFog_byPamelaGentile_015-qut-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/RS30266_TheGreenFog_byPamelaGentile_015-qut-375x250.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 250
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/RS30266_TheGreenFog_byPamelaGentile_015-qut.jpg",
"width": 1920,
"height": 1280
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/RS30266_TheGreenFog_byPamelaGentile_015-qut-1020x680.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 680
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/RS30266_TheGreenFog_byPamelaGentile_015-qut-1180x787.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 787
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/RS30266_TheGreenFog_byPamelaGentile_015-qut-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/RS30266_TheGreenFog_byPamelaGentile_015-qut-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/RS30266_TheGreenFog_byPamelaGentile_015-qut-800x533.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 533
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/RS30266_TheGreenFog_byPamelaGentile_015-qut-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/RS30266_TheGreenFog_byPamelaGentile_015-qut-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/RS30266_TheGreenFog_byPamelaGentile_015-qut-1920x1280.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1280
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/RS30266_TheGreenFog_byPamelaGentile_015-qut-1180x787.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 787
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/RS30266_TheGreenFog_byPamelaGentile_015-qut-1920x1280.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1280
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/RS30266_TheGreenFog_byPamelaGentile_015-qut-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/RS30266_TheGreenFog_byPamelaGentile_015-qut-768x512.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 512
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/RS30266_TheGreenFog_byPamelaGentile_015-qut-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/04/RS30266_TheGreenFog_byPamelaGentile_015-qut-240x160.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 160
}
},
"publishDate": 1522879689,
"modified": 1522879728,
"caption": "It's not Hitchcock, but Green Fog, a witty homage built from found footage, pays tribute to the master of noir and to San Francisco, the city that inspired Vertigo.",
"description": "It's not Hitchcock, but Green Fog, a witty homage built from found footage, pays tribute to the master of noir and to San Francisco, the city that inspired Vertigo.",
"title": "RS30266_TheGreenFog_byPamelaGentile_015-qut",
"credit": "Photo: Courtesy of SFFilm",
"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_13829142": {
"type": "authors",
"id": "byline_arts_13829142",
"meta": {
"override": true
},
"slug": "byline_arts_13829142",
"name": "Ned Raggett",
"isLoading": false
},
"byline_arts_13828618": {
"type": "authors",
"id": "byline_arts_13828618",
"meta": {
"override": true
},
"slug": "byline_arts_13828618",
"name": "Lars Gotrich",
"isLoading": false
},
"byline_arts_13828705": {
"type": "authors",
"id": "byline_arts_13828705",
"meta": {
"override": true
},
"slug": "byline_arts_13828705",
"name": "April 20-22 at the Mexican Heritage Theater",
"isLoading": false
},
"cmusiker": {
"type": "authors",
"id": "32",
"meta": {
"index": "authors_1716337520",
"id": "32",
"found": true
},
"name": "Cy Musiker",
"firstName": "Cy",
"lastName": "Musiker",
"slug": "cmusiker",
"email": "cmusiker@kqed.org",
"display_author_email": false,
"staff_mastheads": [],
"title": "KQED Contributor",
"bio": "Cy Musiker is a former co-host of The Do List and a former reporter covering the arts for KQED News and The California Report. He loves live performance, especially great theater, jazz, roots music, anything by Mahler. Cy has an MJ from UC Berkeley's School of Journalism, and got his BA from Hampshire College. His work has been recognized by the Society for Professional Journalists with their Sigma Delta Chi Award for Public Service in Journalism. When he can, Cy likes to swim in Tomales Bay, run with his dog in the East Bay Hills, and hike the Sierra.",
"avatar": "https://secure.gravatar.com/avatar/05eaba5c5696ce8f062e4ea2df428a43?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"Contributor",
"subscriber"
]
},
{
"site": "news",
"roles": [
"author"
]
},
{
"site": "bayareabites",
"roles": [
"contributor"
]
}
],
"headData": {
"title": "Cy Musiker | KQED",
"description": "KQED Contributor",
"ogImgSrc": "https://secure.gravatar.com/avatar/05eaba5c5696ce8f062e4ea2df428a43?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/05eaba5c5696ce8f062e4ea2df428a43?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/cmusiker"
},
"rachael-myrow": {
"type": "authors",
"id": "251",
"meta": {
"index": "authors_1716337520",
"id": "251",
"found": true
},
"name": "Rachael Myrow",
"firstName": "Rachael",
"lastName": "Myrow",
"slug": "rachael-myrow",
"email": "rmyrow@kqed.org",
"display_author_email": true,
"staff_mastheads": [
"news"
],
"title": "Senior Editor of KQED's Silicon Valley News Desk",
"bio": "• I write and edit stories about how Silicon Valley power and policies shape everyday life in California. I’m also passionate about making Bay Area history and culture more accessible to a broad public. • I’ve been a journalist for most of my life, starting in high school with The Franklin Press in Los Angeles, where I grew up. While earning my first degree in English at UC Berkeley, I got my start in public radio at KALX-FM. After completing a second degree in journalism at Cal, I landed my first professional job at Marketplace, then moved on to KPCC (now LAist), and then KQED, where I hosted The California Report for more than seven years. • My reporting has appeared on NPR, The World, WBUR’s \u003ci>Here & Now\u003c/i>, and the BBC. I also guest host for KQED’s \u003ci>Forum\u003c/i>, as well as the Commonwealth Club in San Francisco. • I speak periodically on media, democracy and technology issues, and do voiceover work for documentaries and educational video projects. • Outside of the studio, you'll find me hiking Bay Area trails and whipping up Insta-ready meals in my kitchen. • I do not accept gifts, money, or favors from anyone connected to my reporting, I don't pay people for information, and I do not support or donate to political causes. • I strive to treat the people I report on with fairness, honesty, and respect. I also recognize there are often multiple sides to a story and work to verify information through multiple sources and documentation. If I get something wrong, I correct it.",
"avatar": "https://secure.gravatar.com/avatar/3ed8a3c5f26025e4a805ba634cda8cd764906b97438a6d9ce216b044e340da4e?s=600&d=blank&r=g",
"twitter": "rachaelmyrow",
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": "https://www.linkedin.com/in/rachaelmyrow/",
"sites": [
{
"site": "arts",
"roles": [
"administrator"
]
},
{
"site": "news",
"roles": [
"edit_others_posts",
"editor"
]
},
{
"site": "futureofyou",
"roles": [
"editor"
]
},
{
"site": "bayareabites",
"roles": [
"editor"
]
},
{
"site": "stateofhealth",
"roles": [
"editor"
]
},
{
"site": "science",
"roles": [
"editor"
]
},
{
"site": "food",
"roles": [
"editor"
]
},
{
"site": "forum",
"roles": [
"editor"
]
},
{
"site": "liveblog",
"roles": [
"author"
]
}
],
"headData": {
"title": "Rachael Myrow | KQED",
"description": "Senior Editor of KQED's Silicon Valley News Desk",
"ogImgSrc": "https://secure.gravatar.com/avatar/3ed8a3c5f26025e4a805ba634cda8cd764906b97438a6d9ce216b044e340da4e?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/3ed8a3c5f26025e4a805ba634cda8cd764906b97438a6d9ce216b044e340da4e?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/rachael-myrow"
},
"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"
},
"edayu": {
"type": "authors",
"id": "11391",
"meta": {
"index": "authors_1716337520",
"id": "11391",
"found": true
},
"name": "Eda Yu",
"firstName": "Eda",
"lastName": "Yu",
"slug": "edayu",
"email": "eda.cyu@gmail.com",
"display_author_email": false,
"staff_mastheads": [],
"title": "KQED Contributor",
"bio": "Eda Yu is a freelance writer and arts and culture journalist born and raised in Los Angeles, California. Her work centers the intersection of culture and identity, and her writing has appeared on platforms like VICE, Paper Magazine, and Complex. Follow her latest on Instagram and Twitter @edacyu.",
"avatar": "https://secure.gravatar.com/avatar/6dac2abe6c01e7b538d29f9c902136eb?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": "https://www.instagram.com/edacyu/",
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"contributor"
]
}
],
"headData": {
"title": "Eda Yu | KQED",
"description": "KQED Contributor",
"ogImgSrc": "https://secure.gravatar.com/avatar/6dac2abe6c01e7b538d29f9c902136eb?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/6dac2abe6c01e7b538d29f9c902136eb?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/edayu"
}
},
"pagesReducer": {
"arts_category_music": {
"type": "terms",
"id": "arts_69",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "69",
"score": 10.851903
},
"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": 189
},
"blocks": [
{
"blockName": "kqed/post-list",
"attrs": {
"layout": "cardArticle2",
"query": "posts/arts?category=music",
"seeMore": false,
"paginated": true,
"page": 189
}
},
{
"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_13829142": {
"type": "posts",
"id": "arts_13829142",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13829142",
"score": null,
"sort": [
1523545222000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1523545222,
"format": "standard",
"title": "Hether Fortune Talks Wax Idols' Wild Path to Their 'Happy Ending'",
"headTitle": "Hether Fortune Talks Wax Idols’ Wild Path to Their ‘Happy Ending’ | KQED",
"content": "\u003cp>Hether Fortune has presence, and not simply because she’s usually one of the tallest people in the room. As the founder and leader of the Oakland post-punk band \u003ca href=\"https://waxidols.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Wax Idols\u003c/a>, Fortune has become well known for her dramatic, powerful singing and forthrightness on what it means to be an independent artist in a world shaped by inequality and bias.\u003c/p>\n\u003cp>On a recent evening at the Royal Cuckoo, a dimly-lit organ bar in San Francisco, Fortune engagingly chats about Wax Idols’ upcoming fourth album, \u003cem>Happy Ending\u003c/em>, which the band will perform in full on Apr. 14 at the Great American Music Hall, ahead of the record’s May 16 release. Fortune speaks with clear focus about a key theme in her recent work, which she calls “post-body.”\u003c/p>\n\u003cp>“It’s people being able to retain consciousness, or to somehow express themselves purely through that, not via how their body presents them to the world,” she says, barely pausing to gather her thoughts. “I’ve always felt uncomfortable with bodies — not that there’s anything wrong with them. But there’s too much weight placed upon the suits that we’re wearing. I like fantasizing about being a floating orb!”\u003c/p>\n\u003cp>https://youtu.be/Ps0QOAiXY3M\u003c/p>\n\u003cp>\u003cem>Happy Ending\u003c/em>, Wax Idols’ fourth album, is the band’s first full-length release on their own label, \u003ca href=\"http://etruscangold.bigcartel.com\" target=\"_blank\" rel=\"noopener\">Etruscan Gold\u003c/a>. Owning a label has been a lifelong dream for Fortune, but the push to start Etruscan Gold came when Wax Idols got caught up in what the singer wryly terms “a series of unfortunate events.” Most notoriously, the band’s previous label, Collect, turned out to be funded by the \u003ca href=\"https://www.kqed.org/news/11655032/martin-shkreli-sentenced-to-7-years-for-securities-fraud\" target=\"_blank\" rel=\"noopener\">now-imprisoned “pharma bro” Martin Shkreli\u003c/a> — news that broke in 2015 just before the release of Wax Idols’ last album, \u003cem>American Tragic\u003c/em>. Fortune emphasizes that the fault was not with Collect’s founder, Thursday singer \u003ca href=\"https://pitchfork.com/thepitch/1267-geoff-rickly-on-surviving-martin-shkreli/\" target=\"_blank\" rel=\"noopener\">Geoff Rickly\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I will stand by that guy until I die,” she says. But when Rickly publicly broke from Shkreli and returned his money, Collect soon stopped functioning, and Fortune decided to go it alone.\u003c/p>\n\u003cp>“And the band really wanted to do it, too,” she adds. “We had other offers and they were like, ‘Nah, f-ck that!’ They really encouraged me to do it and they helped do it, too.” (Wax Idols’ roller-coaster ride continued into 2016, when the band left a tour with metal legends Pentagram, citing Pentagram’s \u003ca href=\"https://noisey.vice.com/en_au/article/rq4y4v/wax-idols-king-woman-pentagram\" target=\"_blank\" rel=\"noopener\">bandleader’s allegedly unsavory, sexist behavior\u003c/a>.)\u003c/p>\n\u003cfigure id=\"attachment_13829160\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13829160\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/Wax-Idols-photo-credit-Matthew-Vincent-800x800.jpeg\" alt=\"Wax Idols' fourth album, 'Happy Ending,' evokes the band's '80s post-punk and goth influences. \" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Wax-Idols-photo-credit-Matthew-Vincent-800x800.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Wax-Idols-photo-credit-Matthew-Vincent-160x160.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Wax-Idols-photo-credit-Matthew-Vincent-768x768.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Wax-Idols-photo-credit-Matthew-Vincent-1020x1020.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Wax-Idols-photo-credit-Matthew-Vincent-1180x1180.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Wax-Idols-photo-credit-Matthew-Vincent-960x960.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Wax-Idols-photo-credit-Matthew-Vincent-240x240.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Wax-Idols-photo-credit-Matthew-Vincent-375x375.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Wax-Idols-photo-credit-Matthew-Vincent-520x520.jpeg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Wax-Idols-photo-credit-Matthew-Vincent-32x32.jpeg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Wax-Idols-photo-credit-Matthew-Vincent-50x50.jpeg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Wax-Idols-photo-credit-Matthew-Vincent-64x64.jpeg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Wax-Idols-photo-credit-Matthew-Vincent-96x96.jpeg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Wax-Idols-photo-credit-Matthew-Vincent-128x128.jpeg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Wax-Idols-photo-credit-Matthew-Vincent-150x150.jpeg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Wax-Idols-photo-credit-Matthew-Vincent.jpeg 1334w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Wax Idols’ fourth album, ‘Happy Ending,’ evokes the band’s ’80s post-punk and goth influences. \u003ccite>(Matthew Vincent)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The cover of \u003cem>Happy Ending\u003c/em> is a painting by Oakland artist Lena Gustafson of a nude, abstract figure in mourning. Fortune says that, beyond wanting to transcend the physical, a nostalgia for lost moments drives the album.\u003c/p>\n\u003cp>“We started writing the record in the summer of 2016 and started recording it, then scrapped it all,” Fortune explains, referencing some deep personal losses that affected the band greatly. “When it came time to get back to it, nothing felt right anymore. It felt almost too funny, too light. Some of the original dark humor and sarcasm is still intact because that’s how I am as a writer. It was going to be a lot more conceptual before. Now it feels very real.”\u003c/p>\n\u003cp>Anyone intrigued by the spiky, dark charge of Wax Idols’ earlier releases will find that spirit evident. \u003cem>Happy Ending\u003c/em> stays true to the band’s ’80s goth and post-punk influences, yet by the album’s conclusion, the implied sauciness of its title — “Obviously meant to be tongue in cheek,” Fortune confirms — fully disappears in favor of a wistfully sad wish.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/407724240″ params=”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>With Fortune as the bandleader and chief songwriter, Wax Idols once felt like a solo project, but in recent years, it’s evolved into more of a team effort. Bassist Greer McGettrick joined after the band had already recorded \u003cem>Happy Ending\u003c/em>, but guitarist Peter Lightning and drummer Rachel Travers have been in Wax Idols for three and six years respectively. Fortune is quick to praise them, as well as longtime producer Monte Vallier, for their collaborative work together.\u003c/p>\n\u003cp>“Peter [Lightning]’s not your average guy,” says Fortune, discussing their longtime friendship before he joined the band. “He’s primarily been in bands with women; that’s where he feels most comfortable.”\u003c/p>\n\u003cp>Fortune singles out Rachel Travers for conceptualizing one of the new album’s standout tracks, “Belong,” which contains the brisk, soaring energy of bands like the Cure and New Order at their punchy, anthemic best. \u003cspan style=\"font-weight: 400\">“It should be a single, and I think we’re going to do a video for it,” she adds.\u003c/span>\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/406040037″ params=”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>But for now, the main thing on Fortune’s mind is Saturday’s show, Wax Idols’ first time headlining Great American Music Hall. Fortune admits she’s a little nervous, but then returns to the album’s theme of moving on beyond the material world.\u003c/p>\n\u003cp>“When I’m on stage, I hope to be an avenue for escape,” she says. “And there are times on stage when I notice I’m gone, where I feel like I’m part of the collective whatever-there-is. It’s not about me, on stage, my body, and you, looking at me. It’s something else — it’s more peaceful.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>For more information and tickets for Wax Idols’ Apr. 14 show at Great American Music Hall, click \u003ca href=\"http://www.slimspresents.com/event/wax-idols-gamh-w-pardoner-humid-sea-witch-presents/\" rel=\"noopener\" target=\"_blank\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1078,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 20
},
"modified": 1705028094,
"excerpt": "The leader of the Oakland post-punk band opens up about her new \"post-body\" approach to songwriting, leaving a Martin Shkreli-backed label, and more. ",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The leader of the Oakland post-punk band opens up about her new "post-body" approach to songwriting, leaving a Martin Shkreli-backed label, and more. ",
"title": "Hether Fortune Talks Wax Idols' Wild Path to Their 'Happy Ending' | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Hether Fortune Talks Wax Idols' Wild Path to Their 'Happy Ending'",
"datePublished": "2018-04-12T08:00:22-07:00",
"dateModified": "2024-01-11T18:54:54-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "hether-fortune-talks-wax-idols-wild-path-to-their-happy-ending",
"status": "publish",
"nprByline": "Ned Raggett",
"sticky": false,
"path": "/arts/13829142/hether-fortune-talks-wax-idols-wild-path-to-their-happy-ending",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Hether Fortune has presence, and not simply because she’s usually one of the tallest people in the room. As the founder and leader of the Oakland post-punk band \u003ca href=\"https://waxidols.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Wax Idols\u003c/a>, Fortune has become well known for her dramatic, powerful singing and forthrightness on what it means to be an independent artist in a world shaped by inequality and bias.\u003c/p>\n\u003cp>On a recent evening at the Royal Cuckoo, a dimly-lit organ bar in San Francisco, Fortune engagingly chats about Wax Idols’ upcoming fourth album, \u003cem>Happy Ending\u003c/em>, which the band will perform in full on Apr. 14 at the Great American Music Hall, ahead of the record’s May 16 release. Fortune speaks with clear focus about a key theme in her recent work, which she calls “post-body.”\u003c/p>\n\u003cp>“It’s people being able to retain consciousness, or to somehow express themselves purely through that, not via how their body presents them to the world,” she says, barely pausing to gather her thoughts. “I’ve always felt uncomfortable with bodies — not that there’s anything wrong with them. But there’s too much weight placed upon the suits that we’re wearing. I like fantasizing about being a floating orb!”\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/Ps0QOAiXY3M'\n title='//www.youtube.com/embed/Ps0QOAiXY3M'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Happy Ending\u003c/em>, Wax Idols’ fourth album, is the band’s first full-length release on their own label, \u003ca href=\"http://etruscangold.bigcartel.com\" target=\"_blank\" rel=\"noopener\">Etruscan Gold\u003c/a>. Owning a label has been a lifelong dream for Fortune, but the push to start Etruscan Gold came when Wax Idols got caught up in what the singer wryly terms “a series of unfortunate events.” Most notoriously, the band’s previous label, Collect, turned out to be funded by the \u003ca href=\"https://www.kqed.org/news/11655032/martin-shkreli-sentenced-to-7-years-for-securities-fraud\" target=\"_blank\" rel=\"noopener\">now-imprisoned “pharma bro” Martin Shkreli\u003c/a> — news that broke in 2015 just before the release of Wax Idols’ last album, \u003cem>American Tragic\u003c/em>. Fortune emphasizes that the fault was not with Collect’s founder, Thursday singer \u003ca href=\"https://pitchfork.com/thepitch/1267-geoff-rickly-on-surviving-martin-shkreli/\" target=\"_blank\" rel=\"noopener\">Geoff Rickly\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>“I will stand by that guy until I die,” she says. But when Rickly publicly broke from Shkreli and returned his money, Collect soon stopped functioning, and Fortune decided to go it alone.\u003c/p>\n\u003cp>“And the band really wanted to do it, too,” she adds. “We had other offers and they were like, ‘Nah, f-ck that!’ They really encouraged me to do it and they helped do it, too.” (Wax Idols’ roller-coaster ride continued into 2016, when the band left a tour with metal legends Pentagram, citing Pentagram’s \u003ca href=\"https://noisey.vice.com/en_au/article/rq4y4v/wax-idols-king-woman-pentagram\" target=\"_blank\" rel=\"noopener\">bandleader’s allegedly unsavory, sexist behavior\u003c/a>.)\u003c/p>\n\u003cfigure id=\"attachment_13829160\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13829160\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/Wax-Idols-photo-credit-Matthew-Vincent-800x800.jpeg\" alt=\"Wax Idols' fourth album, 'Happy Ending,' evokes the band's '80s post-punk and goth influences. \" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Wax-Idols-photo-credit-Matthew-Vincent-800x800.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Wax-Idols-photo-credit-Matthew-Vincent-160x160.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Wax-Idols-photo-credit-Matthew-Vincent-768x768.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Wax-Idols-photo-credit-Matthew-Vincent-1020x1020.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Wax-Idols-photo-credit-Matthew-Vincent-1180x1180.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Wax-Idols-photo-credit-Matthew-Vincent-960x960.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Wax-Idols-photo-credit-Matthew-Vincent-240x240.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Wax-Idols-photo-credit-Matthew-Vincent-375x375.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Wax-Idols-photo-credit-Matthew-Vincent-520x520.jpeg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Wax-Idols-photo-credit-Matthew-Vincent-32x32.jpeg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Wax-Idols-photo-credit-Matthew-Vincent-50x50.jpeg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Wax-Idols-photo-credit-Matthew-Vincent-64x64.jpeg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Wax-Idols-photo-credit-Matthew-Vincent-96x96.jpeg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Wax-Idols-photo-credit-Matthew-Vincent-128x128.jpeg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Wax-Idols-photo-credit-Matthew-Vincent-150x150.jpeg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Wax-Idols-photo-credit-Matthew-Vincent.jpeg 1334w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Wax Idols’ fourth album, ‘Happy Ending,’ evokes the band’s ’80s post-punk and goth influences. \u003ccite>(Matthew Vincent)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The cover of \u003cem>Happy Ending\u003c/em> is a painting by Oakland artist Lena Gustafson of a nude, abstract figure in mourning. Fortune says that, beyond wanting to transcend the physical, a nostalgia for lost moments drives the album.\u003c/p>\n\u003cp>“We started writing the record in the summer of 2016 and started recording it, then scrapped it all,” Fortune explains, referencing some deep personal losses that affected the band greatly. “When it came time to get back to it, nothing felt right anymore. It felt almost too funny, too light. Some of the original dark humor and sarcasm is still intact because that’s how I am as a writer. It was going to be a lot more conceptual before. Now it feels very real.”\u003c/p>\n\u003cp>Anyone intrigued by the spiky, dark charge of Wax Idols’ earlier releases will find that spirit evident. \u003cem>Happy Ending\u003c/em> stays true to the band’s ’80s goth and post-punk influences, yet by the album’s conclusion, the implied sauciness of its title — “Obviously meant to be tongue in cheek,” Fortune confirms — fully disappears in favor of a wistfully sad wish.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/407724240″&visual=true&”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true”'\n title='”https://api.soundcloud.com/tracks/407724240″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>With Fortune as the bandleader and chief songwriter, Wax Idols once felt like a solo project, but in recent years, it’s evolved into more of a team effort. Bassist Greer McGettrick joined after the band had already recorded \u003cem>Happy Ending\u003c/em>, but guitarist Peter Lightning and drummer Rachel Travers have been in Wax Idols for three and six years respectively. Fortune is quick to praise them, as well as longtime producer Monte Vallier, for their collaborative work together.\u003c/p>\n\u003cp>“Peter [Lightning]’s not your average guy,” says Fortune, discussing their longtime friendship before he joined the band. “He’s primarily been in bands with women; that’s where he feels most comfortable.”\u003c/p>\n\u003cp>Fortune singles out Rachel Travers for conceptualizing one of the new album’s standout tracks, “Belong,” which contains the brisk, soaring energy of bands like the Cure and New Order at their punchy, anthemic best. \u003cspan style=\"font-weight: 400\">“It should be a single, and I think we’re going to do a video for it,” she adds.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/406040037″&visual=true&”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true”'\n title='”https://api.soundcloud.com/tracks/406040037″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>But for now, the main thing on Fortune’s mind is Saturday’s show, Wax Idols’ first time headlining Great American Music Hall. Fortune admits she’s a little nervous, but then returns to the album’s theme of moving on beyond the material world.\u003c/p>\n\u003cp>“When I’m on stage, I hope to be an avenue for escape,” she says. “And there are times on stage when I notice I’m gone, where I feel like I’m part of the collective whatever-there-is. It’s not about me, on stage, my body, and you, looking at me. It’s something else — it’s more peaceful.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>For more information and tickets for Wax Idols’ Apr. 14 show at Great American Music Hall, click \u003ca href=\"http://www.slimspresents.com/event/wax-idols-gamh-w-pardoner-humid-sea-witch-presents/\" rel=\"noopener\" target=\"_blank\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13829142/hether-fortune-talks-wax-idols-wild-path-to-their-happy-ending",
"authors": [
"byline_arts_13829142"
],
"categories": [
"arts_69"
],
"tags": [
"arts_1118",
"arts_596"
],
"featImg": "arts_13829149",
"label": "arts"
},
"arts_13829221": {
"type": "posts",
"id": "arts_13829221",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13829221",
"score": null,
"sort": [
1523497085000
]
},
"guestAuthors": [],
"slug": "on-the-air-cy-and-jamedras-do-list-picks-for-april-13-2018",
"title": "On the Air: Cy and Jamedra's Do List Picks for April 13, 2018",
"publishDate": 1523497085,
"format": "audio",
"headTitle": "On the Air: Cy and Jamedra’s Do List Picks for April 13, 2018 | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003cp>Jamedra Brown-Fleischman is back as my Do List co-host this week to talk about San Francisco Ballet’s big dance festival, \u003cem>Unbound\u003c/em>, and its 12 world premieres — and about another world premiere from San Francisco queer choreographer Sean Dorsey. Plus, we ask: What would possess seasoned Broadway show producers to mash up the Go-Go’s pop-punk with an Elizabethan melodrama?! The answers await in the podcast above and the story links below.\u003c/p>\n\u003cp>\u003cstrong>April 13\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13829196/twin-voices-of-the-african-diaspora\" rel=\"noopener\" target=\"_blank\">The Ibeyi sisters make thrilling music of the African diaspora\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>April 19-21\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13829213/sean-dorsey-worries-about-boys-in-trouble\" rel=\"noopener\" target=\"_blank\">Choreographer Sean Dorsey offers a transgender and queer take on how to be a better man\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>April 20-May 6\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13829141/the-future-of-dance-on-pointe-at-sf-ballet\" rel=\"noopener\" target=\"_blank\">SF Ballet’s \u003cem>Unbound\u003c/em> looks to partially answer the question: Where is dance headed in the 21st century?\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>April 13 & 20\u003c/strong>: \u003ca href=\"http://www.ratatet.com/new-events/\" target=\"_blank\" rel=\"noopener\">Allan Hall’s jazz band Ratatet makes exquisite chamber jazz in shows at Berkeley’s Jazz Conservatory and at San Jose’s Art Boutiki\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>April 21\u003c/strong>: \u003ca href=\"http://www.studiograndoakland.org/calendar/2018/4/21/full-color-a-staged-reading\" target=\"_blank\" rel=\"noopener\">The Afro Urban Society and Studio Grand in Oakland present \u003cem>Full Color\u003c/em>, a short story written by Itoro Udofia that has been adapted for the stage in an event honoring Sexual Assault Awareness Month\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>April 10-May 6\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13829147/elizabethan-melodrama-meets-the-go-gos-in-head-over-heels\" rel=\"noopener\" target=\"_blank\">Elizabethan melodrama meets the Go-Go’s pop-punk in the world premiere of the musical \u003cem>Head Over Heels\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>SHOUTOUTS!\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>April 21\u003c/strong>: \u003ca href=\"https://www.eventbrite.com/e/drunk-theatre-tickets-42516267300?aff=pfcal&_eboga=646760143.1523494195\" target=\"_blank\" rel=\"noopener\">Drunk Theatre puts actors to a test that no “method” can prepare them for\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>April 14\u003c/strong>: \u003ca href=\"http://www.slimspresents.com/event/wax-idols-gamh-w-pardoner-humid-sea-witch-presents/\" target=\"_blank\" rel=\"noopener\">The Oakland band Wax Idols has a new album and CD release concert that shows off their morbid sense of punk humor\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Ps0QOAiXY3M\u003c/p>\n\n",
"blocks": [],
"excerpt": "On The Do List this week, Cy and Jamedra feature a dance festival at SF Ballet, an Elizabethan punk musical mashup and more.",
"status": "publish",
"parent": 0,
"modified": 1726771167,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 12,
"wordCount": 284
},
"headData": {
"title": "On the Air: Cy and Jamedra's Do List Picks for April 13, 2018 | KQED",
"description": "On The Do List this week, Cy and Jamedra feature a dance festival at SF Ballet, an Elizabethan punk musical mashup and more.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "On the Air: Cy and Jamedra's Do List Picks for April 13, 2018",
"datePublished": "2018-04-11T18:38:05-07:00",
"dateModified": "2024-09-19T11:39:27-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"audioUrl": "https://www.kqed.org/.stream/anon/radio/thedolist/2018/04/TDL20180413.mp3",
"sticky": false,
"path": "/arts/13829221/on-the-air-cy-and-jamedras-do-list-picks-for-april-13-2018",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Jamedra Brown-Fleischman is back as my Do List co-host this week to talk about San Francisco Ballet’s big dance festival, \u003cem>Unbound\u003c/em>, and its 12 world premieres — and about another world premiere from San Francisco queer choreographer Sean Dorsey. Plus, we ask: What would possess seasoned Broadway show producers to mash up the Go-Go’s pop-punk with an Elizabethan melodrama?! The answers await in the podcast above and the story links below.\u003c/p>\n\u003cp>\u003cstrong>April 13\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13829196/twin-voices-of-the-african-diaspora\" rel=\"noopener\" target=\"_blank\">The Ibeyi sisters make thrilling music of the African diaspora\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>April 19-21\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13829213/sean-dorsey-worries-about-boys-in-trouble\" rel=\"noopener\" target=\"_blank\">Choreographer Sean Dorsey offers a transgender and queer take on how to be a better man\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>April 20-May 6\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13829141/the-future-of-dance-on-pointe-at-sf-ballet\" rel=\"noopener\" target=\"_blank\">SF Ballet’s \u003cem>Unbound\u003c/em> looks to partially answer the question: Where is dance headed in the 21st century?\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>April 13 & 20\u003c/strong>: \u003ca href=\"http://www.ratatet.com/new-events/\" target=\"_blank\" rel=\"noopener\">Allan Hall’s jazz band Ratatet makes exquisite chamber jazz in shows at Berkeley’s Jazz Conservatory and at San Jose’s Art Boutiki\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>\u003cstrong>April 21\u003c/strong>: \u003ca href=\"http://www.studiograndoakland.org/calendar/2018/4/21/full-color-a-staged-reading\" target=\"_blank\" rel=\"noopener\">The Afro Urban Society and Studio Grand in Oakland present \u003cem>Full Color\u003c/em>, a short story written by Itoro Udofia that has been adapted for the stage in an event honoring Sexual Assault Awareness Month\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>April 10-May 6\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13829147/elizabethan-melodrama-meets-the-go-gos-in-head-over-heels\" rel=\"noopener\" target=\"_blank\">Elizabethan melodrama meets the Go-Go’s pop-punk in the world premiere of the musical \u003cem>Head Over Heels\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>SHOUTOUTS!\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>April 21\u003c/strong>: \u003ca href=\"https://www.eventbrite.com/e/drunk-theatre-tickets-42516267300?aff=pfcal&_eboga=646760143.1523494195\" target=\"_blank\" rel=\"noopener\">Drunk Theatre puts actors to a test that no “method” can prepare them for\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>April 14\u003c/strong>: \u003ca href=\"http://www.slimspresents.com/event/wax-idols-gamh-w-pardoner-humid-sea-witch-presents/\" target=\"_blank\" rel=\"noopener\">The Oakland band Wax Idols has a new album and CD release concert that shows off their morbid sense of punk humor\u003c/a>.\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/Ps0QOAiXY3M'\n title='//www.youtube.com/embed/Ps0QOAiXY3M'\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/13829221/on-the-air-cy-and-jamedras-do-list-picks-for-april-13-2018",
"authors": [
"32"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_966",
"arts_69",
"arts_235",
"arts_967"
],
"tags": [
"arts_879",
"arts_1118",
"arts_596",
"arts_1643",
"arts_626",
"arts_1240"
],
"featImg": "arts_13829225",
"label": "arts_140"
},
"arts_13829196": {
"type": "posts",
"id": "arts_13829196",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13829196",
"score": null,
"sort": [
1523494614000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 140
},
"blocks": [],
"publishDate": 1523494614,
"format": "standard",
"title": "Twin Voices of the African Diaspora",
"headTitle": "Twin Voices of the African Diaspora | KQED",
"content": "\u003cp>The Ibeyi sisters reap the best from their parents’ immigrant history. Twins Lisa-Kaindé Diaz and Naomi Diaz are from France, and, as the group Ibeyi, sing in French, English, Spanish and the West African language of Yoruba (Ibeyi means “twins” in Yoruba).\u003c/p>\n\u003cp>You can hear the French pop influence on their music, but also the \u003cspan style=\"font-weight: 400\">jazz and the Afro-Caribbean pulse of their Cuban father, who once played with the Buena Vista Social Club, and the influence of their French-Venezuelan mother. They’re hip enough to get L.A. saxophonist Kamasi Washington to lay down tracks on their new album, and to have appeared in Beyonce’s \u003cem>Lemonade\u003c/em> video.\u003c/span>\u003c/p>\n\u003cp>The themes are bolder, more political, on their second album, \u003cem>Ash\u003c/em>, with the song “Deathless,” telling the story of how one of the sisters was harassed at the age of 16 by a policeman who suspected her of being associated with drug dealing because she’s black. But “we are deathless,” they sing. In other words: never give in to despair.\u003c/p>\n\u003cp>Ibeyi play the Fillmore on Friday, April 13. \u003ca href=\"http://thefillmore.com/event/ibeyi/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=yN8TUgkPnbU\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 202,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 6
},
"modified": 1705028099,
"excerpt": "The Ibeyi sisters distill the best from their multi-national family background.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The Ibeyi sisters distill the best from their multi-national family background.",
"title": "Twin Voices of the African Diaspora | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Twin Voices of the African Diaspora",
"datePublished": "2018-04-11T17:56:54-07:00",
"dateModified": "2024-01-11T18:54:59-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "twin-voices-of-the-african-diaspora",
"status": "publish",
"sticky": false,
"path": "/arts/13829196/twin-voices-of-the-african-diaspora",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Ibeyi sisters reap the best from their parents’ immigrant history. Twins Lisa-Kaindé Diaz and Naomi Diaz are from France, and, as the group Ibeyi, sing in French, English, Spanish and the West African language of Yoruba (Ibeyi means “twins” in Yoruba).\u003c/p>\n\u003cp>You can hear the French pop influence on their music, but also the \u003cspan style=\"font-weight: 400\">jazz and the Afro-Caribbean pulse of their Cuban father, who once played with the Buena Vista Social Club, and the influence of their French-Venezuelan mother. They’re hip enough to get L.A. saxophonist Kamasi Washington to lay down tracks on their new album, and to have appeared in Beyonce’s \u003cem>Lemonade\u003c/em> video.\u003c/span>\u003c/p>\n\u003cp>The themes are bolder, more political, on their second album, \u003cem>Ash\u003c/em>, with the song “Deathless,” telling the story of how one of the sisters was harassed at the age of 16 by a policeman who suspected her of being associated with drug dealing because she’s black. But “we are deathless,” they sing. In other words: never give in to despair.\u003c/p>\n\u003cp>Ibeyi play the Fillmore on Friday, April 13. \u003ca href=\"http://thefillmore.com/event/ibeyi/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\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/yN8TUgkPnbU'\n title='//www.youtube.com/embed/yN8TUgkPnbU'\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>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13829196/twin-voices-of-the-african-diaspora",
"authors": [
"32"
],
"programs": [
"arts_140"
],
"categories": [
"arts_69"
],
"tags": [
"arts_596",
"arts_2996"
],
"featImg": "arts_13829210",
"label": "arts_140"
},
"arts_13829045": {
"type": "posts",
"id": "arts_13829045",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13829045",
"score": null,
"sort": [
1523458844000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1523458844,
"format": "standard",
"title": "Wine & Bowties to Bring Back ‘Feels’—With Stacked Lineup",
"headTitle": "Wine & Bowties to Bring Back ‘Feels’—With Stacked Lineup | KQED",
"content": "\u003cp>\u003cem>\u003cstrong>UPDATE [May 24, 2018]\u003c/strong>: Wine & Bowties \u003ca href=\"https://twitter.com/thefader/status/999731573141499905\" target=\"_blank\" rel=\"noopener\">announced\u003c/a> on May 24 that “Bossy” hitmaker Kelis will headline Feels 6.\u003c/em>\u003c/p>\n\u003cp>Tuesday night at the \u003ca href=\"https://bampfa.org/\" target=\"_blank\" rel=\"noopener\">Berkeley Art Museum and Pacific Film Archive\u003c/a> looked more like a party than a night at the museum. A young, hip crowd packed into the sleek, spacious building to celebrate Oakland creative collective \u003ca href=\"http://wineandbowties.com/\" target=\"_blank\" rel=\"noopener\">Wine & Bowties\u003c/a>‘ latest announcement: The sixth edition of their mini-festival, \u003ca href=\"https://www.feels6.tv/\" target=\"_blank\" rel=\"noopener\">Feels\u003c/a>, taking place June 15-16 at Richmond’s \u003ca href=\"http://www.craneway.com/\" target=\"_blank\" rel=\"noopener\">Craneway Pavilion\u003c/a>.\u003c/p>\n\u003cp>Feels, a hugely popular, homegrown event, has been on hiatus for two years, but Wine & Bowties — a culture blog and event collective with Max Gibson and Will Bundy at the helm — has kept its momentum going with smaller events, like their Jungle Pussy-fronted New Year’s Eve party at Geoffrey’s Inner Circle.\u003c/p>\n\u003cfigure id=\"attachment_11629036\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11629036\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/IMG_5220-800x533.jpg\" alt=\"Lil' B performs at Feels V in Oakland, May 28, 2016.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/IMG_5220-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/IMG_5220-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/IMG_5220-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/IMG_5220-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/IMG_5220.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/IMG_5220-960x639.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lil B performs at Feels V in Oakland, May 28, 2016. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Tuesday night, experimental singer Spellling, indie producer \u003ca href=\"https://www.kqed.org/arts/13817018/the-10-best-bay-area-albums-of-2017-toro-y-moi-boo-boo\" target=\"_blank\" rel=\"noopener\">Toro y Moi\u003c/a>, and DJ Fela Kutchii made museum-goers dance at the BAMPFA between screenings of experimental short films by local artists like Yetunde Olagbaju and House of Malico. Attendees also got first dibs on the Feels 6 lineup, which was printed on postcard flyers scattered about the space.\u003c/p>\n\u003cp>The BAMPFA party was a sneak peek of what’s to come at Feels 6: Spellling, Fela Kutchii, and Queens D.Light (whose ritualistic short films screened at the museum) are all included on the upcoming musical lineup.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Refreshingly, as other Bay Area festivals draw criticism for their \u003ca href=\"https://www.kqed.org/arts/13828348\" target=\"_blank\" rel=\"noopener\">male-dominated booking\u003c/a>, the Feels bill skews heavily towards female and LGBTQ hip-hop artists. “Bossy” rapper Kelis; outspoken New Yorker Princess Nokia; performance art rapper \u003ca href=\"https://www.kqed.org/arts/13812070\" target=\"_blank\" rel=\"noopener\">Mykki Blanco\u003c/a>; sex-positive firecracker bbymutha; and the soulful Oakland native Siri are all included, in addition to rising East Bay stars AllBlack and \u003ca href=\"https://www.kqed.org/arts/13817414\" target=\"_blank\" rel=\"noopener\">Rexx Life Raj\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11629019\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11629019\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/IMG_5058-800x533.jpg\" alt=\"Georgia Anne Muldrow performs at Feels V in Oakland, May 28, 2016.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/IMG_5058-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/IMG_5058-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/IMG_5058-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/IMG_5058-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/IMG_5058.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/IMG_5058-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Georgia Anne Muldrow performs at Feels V in Oakland, May 28, 2016. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Outside of hip-hop, enigmatic composer Yves Tumor and experimental singer and “outsider artist” Lonnie Holley — who exhibited at museums nationwide before becoming recording artist at age 62 — round out the bill, in addition to DJs Namaste Shawty and Shruggs.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/11628892/photos-feels-v-oaklands-hottest-underground-warehouse-party\" target=\"_blank\" rel=\"noopener\">Previous editions\u003c/a> of Feels at American Steel Studios in West Oakland have drawn out upwards of 2,000 attendees. The Craneway Pavillion, a 45,000-square-foot waterfront venue with glass walls and a capacity of 6,500, is certainly a step up from the festival’s warehouse-party beginnings.\u003c/p>\n\u003cp>“In terms of the evolution from the first Feels to now, it’s been growing in leaps and bounds in someways,” said Bundy, adding that Jesse Sachs, a childhood friend who previously worked at South by Southwest, was instrumental to planning the festival’s expansion. “But the key has been trying to aim for sustainable growth, taking some risks and trying out new things.”\u003c/p>\n\u003cp>Even in scaling up, Feels has managed to keep its homegrown charm by cross-pollenating Oakland’s various art and music scenes through its diverse musical and visual art lineups. The BAMPFA party was a clear illustration of this, with artists of many different ethnicities, gender expressions, and disciplines enjoying themselves together on the dance floor.\u003c/p>\n\u003cp>“Maintaining that frame of eclecticism on everything we do has always been a central point, even if you go back to our old Blogspot,” said Gibson, referring to Wine & Bowties’ beginnings on the blogging platform in 2009.\u003c/p>\n\u003cfigure id=\"attachment_11109594\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11109594\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Feels1-600x600.jpg\" alt=\"Feels III, at American Steel Studios.\" width=\"600\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Feels1-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Feels1-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Feels1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Feels1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Feels1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Feels1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Feels1-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Feels1.jpg 800w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Feels III, at American Steel Studios, July 2015. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Discussing the hiatus, Gibson and Bundy say that the two-year break was due to trouble finding a venue following the sale of West Oakland artist warehouse American Steel. The struggles of Oakland’s underground music scene, with rampant venue closures and evictions, have been well-documented \u003ca href=\"https://www.kqed.org/arts/13816440/warehouse-coalition-admonishes-oakland-inspectors-over-evictions\" target=\"_blank\" rel=\"noopener\">since the 2016 Ghost Ship fire\u003c/a>, and Bundy and Gibson say they had difficulty finding a new, sizable location.\u003c/p>\n\u003cp>“It was a real uphill battle trying to keep this thing alive,” said Bundy.\u003c/p>\n\u003cp>Visual art has been a major aspect of Feels from the beginning, and now that Wine & Bowties have landed on a much larger venue, they plan to feature more ambitious artworks, says lead curator Ali Madigan, whose geometric installation work will be featured in the show.\u003c/p>\n\u003cp>“Building out a gallery space in a 45,000-square-foot glass box on the water is an inspiring place to put some beautiful things,” she said. “What we’re showing is really a direct reflection of Oakland.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>For more information and tickets for Feels 6, click \u003ca href=\"http://feels6.tv\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 789,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 19
},
"modified": 1705028107,
"excerpt": "After a two-year hiatus, the festival returns in Richmond with headliners Princess Nokia, Mykki Blanco, and bbymutha. ",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "After a two-year hiatus, the festival returns in Richmond with headliners Princess Nokia, Mykki Blanco, and bbymutha. ",
"title": "Wine & Bowties to Bring Back ‘Feels’—With Stacked Lineup | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Wine & Bowties to Bring Back ‘Feels’—With Stacked Lineup",
"datePublished": "2018-04-11T08:00:44-07:00",
"dateModified": "2024-01-11T18:55:07-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "feels-returns-from-hiatus-with-stacked-lineup-and-impressive-venue",
"status": "publish",
"sticky": false,
"path": "/arts/13829045/feels-returns-from-hiatus-with-stacked-lineup-and-impressive-venue",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>UPDATE [May 24, 2018]\u003c/strong>: Wine & Bowties \u003ca href=\"https://twitter.com/thefader/status/999731573141499905\" target=\"_blank\" rel=\"noopener\">announced\u003c/a> on May 24 that “Bossy” hitmaker Kelis will headline Feels 6.\u003c/em>\u003c/p>\n\u003cp>Tuesday night at the \u003ca href=\"https://bampfa.org/\" target=\"_blank\" rel=\"noopener\">Berkeley Art Museum and Pacific Film Archive\u003c/a> looked more like a party than a night at the museum. A young, hip crowd packed into the sleek, spacious building to celebrate Oakland creative collective \u003ca href=\"http://wineandbowties.com/\" target=\"_blank\" rel=\"noopener\">Wine & Bowties\u003c/a>‘ latest announcement: The sixth edition of their mini-festival, \u003ca href=\"https://www.feels6.tv/\" target=\"_blank\" rel=\"noopener\">Feels\u003c/a>, taking place June 15-16 at Richmond’s \u003ca href=\"http://www.craneway.com/\" target=\"_blank\" rel=\"noopener\">Craneway Pavilion\u003c/a>.\u003c/p>\n\u003cp>Feels, a hugely popular, homegrown event, has been on hiatus for two years, but Wine & Bowties — a culture blog and event collective with Max Gibson and Will Bundy at the helm — has kept its momentum going with smaller events, like their Jungle Pussy-fronted New Year’s Eve party at Geoffrey’s Inner Circle.\u003c/p>\n\u003cfigure id=\"attachment_11629036\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11629036\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/IMG_5220-800x533.jpg\" alt=\"Lil' B performs at Feels V in Oakland, May 28, 2016.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/IMG_5220-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/IMG_5220-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/IMG_5220-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/IMG_5220-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/IMG_5220.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/IMG_5220-960x639.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lil B performs at Feels V in Oakland, May 28, 2016. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Tuesday night, experimental singer Spellling, indie producer \u003ca href=\"https://www.kqed.org/arts/13817018/the-10-best-bay-area-albums-of-2017-toro-y-moi-boo-boo\" target=\"_blank\" rel=\"noopener\">Toro y Moi\u003c/a>, and DJ Fela Kutchii made museum-goers dance at the BAMPFA between screenings of experimental short films by local artists like Yetunde Olagbaju and House of Malico. Attendees also got first dibs on the Feels 6 lineup, which was printed on postcard flyers scattered about the space.\u003c/p>\n\u003cp>The BAMPFA party was a sneak peek of what’s to come at Feels 6: Spellling, Fela Kutchii, and Queens D.Light (whose ritualistic short films screened at the museum) are all included on the upcoming musical lineup.\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>Refreshingly, as other Bay Area festivals draw criticism for their \u003ca href=\"https://www.kqed.org/arts/13828348\" target=\"_blank\" rel=\"noopener\">male-dominated booking\u003c/a>, the Feels bill skews heavily towards female and LGBTQ hip-hop artists. “Bossy” rapper Kelis; outspoken New Yorker Princess Nokia; performance art rapper \u003ca href=\"https://www.kqed.org/arts/13812070\" target=\"_blank\" rel=\"noopener\">Mykki Blanco\u003c/a>; sex-positive firecracker bbymutha; and the soulful Oakland native Siri are all included, in addition to rising East Bay stars AllBlack and \u003ca href=\"https://www.kqed.org/arts/13817414\" target=\"_blank\" rel=\"noopener\">Rexx Life Raj\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11629019\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11629019\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/IMG_5058-800x533.jpg\" alt=\"Georgia Anne Muldrow performs at Feels V in Oakland, May 28, 2016.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/IMG_5058-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/IMG_5058-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/IMG_5058-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/IMG_5058-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/IMG_5058.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/IMG_5058-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Georgia Anne Muldrow performs at Feels V in Oakland, May 28, 2016. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Outside of hip-hop, enigmatic composer Yves Tumor and experimental singer and “outsider artist” Lonnie Holley — who exhibited at museums nationwide before becoming recording artist at age 62 — round out the bill, in addition to DJs Namaste Shawty and Shruggs.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/11628892/photos-feels-v-oaklands-hottest-underground-warehouse-party\" target=\"_blank\" rel=\"noopener\">Previous editions\u003c/a> of Feels at American Steel Studios in West Oakland have drawn out upwards of 2,000 attendees. The Craneway Pavillion, a 45,000-square-foot waterfront venue with glass walls and a capacity of 6,500, is certainly a step up from the festival’s warehouse-party beginnings.\u003c/p>\n\u003cp>“In terms of the evolution from the first Feels to now, it’s been growing in leaps and bounds in someways,” said Bundy, adding that Jesse Sachs, a childhood friend who previously worked at South by Southwest, was instrumental to planning the festival’s expansion. “But the key has been trying to aim for sustainable growth, taking some risks and trying out new things.”\u003c/p>\n\u003cp>Even in scaling up, Feels has managed to keep its homegrown charm by cross-pollenating Oakland’s various art and music scenes through its diverse musical and visual art lineups. The BAMPFA party was a clear illustration of this, with artists of many different ethnicities, gender expressions, and disciplines enjoying themselves together on the dance floor.\u003c/p>\n\u003cp>“Maintaining that frame of eclecticism on everything we do has always been a central point, even if you go back to our old Blogspot,” said Gibson, referring to Wine & Bowties’ beginnings on the blogging platform in 2009.\u003c/p>\n\u003cfigure id=\"attachment_11109594\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11109594\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Feels1-600x600.jpg\" alt=\"Feels III, at American Steel Studios.\" width=\"600\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Feels1-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Feels1-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Feels1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Feels1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Feels1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Feels1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Feels1-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Feels1.jpg 800w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Feels III, at American Steel Studios, July 2015. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Discussing the hiatus, Gibson and Bundy say that the two-year break was due to trouble finding a venue following the sale of West Oakland artist warehouse American Steel. The struggles of Oakland’s underground music scene, with rampant venue closures and evictions, have been well-documented \u003ca href=\"https://www.kqed.org/arts/13816440/warehouse-coalition-admonishes-oakland-inspectors-over-evictions\" target=\"_blank\" rel=\"noopener\">since the 2016 Ghost Ship fire\u003c/a>, and Bundy and Gibson say they had difficulty finding a new, sizable location.\u003c/p>\n\u003cp>“It was a real uphill battle trying to keep this thing alive,” said Bundy.\u003c/p>\n\u003cp>Visual art has been a major aspect of Feels from the beginning, and now that Wine & Bowties have landed on a much larger venue, they plan to feature more ambitious artworks, says lead curator Ali Madigan, whose geometric installation work will be featured in the show.\u003c/p>\n\u003cp>“Building out a gallery space in a 45,000-square-foot glass box on the water is an inspiring place to put some beautiful things,” she said. “What we’re showing is really a direct reflection of Oakland.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>For more information and tickets for Feels 6, click \u003ca href=\"http://feels6.tv\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13829045/feels-returns-from-hiatus-with-stacked-lineup-and-impressive-venue",
"authors": [
"11387"
],
"categories": [
"arts_69"
],
"tags": [
"arts_2227",
"arts_1118",
"arts_596"
],
"featImg": "arts_13829093",
"label": "arts"
},
"arts_13828960": {
"type": "posts",
"id": "arts_13828960",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13828960",
"score": null,
"sort": [
1523296144000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1523296144,
"format": "standard",
"title": "Five Key Takeaways from Oakland's Women in Music Festival",
"headTitle": "Five Key Takeaways from Oakland’s Women in Music Festival | KQED",
"content": "\u003cp>This year, the entertainment world came under fire for its rampant sexism, and the music industry is no exception. As women called out perpetrators of sexual violence amid the ongoing #MeToo movement, the 2018 Grammy’s – with its noticeable lack of female winners – was another global moment that illustrated that the industry has a long way to go before it can be considered truly equitable.\u003c/p>\n\u003cp>Oakland’s second-annual \u003ca href=\"https://www.wimbayarea.com/\" target=\"_blank\" rel=\"noopener\">Women in Music Festival\u003c/a>, taking place Apr. 6-8, was a weekend of events, by women for women, that countered exactly that kind of discrimination. Founders Evangeline Elder and Carmena Woodward introduced Women In Music in 2017 in response to the male-dominated Bay Area music scene.\u003c/p>\n\u003cp>Since, the festival has continued gaining momentum, bringing in attendees from all over the West Coast to practice DJing, hear from accomplished speakers from different realms of the industry, and let loose at live shows that center female artists. Here are five key takeaways from the weekend’s events.\u003c/p>\n\u003cfigure id=\"attachment_13828963\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13828963\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/wim1-800x450.jpg\" alt=\"Tiffany Gouche headlined the Women in Music party on Apr. 7, 2018 at Starline Social Club.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/wim1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/wim1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/wim1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/wim1-1020x574.jpg 1020w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tiffany Gouche headlined the Women in Music party on Apr. 7, 2018 at Starline Social Club. \u003ccite>(Eda Yu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Tiffany Gouché’s Voice Was Out of This World\u003c/h3>\n\u003cp>At the Women in Music concert on Apr. 7 at Starline Social Club, Inglewood-born singer and songwriter Tiffany Gouché opened her set with “Last Breath,” a track off her \u003cem>Pillow Talk\u003c/em> EP from 2015. From the moment she took the stage, Gouché’s voice cut through the space — clear, rich, and unexpectedly full in the noisy room. Although the venue isn’t necessarily ideal for live music — the tinny acoustic quality of the venue lends itself better to DJ sets than live singers — Gouché enraptured the audience with her phenomenal performance.\u003c/p>\n\u003ch3>Sep Mashiahof of SBSM Reminded Women to Be Themselves – Unapologetically\u003c/h3>\n\u003cp>During the Women in Music Panel Day at the New Parkway Theater on Apr. 7, women from all facets of the industry gathered to impart their words of wisdom and build connections with women in the audience. Sep Mashiahof, co-founder of Scream Queens Radio and member of queer industrial punk trio SBSM, shared an interesting story about her work as a Development Coordinator for the Bay Area Girls Rock Camp. When she coaches girls to play live music, she said, her students often apologize when they mess up during practice. In response, Mashiahof and her teammates yell back, “You rock!” to get girls to start thinking at an early age about what exactly they’re apologizing for. “Is it our existence?” she questioned at the panel on Saturday.\u003c/p>\n\u003cfigure id=\"attachment_13828964\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13828964\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/wim2-800x450.jpg\" alt=\"Rayana Jay (left) and Women in Music co-founder Carmena Woodward.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/wim2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/wim2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/wim2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/wim2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/wim2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/wim2-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/wim2-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/wim2-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/wim2-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/wim2-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rayana Jay (left) and Women in Music co-founder Carmena Woodward. \u003ccite>(Eda Yu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Rayana Jay Opened Up About Being Vulnerable in Her Music\u003c/h3>\n\u003cp>In a live interview on Saturday, rising R&B singer Rayana Jay expressed that honesty is one of the most immutable qualities she hopes to infuse into her songs. At the artist talk, Jay cited Amy Winehouse as one of her greatest inspirations because of the raw, uninhibited honesty in Winehouse’s music — despite the adversity that Winehouse faced in sharing her stories. Jay said she felt moved by how Winehouse wrote about intimate topics like depression or cheating. “It may seem small, but, as women, we don’t really write songs about that,” she commented. “I wrote a lot of songs that I needed to hear when I was going through what I was going through. Honesty. It’s a real thing.”\u003c/p>\n\u003cfigure id=\"attachment_13828965\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13828965\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/wim4-800x450.jpg\" alt=\"Sophie Ash (second from right) reminded attendees about the importance of delivering results – even if it takes going to great lengths – at the 'Women in Artist Marketing' panel. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/wim4-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/wim4-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/wim4-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/wim4-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/wim4.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/wim4-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/wim4-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/wim4-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/wim4-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/wim4-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sophie Ash (second from right) reminded attendees about the importance of delivering results – even if it takes going to great lengths – at the ‘Women in Artist Marketing’ panel. \u003ccite>(Eda Yu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>How to Command a Room, According to Beyoncé’s Former Project Manager\u003c/h3>\n\u003cp>Sophie Ash, who works in artist services at United Masters and was previously the project manager at Beyonce’s Parkwood Entertainment, shared many words of advice during Saturday’s panel day. But the bottom line always came down to one fact: When you deliver results, it doesn’t matter who you are. People are going to learn to respect you. While putting together her artists’ various projects, whether it’s the “Formation” roll-out or an impromptu J-Lo meet-and-greet, she’ll do what it takes — sometimes, she recounted, even pulling up to people’s houses — to make it happen. “I see a lot of mediocre people all the time in the music industry,” she shared Saturday. “When you deliver results, it doesn’t matter.”\u003c/p>\n\u003ch3>Sisterhood is Power\u003c/h3>\n\u003cp>After seeing women artists working alongside one another at Sunday’s “Eat Shop Talk” at Warehouse 416 or speaking together at the large, impactful panels at the New Parkway or Oakland Museum of California, Women In Music demonstrated how fruitful it can be to collaborate with women in one’s creative community — and how that can lead to real change. Nobody can do it alone. And, after such a fun, inspiring weekend, I don’t see why anyone would want to.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 888,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 11
},
"modified": 1705028111,
"excerpt": "The home-grown fest brought women from all corners of the industry together for a weekend of live music, panels, and more. ",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The home-grown fest brought women from all corners of the industry together for a weekend of live music, panels, and more. ",
"title": "Five Key Takeaways from Oakland's Women in Music Festival | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Five Key Takeaways from Oakland's Women in Music Festival",
"datePublished": "2018-04-09T10:49:04-07:00",
"dateModified": "2024-01-11T18:55:11-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "five-key-takeaways-from-oaklands-women-in-music-festival",
"status": "publish",
"sticky": false,
"path": "/arts/13828960/five-key-takeaways-from-oaklands-women-in-music-festival",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This year, the entertainment world came under fire for its rampant sexism, and the music industry is no exception. As women called out perpetrators of sexual violence amid the ongoing #MeToo movement, the 2018 Grammy’s – with its noticeable lack of female winners – was another global moment that illustrated that the industry has a long way to go before it can be considered truly equitable.\u003c/p>\n\u003cp>Oakland’s second-annual \u003ca href=\"https://www.wimbayarea.com/\" target=\"_blank\" rel=\"noopener\">Women in Music Festival\u003c/a>, taking place Apr. 6-8, was a weekend of events, by women for women, that countered exactly that kind of discrimination. Founders Evangeline Elder and Carmena Woodward introduced Women In Music in 2017 in response to the male-dominated Bay Area music scene.\u003c/p>\n\u003cp>Since, the festival has continued gaining momentum, bringing in attendees from all over the West Coast to practice DJing, hear from accomplished speakers from different realms of the industry, and let loose at live shows that center female artists. Here are five key takeaways from the weekend’s events.\u003c/p>\n\u003cfigure id=\"attachment_13828963\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13828963\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/wim1-800x450.jpg\" alt=\"Tiffany Gouche headlined the Women in Music party on Apr. 7, 2018 at Starline Social Club.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/wim1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/wim1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/wim1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/wim1-1020x574.jpg 1020w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tiffany Gouche headlined the Women in Music party on Apr. 7, 2018 at Starline Social Club. \u003ccite>(Eda Yu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Tiffany Gouché’s Voice Was Out of This World\u003c/h3>\n\u003cp>At the Women in Music concert on Apr. 7 at Starline Social Club, Inglewood-born singer and songwriter Tiffany Gouché opened her set with “Last Breath,” a track off her \u003cem>Pillow Talk\u003c/em> EP from 2015. From the moment she took the stage, Gouché’s voice cut through the space — clear, rich, and unexpectedly full in the noisy room. Although the venue isn’t necessarily ideal for live music — the tinny acoustic quality of the venue lends itself better to DJ sets than live singers — Gouché enraptured the audience with her phenomenal performance.\u003c/p>\n\u003ch3>Sep Mashiahof of SBSM Reminded Women to Be Themselves – Unapologetically\u003c/h3>\n\u003cp>During the Women in Music Panel Day at the New Parkway Theater on Apr. 7, women from all facets of the industry gathered to impart their words of wisdom and build connections with women in the audience. Sep Mashiahof, co-founder of Scream Queens Radio and member of queer industrial punk trio SBSM, shared an interesting story about her work as a Development Coordinator for the Bay Area Girls Rock Camp. When she coaches girls to play live music, she said, her students often apologize when they mess up during practice. In response, Mashiahof and her teammates yell back, “You rock!” to get girls to start thinking at an early age about what exactly they’re apologizing for. “Is it our existence?” she questioned at the panel on Saturday.\u003c/p>\n\u003cfigure id=\"attachment_13828964\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13828964\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/wim2-800x450.jpg\" alt=\"Rayana Jay (left) and Women in Music co-founder Carmena Woodward.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/wim2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/wim2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/wim2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/wim2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/wim2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/wim2-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/wim2-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/wim2-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/wim2-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/wim2-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rayana Jay (left) and Women in Music co-founder Carmena Woodward. \u003ccite>(Eda Yu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Rayana Jay Opened Up About Being Vulnerable in Her Music\u003c/h3>\n\u003cp>In a live interview on Saturday, rising R&B singer Rayana Jay expressed that honesty is one of the most immutable qualities she hopes to infuse into her songs. At the artist talk, Jay cited Amy Winehouse as one of her greatest inspirations because of the raw, uninhibited honesty in Winehouse’s music — despite the adversity that Winehouse faced in sharing her stories. Jay said she felt moved by how Winehouse wrote about intimate topics like depression or cheating. “It may seem small, but, as women, we don’t really write songs about that,” she commented. “I wrote a lot of songs that I needed to hear when I was going through what I was going through. Honesty. It’s a real thing.”\u003c/p>\n\u003cfigure id=\"attachment_13828965\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13828965\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/wim4-800x450.jpg\" alt=\"Sophie Ash (second from right) reminded attendees about the importance of delivering results – even if it takes going to great lengths – at the 'Women in Artist Marketing' panel. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/wim4-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/wim4-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/wim4-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/wim4-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/wim4.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/wim4-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/wim4-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/wim4-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/wim4-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/wim4-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sophie Ash (second from right) reminded attendees about the importance of delivering results – even if it takes going to great lengths – at the ‘Women in Artist Marketing’ panel. \u003ccite>(Eda Yu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>How to Command a Room, According to Beyoncé’s Former Project Manager\u003c/h3>\n\u003cp>Sophie Ash, who works in artist services at United Masters and was previously the project manager at Beyonce’s Parkwood Entertainment, shared many words of advice during Saturday’s panel day. But the bottom line always came down to one fact: When you deliver results, it doesn’t matter who you are. People are going to learn to respect you. While putting together her artists’ various projects, whether it’s the “Formation” roll-out or an impromptu J-Lo meet-and-greet, she’ll do what it takes — sometimes, she recounted, even pulling up to people’s houses — to make it happen. “I see a lot of mediocre people all the time in the music industry,” she shared Saturday. “When you deliver results, it doesn’t matter.”\u003c/p>\n\u003ch3>Sisterhood is Power\u003c/h3>\n\u003cp>After seeing women artists working alongside one another at Sunday’s “Eat Shop Talk” at Warehouse 416 or speaking together at the large, impactful panels at the New Parkway or Oakland Museum of California, Women In Music demonstrated how fruitful it can be to collaborate with women in one’s creative community — and how that can lead to real change. Nobody can do it alone. And, after such a fun, inspiring weekend, I don’t see why anyone would want to.\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\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13828960/five-key-takeaways-from-oaklands-women-in-music-festival",
"authors": [
"11391"
],
"categories": [
"arts_69"
],
"tags": [
"arts_1118",
"arts_596",
"arts_1723"
],
"featImg": "arts_13828966",
"label": "arts"
},
"arts_13828618": {
"type": "posts",
"id": "arts_13828618",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13828618",
"score": null,
"sort": [
1522961588000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1522961588,
"format": "standard",
"title": "Songs We Love: Howlin Rain, 'Alligator Bride'",
"headTitle": "Songs We Love: Howlin Rain, ‘Alligator Bride’ | KQED",
"content": "\u003cp>One of the keepers of modern-day psychedelic music doles out distinct styles to no fewer than five projects: There’s the cavernous rawk of \u003ca href=\"https://www.npr.org/artists/15332416/comets-on-fire\" target=\"_blank\" rel=\"noopener\">Comets on Fire\u003c/a> (forever on hiatus), the Summer of Love re-imagined as \u003ca href=\"https://www.npr.org/artists/467690865/heron-oblivion\" target=\"_blank\" rel=\"noopener\">Heron Oblivion\u003c/a>, the punk-scuzz of \u003ca href=\"https://www.npr.org/2017/03/08/519032666/songs-we-love-feral-ohms-teenage-god-born-to-die\" target=\"_blank\" rel=\"noopener\">Feral Ohms\u003c/a> and the Beat poet solo guitar-noise of \u003ca href=\"https://silvercurrent.bandcamp.com/album/the-odyssey-cult-limited-edition-bundles\" target=\"_blank\" rel=\"noopener\">The Odyssey Cult\u003c/a>. But Howlin Rain has always been the flyaway of Ethan Miller’s wild hair.\u003c/p>\n\u003cp>[contextly_sidebar id=”1IraALhp2U1IiVj5qyak3mCzTaKDQgz5″]\u003c/p>\n\u003cp>Howlin Rain was originally formed as the melodic antidote to Comets, a place for Miller to write \u003cem>sangin’ \u003c/em>songs. Its discography has run the gamut from burned-out psych to bucking country-rock to folk ballads to the big-budget-blues-rock of the Rick Rubin era, which let Miller \u003ca href=\"https://www.kqed.org/arts/13109824\">quit his day job\u003c/a> for a few years. Point is, for an artist who regularly flies off on weird tangents, his outlet for straight-ahead rock music has often been his most unpredictable.\u003c/p>\n\u003cp>“Alligator Bride” is Howlin Rain in full-on \u003ca href=\"https://www.npr.org/artists/15050998/neil-young\" target=\"_blank\" rel=\"noopener\">Crazy Horse\u003c/a> mode, as big guitar chords are lashed with feedback. The band’s new album, \u003cem>The Alligator Bride\u003c/em>, features bassist Jeff McElroy, guitarist Dan Cervantes and drummer Justin Smith; their chemistry seems loose and ragged, like an American flag weathered from too many storms. That’s a natural state of mind for Miller, but Howlin Rain’s music has never felt so anthemic.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" allow=\"autoplay\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/416263572&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>[ad fullwidth]\u003c/p>\n\u003cp>Miller tells NPR that Howlin Rain’s new song meditates on what it means to be American:\u003c/p>\n\u003cblockquote>\n\u003cp>The song “Alligator Bride” began life as a hushed solo affair, a 3 a.m. song, all quiet palm strums and vulnerable, fragile melodies. When I took it to the guys in rehearsal, thinking maybe they could sprinkle some light emotional dust on it here and there, Dan, our guitarist, suggested we try the full-on fuzzy roll-and-tumble version that you hear now. When I got back to the border motel that night and listened to the rehearsal recording, I loved it. In its new skin it sounded like late-’70s/early-’80s live Crazy Horse to me — and who doesn’t love that?!\u003c/p>\n\u003cp>The lyrics originally came to me while scratching out rough poetry about “America” — the past, the present, the future of the country and what it meant to be American in 2016 (the year the lyrics were written). I was trying to grapple with what it meant to still carry the dreams and the memories and myths of the collective American conscious and unconscious and to stand on the cusp of the very real ending of any semblance of “old America” while being swept into an extremely fast future experience — one that is proving too slippery for us to keep up with our very perceptions of it.\u003c/p>\n\u003cp>Despite some of the steps forward the country had made in the previous decade, I saw America as grappling with a very real spiritual and identity crisis in early 2016. The country was boiling over from the center with a complex blend of hope and hopelessness, idealism and consumer nihilism, joy and anger, suffering and salvation. I wanted to endow the song with the echoes of that complex soul-leakage in simple terms; the wonders of our myths, our weirdness, our fearsome and too often wrong-headed individuality, our quickness to slip into the electrified momentum of the zeitgeist and, of course, at the center of it all, The American Dream; 330 million different little flames, unique to each human in the collective, carried together in a blinding, beautiful fireball that often burns and casts off as many in its orbit as it illuminates.\u003c/p>\n\u003cp>By chance, we recorded the song “Alligator Bride” on the evening of the presidential election, Nov. 8, 2016. As we emerged from the tracking room at the Mansion basement in Chinatown and saw the news and the results coming in, the song and its lyrics instantly took on an entirely new set of layers of meaning and, of course, the intangible, the absolute weirdness, the bombast and the roving definition of what it means to be an American in 2016 shifted once again beneath our feet and the future continued on, faster than most of us have properly figured out how to be in it.\u003c/p>\n\u003c/blockquote>\n\u003cp>Miller is completely earnest in everything he creates, but when he sings with his band in unison, “The wayward mountains, the velvet wolves, the alligator bride / We all slept under a tin roof four feet off of the ground / Wasn’t it loud when the rain came down,” he’s more exposed than ever before. Clearly a nerve has burst, and he’s letting us in to study the wound up close.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>The Alligator Bride \u003cem>comes out June 8 via \u003c/em>\u003ca href=\"https://silvercurrent.bandcamp.com/album/the-alligator-bride\">\u003cem>Silver Current\u003c/em>\u003c/a>\u003cem>. \u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Songs+We+Love%3A+Howlin+Rain%2C+%27Alligator+Bride%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": true,
"hasPolis": false,
"wordCount": 832,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 14
},
"modified": 1705028121,
"excerpt": "This is Howlin Rain in full-on Crazy Horse mode, as big guitar chords are lashed with feedback. The band's music has never felt so anthemic.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "This is Howlin Rain in full-on Crazy Horse mode, as big guitar chords are lashed with feedback. The band's music has never felt so anthemic.",
"title": "Songs We Love: Howlin Rain, 'Alligator Bride' | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Songs We Love: Howlin Rain, 'Alligator Bride'",
"datePublished": "2018-04-05T13:53:08-07:00",
"dateModified": "2024-01-11T18:55:21-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "songs-we-love-howlin-rain-alligator-bride",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=599400803&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Lars Gotrich",
"nprStoryDate": "Wed, 04 Apr 2018 13:00:05 -0400",
"nprLastModifiedDate": "Wed, 04 Apr 2018 13:00:05 -0400",
"sticky": false,
"nprHtmlLink": "https://www.npr.org/2018/04/04/599400803/songs-we-love-howlin-rain-alligator-bride?ft=nprml&f=599400803",
"nprImageAgency": "Courtesy of the artist",
"nprStoryId": "599400803",
"nprRetrievedStory": "1",
"nprPubDate": "Wed, 04 Apr 2018 13:00:00 -0400",
"path": "/arts/13828618/songs-we-love-howlin-rain-alligator-bride",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>One of the keepers of modern-day psychedelic music doles out distinct styles to no fewer than five projects: There’s the cavernous rawk of \u003ca href=\"https://www.npr.org/artists/15332416/comets-on-fire\" target=\"_blank\" rel=\"noopener\">Comets on Fire\u003c/a> (forever on hiatus), the Summer of Love re-imagined as \u003ca href=\"https://www.npr.org/artists/467690865/heron-oblivion\" target=\"_blank\" rel=\"noopener\">Heron Oblivion\u003c/a>, the punk-scuzz of \u003ca href=\"https://www.npr.org/2017/03/08/519032666/songs-we-love-feral-ohms-teenage-god-born-to-die\" target=\"_blank\" rel=\"noopener\">Feral Ohms\u003c/a> and the Beat poet solo guitar-noise of \u003ca href=\"https://silvercurrent.bandcamp.com/album/the-odyssey-cult-limited-edition-bundles\" target=\"_blank\" rel=\"noopener\">The Odyssey Cult\u003c/a>. But Howlin Rain has always been the flyaway of Ethan Miller’s wild hair.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Howlin Rain was originally formed as the melodic antidote to Comets, a place for Miller to write \u003cem>sangin’ \u003c/em>songs. Its discography has run the gamut from burned-out psych to bucking country-rock to folk ballads to the big-budget-blues-rock of the Rick Rubin era, which let Miller \u003ca href=\"https://www.kqed.org/arts/13109824\">quit his day job\u003c/a> for a few years. Point is, for an artist who regularly flies off on weird tangents, his outlet for straight-ahead rock music has often been his most unpredictable.\u003c/p>\n\u003cp>“Alligator Bride” is Howlin Rain in full-on \u003ca href=\"https://www.npr.org/artists/15050998/neil-young\" target=\"_blank\" rel=\"noopener\">Crazy Horse\u003c/a> mode, as big guitar chords are lashed with feedback. The band’s new album, \u003cem>The Alligator Bride\u003c/em>, features bassist Jeff McElroy, guitarist Dan Cervantes and drummer Justin Smith; their chemistry seems loose and ragged, like an American flag weathered from too many storms. That’s a natural state of mind for Miller, but Howlin Rain’s music has never felt so anthemic.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" allow=\"autoplay\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/416263572&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>\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>Miller tells NPR that Howlin Rain’s new song meditates on what it means to be American:\u003c/p>\n\u003cblockquote>\n\u003cp>The song “Alligator Bride” began life as a hushed solo affair, a 3 a.m. song, all quiet palm strums and vulnerable, fragile melodies. When I took it to the guys in rehearsal, thinking maybe they could sprinkle some light emotional dust on it here and there, Dan, our guitarist, suggested we try the full-on fuzzy roll-and-tumble version that you hear now. When I got back to the border motel that night and listened to the rehearsal recording, I loved it. In its new skin it sounded like late-’70s/early-’80s live Crazy Horse to me — and who doesn’t love that?!\u003c/p>\n\u003cp>The lyrics originally came to me while scratching out rough poetry about “America” — the past, the present, the future of the country and what it meant to be American in 2016 (the year the lyrics were written). I was trying to grapple with what it meant to still carry the dreams and the memories and myths of the collective American conscious and unconscious and to stand on the cusp of the very real ending of any semblance of “old America” while being swept into an extremely fast future experience — one that is proving too slippery for us to keep up with our very perceptions of it.\u003c/p>\n\u003cp>Despite some of the steps forward the country had made in the previous decade, I saw America as grappling with a very real spiritual and identity crisis in early 2016. The country was boiling over from the center with a complex blend of hope and hopelessness, idealism and consumer nihilism, joy and anger, suffering and salvation. I wanted to endow the song with the echoes of that complex soul-leakage in simple terms; the wonders of our myths, our weirdness, our fearsome and too often wrong-headed individuality, our quickness to slip into the electrified momentum of the zeitgeist and, of course, at the center of it all, The American Dream; 330 million different little flames, unique to each human in the collective, carried together in a blinding, beautiful fireball that often burns and casts off as many in its orbit as it illuminates.\u003c/p>\n\u003cp>By chance, we recorded the song “Alligator Bride” on the evening of the presidential election, Nov. 8, 2016. As we emerged from the tracking room at the Mansion basement in Chinatown and saw the news and the results coming in, the song and its lyrics instantly took on an entirely new set of layers of meaning and, of course, the intangible, the absolute weirdness, the bombast and the roving definition of what it means to be an American in 2016 shifted once again beneath our feet and the future continued on, faster than most of us have properly figured out how to be in it.\u003c/p>\n\u003c/blockquote>\n\u003cp>Miller is completely earnest in everything he creates, but when he sings with his band in unison, “The wayward mountains, the velvet wolves, the alligator bride / We all slept under a tin roof four feet off of the ground / Wasn’t it loud when the rain came down,” he’s more exposed than ever before. Clearly a nerve has burst, and he’s letting us in to study the wound up close.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>The Alligator Bride \u003cem>comes out June 8 via \u003c/em>\u003ca href=\"https://silvercurrent.bandcamp.com/album/the-alligator-bride\">\u003cem>Silver Current\u003c/em>\u003c/a>\u003cem>. \u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Songs+We+Love%3A+Howlin+Rain%2C+%27Alligator+Bride%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13828618/songs-we-love-howlin-rain-alligator-bride",
"authors": [
"byline_arts_13828618"
],
"categories": [
"arts_69"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13828619",
"label": "arts_137"
},
"arts_13828649": {
"type": "posts",
"id": "arts_13828649",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13828649",
"score": null,
"sort": [
1522954829000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 4525
},
"blocks": [],
"publishDate": 1522954829,
"format": "image",
"title": "Two Musicians Who Spend Their Profits on Paying Collaborators",
"headTitle": "Two Musicians Who Spend Their Profits on Paying Collaborators | KQED",
"content": "\u003cp>Most of Lilie Hoy and James Jackson’s artistically inclined classmates from their Waldorf high school in upstate New York moved to New York City to pursue their creative careers. The married bandmates wanted to follow a less typical path, so seven years ago, when they were both 20 years old, they relocated to the Bay Area along with three bandmates from their art pop outfit, \u003ca href=\"http://yassouband.com/\" target=\"_blank\" rel=\"noopener\">Yassou\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13828787\" class=\"wp-caption alignright\" style=\"max-width: 250px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13828787\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/Yassou-stats-250b.jpg\" alt=\"\" width=\"250\" height=\"333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Yassou-stats-250b.jpg 250w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Yassou-stats-250b-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Yassou-stats-250b-240x320.jpg 240w\" sizes=\"(max-width: 250px) 100vw, 250px\">\u003cfigcaption class=\"wp-caption-text\">By the numbers. \u003ccite>(KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“This seemed like a much more manageable way to live in an urban environment. It’s smaller, it’s more beautiful, and it has that nature element — we really fell in love with it,” says Jackson.\u003c/p>\n\u003cp>But as costs of living began to skyrocket across the Bay Area, a more sobering reality set in. “We were pretty naive, as well,” he continues. “Maybe in retrospect we would have gone to L.A. or stayed put. We don’t regret it, but we weren’t thinking it out financially. We were like, ‘Let’s move.’”\u003c/p>\n\u003cp>In the last fiscal year, the couple made $95,000 between the two of them, and they estimate that $5,000 of that is directly from their art. (In previous years, they’ve made up to a quarter of their earnings from music, but the number fluctuates depending on shows and commissions.)\u003c/p>\n\u003cfigure id=\"attachment_13828664\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13828664\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/LJ1-800x450.jpg\" alt=\"James Jackson and Lilie Hoy had a residency at Zoo Labs in September 2017, which gives them free access to the studio.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/LJ1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/LJ1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/LJ1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/LJ1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/LJ1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/LJ1-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/LJ1-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/LJ1-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/LJ1-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/LJ1-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Yassou had a residency at Zoo Labs in September 2017, which gives the band free access to the studio. \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On a recent afternoon, Jackson and Hoy recline on a leather sofa in the control room of a recording studio at \u003ca href=\"http://zoolabs.org/\" target=\"_blank\" rel=\"noopener\">Zoo Labs\u003c/a>, the West Oakland music incubator where Yassou had a residency last September. Working in this studio, with its state-of-the-art mixer, speaker system, and collection of musical instruments, would ordinarily cost them nearly $1,000 for a 10-12 hour day. But because they’re alumni of Zoo Labs’ residency program, it’s free as long as they’re working on a long-term project. Today, Hoy and Jackson are fine-tuning a score for an indie rock ballet based on \u003cem>Mad Max: Fury Road\u003c/em>, coming to the Chapel this September.\u003c/p>\n\u003cdiv class=\"mceTemp\">\u003c/div>\n\u003cp>“We really like that sort of mash-up of classical with something more pop-oriented,” says Hoy. “Something a little bit more emotionally raw yet accessible.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Jackson and Hoy’s band Yassou has had some big opportunities over the past few years; since releasing their \u003ca href=\"https://www.eastbayexpress.com/oakland/yassou-finds-beauty-in-sadness/Content?oid=4580696\" target=\"_blank\" rel=\"noopener\">a stunning music video EP in 2015\u003c/a>, they opened for veteran indie rockers the National at the Massachusetts Museum of Contemporary Art in 2016 and composed the score for the \u003ca href=\"https://www.louisvilleballet.org/backstage/2016/09/review-mixed-program-opens-louisville-ballets-65th-season/\" target=\"_blank\" rel=\"noopener\">Louisville Ballet’s 2016 season opener\u003c/a>.\u003c/p>\n\u003cp>But even as the bandmates fill their weekly calendar with prestigious projects — like their upcoming performance with a string quartet at a gala at Minnesota Street Project — the monetary payoff hasn’t been enough to for them to live off their music entirely.\u003c/p>\n\u003ch3>Cutting Costs and Eliminating Distractions\u003c/h3>\n\u003cp>“The dream is to buy a house off music someday and live off of it. But for now, I make most of my money at Outerlands,” says Hoy, referring to the upscale Outer Sunset restaurant where she bartends full time. She’s the band’s lead singer and handles most of the visuals, like the short film she directed to accompany their next EP.[contextly_sidebar id=”pGZCnxun0YJmb5v7O0viUvbbh8VPrXhX”]\u003c/p>\n\u003cp>“We definitely don’t live lavishly. We enjoy our lives, but to maintain that lifestyle strictly off music, we’d have to be really successful,” says Jackson.\u003c/p>\n\u003cp>He worked in food service til August, but quit to focus more time on Yassou. The band doesn’t have a management team, so in addition to being the lead songwriter and producer, Jackson takes on many of the managerial tasks, like coordinating collaborators and handling PR. To make ends meet, he teaches private music production lessons to local students in the couple’s home base of Mill Valley for $50 an hour.\u003c/p>\n\u003cp>In search of more space to rehearse four years ago, Jackson and Hoy moved from a one-bedroom apartment with roommates in San Francisco to a cottage in Mill Valley, the Marin County town about 15 miles north of the city. Rent is $1,900 a month, but they have a two-bedroom apartment to themselves, with a basement large enough for their entire band to rehearse. There’s enough distance from their neighbors to avoid noise complaints, something that wouldn’t have been feasible had they stayed in San Francisco.\u003c/p>\n\u003cfigure id=\"attachment_13828668\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13828668\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/LJ2-800x534.jpg\" alt=\"To make ends meet, James Jackson takes on teaching gigs while Lilly Hoy bartends full time. Most of their earnings from music go to paying collaborators. \" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/LJ2-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/LJ2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/LJ2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/LJ2-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/LJ2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/LJ2-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/LJ2-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/LJ2-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/LJ2-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/LJ2-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">To make ends meet, James Jackson takes on teaching gigs while Lilie Hoy bartends full time. Most of their earnings from music go to paying collaborators. \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mill Valley, a mostly quiet, family-oriented town, doesn’t have nearly as many distractions for two twenty-somethings as San Francisco does, either, which helps the band stay productive and cut costs. “Staying home as much as possible, you get more work done that way,” says Hoy. “There’s not much temptation in the form of nightlife.”\u003c/p>\n\u003ch3>Staying True to Their Creative Vision\u003c/h3>\n\u003cp>The financial aspect of playing with a full band (and, in their recent performances, a string ensemble) comes with challenges, but Jackson and Hoy are uncompromising in their vision of performing with live instrumentalists.\u003c/p>\n\u003cp>“It’s always been, for me, a huge part of our identity,” says Hoy. “Some of my favorite ways to create music is having the input of so many different people with such different tastes and backgrounds. It’s that as well as their own commitment to be a part of the project. We all have to be a bit in love with it to keep doing it. It becomes like a chosen family.”\u003c/p>\n\u003cp>One of the major difficulties is scheduling. With Hoy’s full-time job at Outerlands, Jackson’s teaching gigs, and the other bandmates’ various day jobs, Yassou only have one day a week to get together — which is usually on Mondays, when they go to Zoo Labs. “It takes like five times as long” to complete projects, says Jackson, adding that many of their collaborators donate their time.\u003c/p>\n\u003cp>“It’s no one’s fault, but it’s difficult to collaborate if there’s not much money involved,” he says. “These other people have to survive; they’re gigging or they’re teaching. Everyone’s hustling really hard, so unless you can supply them with something it’s hard for them to give their time.”\u003c/p>\n\u003cdiv class=\"mceTemp\">\u003c/div>\n\u003cfigure id=\"attachment_13828666\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13828666\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/LJ4-800x534.jpg\" alt=\"James Jackson and Lilly Hoy's indie rock outfit Yassou regularly collaborates with string quartets and ballets.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/LJ4-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/LJ4-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/LJ4-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/LJ4-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/LJ4.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/LJ4-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/LJ4-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/LJ4-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/LJ4-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/LJ4-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">With their various side gigs, the members of Yassou say collaborations can take five times as long as they normally would. \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We’re all sort of in this for the dream of being in a band,” says Hoy. “[Our bandmates] moved out here with us for that reason, not to make money.”\u003c/p>\n\u003cp>Yassou split the money they make from their gigs among all five bandmates, and sometimes additional musicians. The band has received generous compensation for some of their projects, but because Jackson and Hoy prioritize paying everyone else before paying themselves, their take-home pay is often scant. The Louisville Ballet, for instance, paid the band $15,000 for their commission. But most of the money went into travel, a former bandmate’s fee for helping score the string arrangement, paying the other musicians, and taxes.\u003c/p>\n\u003cp>“That was a big learning curve,” says Jackson. “When you think of that $15,000 — I knew about taxes, but you’re used to getting a paycheck where it’s already all taken out. But everything we put aside from that commission got eaten up by taxes the next year.”\u003c/p>\n\u003cp>The opening gig for the National at the Mass MoCA, one of Yassou’s most high-profile performances, paid $1,000. But the entire fee went into flying out Hoy and Jackson’s bandmates for the show. The band stayed at Hoy’s mother’s house to save money on accommodations. While on the East Coast, they booked a “warm-up” show in their hometown of Hudson, New York to offset some of the costs of the trip.\u003c/p>\n\u003cp>“Financially, it’s not feasible. It’s the reason we don’t tour,” says Jackson. “Before, to be successful, you’d just get in a van and drive around the country for two years. Now we can’t do that with this many people.”\u003c/p>\n\u003cp>Jackson and Hoy realize that trying to make it as musicians is a risky proposition in such a cost-prohibitive region with little music industry infrastructure. But they say that their creative community is what keeps them rooted in the Bay Area. As Jackson says, “If we didn’t have the spot where we live, places like Zoo Labs, and our small group of collaborators — who are so generous and such a big part of what we do — then we could have been gone a long time ago for sure.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>For more stories in ‘The Hustle,’ \u003ca href=\"https://www.kqed.org/arts/tag/the-hustle\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Artists, we want to know: what’s your hustle? Take our Bay Area artist survey \u003ca href=\"https://www.kqed.org/arts/13827433/bay-area-artists-we-want-to-know-whats-your-hustle\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1605,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 28
},
"modified": 1705028123,
"excerpt": "James Jackson and Lilie Hoy, the husband-wife nucleus of the band Yassou, juggle side gigs to fund ambitious collaborations. ",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "James Jackson and Lilie Hoy, the husband-wife nucleus of the band Yassou, juggle side gigs to fund ambitious collaborations. ",
"title": "Two Musicians Who Spend Their Profits on Paying Collaborators | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Two Musicians Who Spend Their Profits on Paying Collaborators",
"datePublished": "2018-04-05T12:00:29-07:00",
"dateModified": "2024-01-11T18:55:23-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "the-hustle-two-musicians-who-spend-their-profits-on-paying-collaborators",
"status": "publish",
"templateType": "standard",
"featuredImageType": "standard",
"sticky": false,
"path": "/arts/13828649/the-hustle-two-musicians-who-spend-their-profits-on-paying-collaborators",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Most of Lilie Hoy and James Jackson’s artistically inclined classmates from their Waldorf high school in upstate New York moved to New York City to pursue their creative careers. The married bandmates wanted to follow a less typical path, so seven years ago, when they were both 20 years old, they relocated to the Bay Area along with three bandmates from their art pop outfit, \u003ca href=\"http://yassouband.com/\" target=\"_blank\" rel=\"noopener\">Yassou\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13828787\" class=\"wp-caption alignright\" style=\"max-width: 250px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13828787\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/Yassou-stats-250b.jpg\" alt=\"\" width=\"250\" height=\"333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Yassou-stats-250b.jpg 250w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Yassou-stats-250b-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Yassou-stats-250b-240x320.jpg 240w\" sizes=\"(max-width: 250px) 100vw, 250px\">\u003cfigcaption class=\"wp-caption-text\">By the numbers. \u003ccite>(KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“This seemed like a much more manageable way to live in an urban environment. It’s smaller, it’s more beautiful, and it has that nature element — we really fell in love with it,” says Jackson.\u003c/p>\n\u003cp>But as costs of living began to skyrocket across the Bay Area, a more sobering reality set in. “We were pretty naive, as well,” he continues. “Maybe in retrospect we would have gone to L.A. or stayed put. We don’t regret it, but we weren’t thinking it out financially. We were like, ‘Let’s move.’”\u003c/p>\n\u003cp>In the last fiscal year, the couple made $95,000 between the two of them, and they estimate that $5,000 of that is directly from their art. (In previous years, they’ve made up to a quarter of their earnings from music, but the number fluctuates depending on shows and commissions.)\u003c/p>\n\u003cfigure id=\"attachment_13828664\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13828664\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/LJ1-800x450.jpg\" alt=\"James Jackson and Lilie Hoy had a residency at Zoo Labs in September 2017, which gives them free access to the studio.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/LJ1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/LJ1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/LJ1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/LJ1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/LJ1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/LJ1-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/LJ1-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/LJ1-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/LJ1-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/LJ1-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Yassou had a residency at Zoo Labs in September 2017, which gives the band free access to the studio. \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On a recent afternoon, Jackson and Hoy recline on a leather sofa in the control room of a recording studio at \u003ca href=\"http://zoolabs.org/\" target=\"_blank\" rel=\"noopener\">Zoo Labs\u003c/a>, the West Oakland music incubator where Yassou had a residency last September. Working in this studio, with its state-of-the-art mixer, speaker system, and collection of musical instruments, would ordinarily cost them nearly $1,000 for a 10-12 hour day. But because they’re alumni of Zoo Labs’ residency program, it’s free as long as they’re working on a long-term project. Today, Hoy and Jackson are fine-tuning a score for an indie rock ballet based on \u003cem>Mad Max: Fury Road\u003c/em>, coming to the Chapel this September.\u003c/p>\n\u003cdiv class=\"mceTemp\">\u003c/div>\n\u003cp>“We really like that sort of mash-up of classical with something more pop-oriented,” says Hoy. “Something a little bit more emotionally raw yet accessible.”\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>Jackson and Hoy’s band Yassou has had some big opportunities over the past few years; since releasing their \u003ca href=\"https://www.eastbayexpress.com/oakland/yassou-finds-beauty-in-sadness/Content?oid=4580696\" target=\"_blank\" rel=\"noopener\">a stunning music video EP in 2015\u003c/a>, they opened for veteran indie rockers the National at the Massachusetts Museum of Contemporary Art in 2016 and composed the score for the \u003ca href=\"https://www.louisvilleballet.org/backstage/2016/09/review-mixed-program-opens-louisville-ballets-65th-season/\" target=\"_blank\" rel=\"noopener\">Louisville Ballet’s 2016 season opener\u003c/a>.\u003c/p>\n\u003cp>But even as the bandmates fill their weekly calendar with prestigious projects — like their upcoming performance with a string quartet at a gala at Minnesota Street Project — the monetary payoff hasn’t been enough to for them to live off their music entirely.\u003c/p>\n\u003ch3>Cutting Costs and Eliminating Distractions\u003c/h3>\n\u003cp>“The dream is to buy a house off music someday and live off of it. But for now, I make most of my money at Outerlands,” says Hoy, referring to the upscale Outer Sunset restaurant where she bartends full time. She’s the band’s lead singer and handles most of the visuals, like the short film she directed to accompany their next EP.\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“We definitely don’t live lavishly. We enjoy our lives, but to maintain that lifestyle strictly off music, we’d have to be really successful,” says Jackson.\u003c/p>\n\u003cp>He worked in food service til August, but quit to focus more time on Yassou. The band doesn’t have a management team, so in addition to being the lead songwriter and producer, Jackson takes on many of the managerial tasks, like coordinating collaborators and handling PR. To make ends meet, he teaches private music production lessons to local students in the couple’s home base of Mill Valley for $50 an hour.\u003c/p>\n\u003cp>In search of more space to rehearse four years ago, Jackson and Hoy moved from a one-bedroom apartment with roommates in San Francisco to a cottage in Mill Valley, the Marin County town about 15 miles north of the city. Rent is $1,900 a month, but they have a two-bedroom apartment to themselves, with a basement large enough for their entire band to rehearse. There’s enough distance from their neighbors to avoid noise complaints, something that wouldn’t have been feasible had they stayed in San Francisco.\u003c/p>\n\u003cfigure id=\"attachment_13828668\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13828668\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/LJ2-800x534.jpg\" alt=\"To make ends meet, James Jackson takes on teaching gigs while Lilly Hoy bartends full time. Most of their earnings from music go to paying collaborators. \" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/LJ2-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/LJ2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/LJ2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/LJ2-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/LJ2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/LJ2-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/LJ2-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/LJ2-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/LJ2-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/LJ2-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">To make ends meet, James Jackson takes on teaching gigs while Lilie Hoy bartends full time. Most of their earnings from music go to paying collaborators. \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mill Valley, a mostly quiet, family-oriented town, doesn’t have nearly as many distractions for two twenty-somethings as San Francisco does, either, which helps the band stay productive and cut costs. “Staying home as much as possible, you get more work done that way,” says Hoy. “There’s not much temptation in the form of nightlife.”\u003c/p>\n\u003ch3>Staying True to Their Creative Vision\u003c/h3>\n\u003cp>The financial aspect of playing with a full band (and, in their recent performances, a string ensemble) comes with challenges, but Jackson and Hoy are uncompromising in their vision of performing with live instrumentalists.\u003c/p>\n\u003cp>“It’s always been, for me, a huge part of our identity,” says Hoy. “Some of my favorite ways to create music is having the input of so many different people with such different tastes and backgrounds. It’s that as well as their own commitment to be a part of the project. We all have to be a bit in love with it to keep doing it. It becomes like a chosen family.”\u003c/p>\n\u003cp>One of the major difficulties is scheduling. With Hoy’s full-time job at Outerlands, Jackson’s teaching gigs, and the other bandmates’ various day jobs, Yassou only have one day a week to get together — which is usually on Mondays, when they go to Zoo Labs. “It takes like five times as long” to complete projects, says Jackson, adding that many of their collaborators donate their time.\u003c/p>\n\u003cp>“It’s no one’s fault, but it’s difficult to collaborate if there’s not much money involved,” he says. “These other people have to survive; they’re gigging or they’re teaching. Everyone’s hustling really hard, so unless you can supply them with something it’s hard for them to give their time.”\u003c/p>\n\u003cdiv class=\"mceTemp\">\u003c/div>\n\u003cfigure id=\"attachment_13828666\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13828666\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/LJ4-800x534.jpg\" alt=\"James Jackson and Lilly Hoy's indie rock outfit Yassou regularly collaborates with string quartets and ballets.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/LJ4-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/LJ4-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/LJ4-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/LJ4-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/LJ4.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/LJ4-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/LJ4-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/LJ4-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/LJ4-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/LJ4-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">With their various side gigs, the members of Yassou say collaborations can take five times as long as they normally would. \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We’re all sort of in this for the dream of being in a band,” says Hoy. “[Our bandmates] moved out here with us for that reason, not to make money.”\u003c/p>\n\u003cp>Yassou split the money they make from their gigs among all five bandmates, and sometimes additional musicians. The band has received generous compensation for some of their projects, but because Jackson and Hoy prioritize paying everyone else before paying themselves, their take-home pay is often scant. The Louisville Ballet, for instance, paid the band $15,000 for their commission. But most of the money went into travel, a former bandmate’s fee for helping score the string arrangement, paying the other musicians, and taxes.\u003c/p>\n\u003cp>“That was a big learning curve,” says Jackson. “When you think of that $15,000 — I knew about taxes, but you’re used to getting a paycheck where it’s already all taken out. But everything we put aside from that commission got eaten up by taxes the next year.”\u003c/p>\n\u003cp>The opening gig for the National at the Mass MoCA, one of Yassou’s most high-profile performances, paid $1,000. But the entire fee went into flying out Hoy and Jackson’s bandmates for the show. The band stayed at Hoy’s mother’s house to save money on accommodations. While on the East Coast, they booked a “warm-up” show in their hometown of Hudson, New York to offset some of the costs of the trip.\u003c/p>\n\u003cp>“Financially, it’s not feasible. It’s the reason we don’t tour,” says Jackson. “Before, to be successful, you’d just get in a van and drive around the country for two years. Now we can’t do that with this many people.”\u003c/p>\n\u003cp>Jackson and Hoy realize that trying to make it as musicians is a risky proposition in such a cost-prohibitive region with little music industry infrastructure. But they say that their creative community is what keeps them rooted in the Bay Area. As Jackson says, “If we didn’t have the spot where we live, places like Zoo Labs, and our small group of collaborators — who are so generous and such a big part of what we do — then we could have been gone a long time ago for sure.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>For more stories in ‘The Hustle,’ \u003ca href=\"https://www.kqed.org/arts/tag/the-hustle\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/em>\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>\u003cem>Artists, we want to know: what’s your hustle? Take our Bay Area artist survey \u003ca href=\"https://www.kqed.org/arts/13827433/bay-area-artists-we-want-to-know-whats-your-hustle\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13828649/the-hustle-two-musicians-who-spend-their-profits-on-paying-collaborators",
"authors": [
"11387"
],
"series": [
"arts_4525"
],
"categories": [
"arts_69"
],
"tags": [
"arts_1118",
"arts_596",
"arts_4213"
],
"featImg": "arts_13828799",
"label": "arts_4525"
},
"arts_13828633": {
"type": "posts",
"id": "arts_13828633",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13828633",
"score": null,
"sort": [
1522905052000
]
},
"guestAuthors": [],
"slug": "on-the-air-rachael-and-sahbas-do-list-picks-for-apr-7-2018",
"title": "On the Air: Rachael and Sahba's Do List Picks for Apr. 7, 2018",
"publishDate": 1522905052,
"format": "audio",
"headTitle": "On the Air: Rachael and Sahba’s Do List Picks for Apr. 7, 2018 | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003cp>Rachael Myrow here, pinch-hitting for Cy Musiker this week. Naturally, I picked a co-host from Palo Alto — visual artist and salon organizer \u003ca href=\"http://sahbashere.com\" target=\"_blank\" rel=\"noopener\">Sabha Shere\u003c/a> — and we talked about the upcoming concerts and exhibitions we’re most excited about.\u003c/p>\n\u003cp>\u003cstrong>Apr. 6–8\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13828634/science-parties-with-pop-culture-at-silicon-valley-comic-con-2018\" target=\"_blank\" rel=\"noopener\">Science Parties With Pop Culture at Silicon Valley Comic Con 2018\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Apr. 6:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13828637/kronos-quartet-plays-live-to-a-found-footage-homage-to-hitchcock\" target=\"_blank\" rel=\"noopener\">Kronos Quartet Plays Live to Green Fog, a Found Footage Homage to Hitchcock\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Apr. 9–14: \u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13828645/other-minds-festival-celebrates-cerebral-and-witty-sound-poetry\" target=\"_blank\" rel=\"noopener\">Other Minds Festival Celebrates Cerebral and Witty Sound Poetry\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Mar. 24– Aug. 12\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13828651/cult-of-the-machine-explores-the-magnetic-pull-of-industrial-design\" target=\"_blank\" rel=\"noopener\">Cult of the Machine Explores the Magnetic Pull of Industrial Design\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Mar. 30– Apr. 29:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13828662/in-a-time-of-economic-extremes-shakespeares-timon-recast-as-a-silicon-valley-ceo\" target=\"_blank\" rel=\"noopener\">In a Time of Economic Extremes, Shakespeare’s Timon Recast as a Silicon Valley CEO\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Apr. 6: \u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13828695/haim-plays-the-greek-theatre-on-the-road-to-coachella\" target=\"_blank\" rel=\"noopener\">Haim Plays at the Greek Theatre in Berkeley on The Road to Coachella\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Apr. 20–22\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13828705/the-classic-chicano-novel-reimagined-as-an-opera\" target=\"_blank\" rel=\"noopener\">The Classic Chicano Novel ‘Bless Me, Última’ Reimagined as an Opera\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Apr. 27-28\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13828723/epic-tale-from-the-ancient-indian-ramayan-takes-flight-in-san-francisco\" target=\"_blank\" rel=\"noopener\">Epic Tale From the Ancient Indian Ramayan Takes Flight in San Francisco\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
"blocks": [],
"excerpt": "The Do List highlights what we're most excited about in April, including Silicon Valley Comic Con, Bless Me, Ultima and Green Fog.",
"status": "publish",
"parent": 0,
"modified": 1726771171,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 12,
"wordCount": 175
},
"headData": {
"title": "On the Air: Rachael and Sahba's Do List Picks for Apr. 7, 2018 | KQED",
"description": "The Do List highlights what we're most excited about in April, including Silicon Valley Comic Con, Bless Me, Ultima and Green Fog.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "On the Air: Rachael and Sahba's Do List Picks for Apr. 7, 2018",
"datePublished": "2018-04-04T22:10:52-07:00",
"dateModified": "2024-09-19T11:39:31-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"audioUrl": "https://www.kqed.org/.stream/anon/radio/thedolist/2018/04/TDL20180404.mp3",
"sticky": false,
"path": "/arts/13828633/on-the-air-rachael-and-sahbas-do-list-picks-for-apr-7-2018",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Rachael Myrow here, pinch-hitting for Cy Musiker this week. Naturally, I picked a co-host from Palo Alto — visual artist and salon organizer \u003ca href=\"http://sahbashere.com\" target=\"_blank\" rel=\"noopener\">Sabha Shere\u003c/a> — and we talked about the upcoming concerts and exhibitions we’re most excited about.\u003c/p>\n\u003cp>\u003cstrong>Apr. 6–8\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13828634/science-parties-with-pop-culture-at-silicon-valley-comic-con-2018\" target=\"_blank\" rel=\"noopener\">Science Parties With Pop Culture at Silicon Valley Comic Con 2018\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Apr. 6:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13828637/kronos-quartet-plays-live-to-a-found-footage-homage-to-hitchcock\" target=\"_blank\" rel=\"noopener\">Kronos Quartet Plays Live to Green Fog, a Found Footage Homage to Hitchcock\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Apr. 9–14: \u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13828645/other-minds-festival-celebrates-cerebral-and-witty-sound-poetry\" target=\"_blank\" rel=\"noopener\">Other Minds Festival Celebrates Cerebral and Witty Sound Poetry\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Mar. 24– Aug. 12\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13828651/cult-of-the-machine-explores-the-magnetic-pull-of-industrial-design\" target=\"_blank\" rel=\"noopener\">Cult of the Machine Explores the Magnetic Pull of Industrial Design\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>\u003cstrong>Mar. 30– Apr. 29:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13828662/in-a-time-of-economic-extremes-shakespeares-timon-recast-as-a-silicon-valley-ceo\" target=\"_blank\" rel=\"noopener\">In a Time of Economic Extremes, Shakespeare’s Timon Recast as a Silicon Valley CEO\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Apr. 6: \u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13828695/haim-plays-the-greek-theatre-on-the-road-to-coachella\" target=\"_blank\" rel=\"noopener\">Haim Plays at the Greek Theatre in Berkeley on The Road to Coachella\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Apr. 20–22\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13828705/the-classic-chicano-novel-reimagined-as-an-opera\" target=\"_blank\" rel=\"noopener\">The Classic Chicano Novel ‘Bless Me, Última’ Reimagined as an Opera\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Apr. 27-28\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13828723/epic-tale-from-the-ancient-indian-ramayan-takes-flight-in-san-francisco\" target=\"_blank\" rel=\"noopener\">Epic Tale From the Ancient Indian Ramayan Takes Flight in San Francisco\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13828633/on-the-air-rachael-and-sahbas-do-list-picks-for-apr-7-2018",
"authors": [
"251"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_966",
"arts_74",
"arts_69",
"arts_75",
"arts_967",
"arts_70"
],
"tags": [
"arts_3669",
"arts_3419",
"arts_1942",
"arts_1414",
"arts_879",
"arts_1210",
"arts_3607",
"arts_1118",
"arts_2244",
"arts_3772",
"arts_2265",
"arts_626"
],
"featImg": "arts_13828738",
"label": "arts_140"
},
"arts_13828705": {
"type": "posts",
"id": "arts_13828705",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13828705",
"score": null,
"sort": [
1522902980000
]
},
"guestAuthors": [],
"slug": "the-classic-chicano-novel-reimagined-as-an-opera",
"title": "The Classic Chicano Novel Reimagined as an Opera",
"publishDate": 1522902980,
"format": "standard",
"headTitle": "The Classic Chicano Novel Reimagined as an Opera | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003cp>\u003ca href=\"http://www.operacultura.org/calendar/BMU-West-Coast-Premiere_2018\" target=\"_blank\" rel=\"noopener\">Bless Me, Última\u003c/a>, a Mexican-American opera by composer/librettist \u003ca href=\"https://www.hectorarmienta.com\" target=\"_blank\" rel=\"noopener\">Héctor Armienta\u003c/a>, premiered in Albuquerque, but will have its West Coast premiere in San Jose.\u003c/p>\n\u003cp>The opera, co-produced by \u003ca href=\"http://www.operasouthwest.org\" target=\"_blank\" rel=\"noopener\">Opera Southwest\u003c/a> and the \u003ca href=\"http://www.nhccnm.org\" target=\"_blank\" rel=\"noopener\">National Hispanic Cultural Center\u003c/a>, is based on the beloved coming-of-age novel by Rudolfo Anaya, and this is a rare opportunity to see the book come to life on the operatic stage.\u003c/p>\n\u003cp>“It’s a really powerful story and it really captures New Mexican culture,” says Armienta. “It brings together the Spanish culture, the Native American culture, the Mexican culture and the spiritual power of that place.”\u003c/p>\n\u003cp>The story is about the relationship between a young boy, Antonio Márez y Luna, and his mentor into the spiritual universe of New Mexico, the Última of the opera’s name. She is a curandera, a traditional Native healer or shaman, and she’s able to connect to the power of the natural world, as embodied in the rivers and plains of New Mexico.\u003c/p>\n\u003cp>Check out this trailer for a 2012 movie based on the book.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=AZigUok02nw\u003c/p>\n\u003cp>The novel’s spiritual message has proven controversial over the years, and a number of school districts have banned the book or been asked to consider doing so, even as it has become canonical in many classrooms across the country.\u003c/p>\n\u003cp>But \u003cem>Bless Me, Última\u003c/em> remains relevant and compelling for new audiences.\u003c/p>\n\u003cp>Armienta’s opera gives new audiences a chance to appreciate the classic tale, and he says some ticket holders for the San Jose performances will be traveling from as far away as Fresno and Sacramento.\u003c/p>\n\u003cp>The role of Antonio is played by Nicholas McKee, soprano boy wonder from the crazy good \u003ca href=\"https://ragazzi.org\" target=\"_blank\" rel=\"noopener\">Ragazzi Boys Chorus\u003c/a> in Redwood City. “A phenomenal young singer and a wonderful actor,” Armienta says.\u003c/p>\n\u003cfigure id=\"attachment_13828725\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13828725\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/20180402_143344-2-800x773.jpg\" alt=\"Suzanna Guzman and Nicholas McKee rehearse ahead of Bless Me, Última's open in San Jose later this month.\" width=\"800\" height=\"773\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/20180402_143344-2-800x773.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/20180402_143344-2-160x155.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/20180402_143344-2-768x742.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/20180402_143344-2-1020x986.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/20180402_143344-2-1920x1855.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/20180402_143344-2-1180x1140.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/20180402_143344-2-960x928.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/20180402_143344-2-240x232.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/20180402_143344-2-375x362.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/20180402_143344-2-520x502.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/20180402_143344-2-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/20180402_143344-2.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Suzanna Guzman and Nicholas McKee rehearse ahead of Bless Me, Última’s open in San Jose later this month. \u003ccite>(Photo: Courtesy of Tamara Liu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Última is played by mezzo-soprano \u003ca href=\"http://www.suzannaguzman.com\" target=\"_blank\" rel=\"noopener\">Suzanna Guzmán.”She is Última. She captures this elderly woman who connects to nature in a powerful way. She’s just a great actress,” Armienta says.\u003c/a>\u003c/p>\n\u003cp>The opera’s chorus will be performed by more than a dozen members of San Mateo’s \u003ca href=\"http://www.masterworks.org\" target=\"_blank\" rel=\"noopener\">Masterworks Chorale\u003c/a>.\u003c/p>\n\u003cp>\u003cem>Bless Me, Última\u003c/em> runs April 20-22 at the Mexican Heritage Theater, in the School of Arts and Culture in San Jose.\u003ca href=\"http://www.operacultura.org/calendar/BMU-West-Coast-Premiere_2018\">Details here.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
"blocks": [],
"excerpt": "'Bless Me, Última', a beloved novel about Chicano culture in 1940s rural New Mexico comes to life in this opera by Héctor Armienta.",
"status": "publish",
"parent": 0,
"modified": 1726771173,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 15,
"wordCount": 440
},
"headData": {
"title": "The Classic Chicano Novel Reimagined as an Opera | KQED",
"description": "'Bless Me, Última', a beloved novel about Chicano culture in 1940s rural New Mexico comes to life in this opera by Héctor Armienta.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "The Classic Chicano Novel Reimagined as an Opera",
"datePublished": "2018-04-04T21:36:20-07:00",
"dateModified": "2024-09-19T11:39:33-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprByline": "April 20-22 at the Mexican Heritage Theater",
"path": "/arts/13828705/the-classic-chicano-novel-reimagined-as-an-opera",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://www.operacultura.org/calendar/BMU-West-Coast-Premiere_2018\" target=\"_blank\" rel=\"noopener\">Bless Me, Última\u003c/a>, a Mexican-American opera by composer/librettist \u003ca href=\"https://www.hectorarmienta.com\" target=\"_blank\" rel=\"noopener\">Héctor Armienta\u003c/a>, premiered in Albuquerque, but will have its West Coast premiere in San Jose.\u003c/p>\n\u003cp>The opera, co-produced by \u003ca href=\"http://www.operasouthwest.org\" target=\"_blank\" rel=\"noopener\">Opera Southwest\u003c/a> and the \u003ca href=\"http://www.nhccnm.org\" target=\"_blank\" rel=\"noopener\">National Hispanic Cultural Center\u003c/a>, is based on the beloved coming-of-age novel by Rudolfo Anaya, and this is a rare opportunity to see the book come to life on the operatic stage.\u003c/p>\n\u003cp>“It’s a really powerful story and it really captures New Mexican culture,” says Armienta. “It brings together the Spanish culture, the Native American culture, the Mexican culture and the spiritual power of that place.”\u003c/p>\n\u003cp>The story is about the relationship between a young boy, Antonio Márez y Luna, and his mentor into the spiritual universe of New Mexico, the Última of the opera’s name. She is a curandera, a traditional Native healer or shaman, and she’s able to connect to the power of the natural world, as embodied in the rivers and plains of New Mexico.\u003c/p>\n\u003cp>Check out this trailer for a 2012 movie based on the book.\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/AZigUok02nw'\n title='//www.youtube.com/embed/AZigUok02nw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The novel’s spiritual message has proven controversial over the years, and a number of school districts have banned the book or been asked to consider doing so, even as it has become canonical in many classrooms across the country.\u003c/p>\n\u003cp>But \u003cem>Bless Me, Última\u003c/em> remains relevant and compelling for new audiences.\u003c/p>\n\u003cp>Armienta’s opera gives new audiences a chance to appreciate the classic tale, and he says some ticket holders for the San Jose performances will be traveling from as far away as Fresno and Sacramento.\u003c/p>\n\u003cp>The role of Antonio is played by Nicholas McKee, soprano boy wonder from the crazy good \u003ca href=\"https://ragazzi.org\" target=\"_blank\" rel=\"noopener\">Ragazzi Boys Chorus\u003c/a> in Redwood City. “A phenomenal young singer and a wonderful actor,” Armienta says.\u003c/p>\n\u003cfigure id=\"attachment_13828725\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13828725\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/20180402_143344-2-800x773.jpg\" alt=\"Suzanna Guzman and Nicholas McKee rehearse ahead of Bless Me, Última's open in San Jose later this month.\" width=\"800\" height=\"773\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/20180402_143344-2-800x773.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/20180402_143344-2-160x155.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/20180402_143344-2-768x742.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/20180402_143344-2-1020x986.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/20180402_143344-2-1920x1855.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/20180402_143344-2-1180x1140.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/20180402_143344-2-960x928.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/20180402_143344-2-240x232.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/20180402_143344-2-375x362.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/20180402_143344-2-520x502.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/20180402_143344-2-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/20180402_143344-2.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Suzanna Guzman and Nicholas McKee rehearse ahead of Bless Me, Última’s open in San Jose later this month. \u003ccite>(Photo: Courtesy of Tamara Liu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Última is played by mezzo-soprano \u003ca href=\"http://www.suzannaguzman.com\" target=\"_blank\" rel=\"noopener\">Suzanna Guzmán.”She is Última. She captures this elderly woman who connects to nature in a powerful way. She’s just a great actress,” Armienta says.\u003c/a>\u003c/p>\n\u003cp>The opera’s chorus will be performed by more than a dozen members of San Mateo’s \u003ca href=\"http://www.masterworks.org\" target=\"_blank\" rel=\"noopener\">Masterworks Chorale\u003c/a>.\u003c/p>\n\u003cp>\u003cem>Bless Me, Última\u003c/em> runs April 20-22 at the Mexican Heritage Theater, in the School of Arts and Culture in San Jose.\u003ca href=\"http://www.operacultura.org/calendar/BMU-West-Coast-Premiere_2018\">Details here.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13828705/the-classic-chicano-novel-reimagined-as-an-opera",
"authors": [
"byline_arts_13828705"
],
"programs": [
"arts_140"
],
"categories": [
"arts_69"
],
"featImg": "arts_13828710",
"label": "arts_140"
},
"arts_13828695": {
"type": "posts",
"id": "arts_13828695",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13828695",
"score": null,
"sort": [
1522889844000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 140
},
"blocks": [],
"publishDate": 1522889844,
"format": "standard",
"title": "Haim Plays the Greek Theatre on The Road to Coachella",
"headTitle": "Haim Plays the Greek Theatre on The Road to Coachella | KQED",
"content": "\u003cp>\u003ca href=\"http://haimtheband.com\" target=\"_blank\" rel=\"noopener\">Haim\u003c/a> takes the stage Friday night as part of their Sister Sister Sister tour, which I guess pretty much explains what they’re about.\u003c/p>\n\u003cp>The three sisters — Alana, Este and Danielle — have been making music together their whole lives. But now they’re old enough to sing about relationships gone sideways, and tease each other on stage between songs from their two albums, \u003cem>Days Are Gone \u003c/em>and now \u003cem>Something To Tell You, \u003c/em>which was released last June.\u003c/p>\n\u003cp>They’re on a European and North American tour, including the all-important \u003ca href=\"https://www.coachella.com\" target=\"_blank\" rel=\"noopener\">Coachella Valley Music and Arts Festival\u003c/a>.\u003c/p>\n\u003cp>Want a teaser? Watch this video directed by Paul Thomas Anderson. The moviemaker is a former student of their mother’s, so they’ve got that leg up. But don’t get the wrong idea and think this is some Hollywood confection served up treacly sweet. The Haim sisters write, produce and play their own music.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=48-pr5-G6Pw\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Haim plays April 6 at the Greek Theatre in Berkeley. \u003ca href=\"http://theatreberkeley.com/greek//Events.php\">Details here.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 188,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 8
},
"modified": 1705028131,
"excerpt": "The Los Angeles power pop trio Haim comes to Berkeley for one night of their North American tour.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The Los Angeles power pop trio Haim comes to Berkeley for one night of their North American tour.",
"title": "Haim Plays the Greek Theatre on The Road to Coachella | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Haim Plays the Greek Theatre on The Road to Coachella",
"datePublished": "2018-04-04T17:57:24-07:00",
"dateModified": "2024-01-11T18:55:31-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "haim-plays-the-greek-theatre-on-the-road-to-coachella",
"status": "publish",
"sticky": false,
"path": "/arts/13828695/haim-plays-the-greek-theatre-on-the-road-to-coachella",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://haimtheband.com\" target=\"_blank\" rel=\"noopener\">Haim\u003c/a> takes the stage Friday night as part of their Sister Sister Sister tour, which I guess pretty much explains what they’re about.\u003c/p>\n\u003cp>The three sisters — Alana, Este and Danielle — have been making music together their whole lives. But now they’re old enough to sing about relationships gone sideways, and tease each other on stage between songs from their two albums, \u003cem>Days Are Gone \u003c/em>and now \u003cem>Something To Tell You, \u003c/em>which was released last June.\u003c/p>\n\u003cp>They’re on a European and North American tour, including the all-important \u003ca href=\"https://www.coachella.com\" target=\"_blank\" rel=\"noopener\">Coachella Valley Music and Arts Festival\u003c/a>.\u003c/p>\n\u003cp>Want a teaser? Watch this video directed by Paul Thomas Anderson. The moviemaker is a former student of their mother’s, so they’ve got that leg up. But don’t get the wrong idea and think this is some Hollywood confection served up treacly sweet. The Haim sisters write, produce and play their own music.\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/48-pr5-G6Pw'\n title='//www.youtube.com/embed/48-pr5-G6Pw'\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>Haim plays April 6 at the Greek Theatre in Berkeley. \u003ca href=\"http://theatreberkeley.com/greek//Events.php\">Details here.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13828695/haim-plays-the-greek-theatre-on-the-road-to-coachella",
"authors": [
"251"
],
"programs": [
"arts_140"
],
"categories": [
"arts_69"
],
"featImg": "arts_13828704",
"label": "arts_140"
},
"arts_13828645": {
"type": "posts",
"id": "arts_13828645",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13828645",
"score": null,
"sort": [
1522889079000
]
},
"guestAuthors": [],
"slug": "other-minds-festival-celebrates-cerebral-and-witty-sound-poetry",
"title": "Other Minds Festival Celebrates Cerebral and Witty Sound Poetry",
"publishDate": 1522889079,
"format": "standard",
"headTitle": "Other Minds Festival Celebrates Cerebral and Witty Sound Poetry | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003cp>It’s time again for the annual \u003ca href=\"https://www.otherminds.org\" target=\"_blank\" rel=\"noopener\">Other Minds Festival\u003c/a>, this year at \u003ca href=\"https://www.odc.dance\" target=\"_blank\" rel=\"noopener\">ODC Theater\u003c/a> in San Francisco: 22 sound poets from five different countries.\u003c/p>\n\u003cp>Sound poetry? Yes. Hear me out. Or rather, hear artistic director and composer Charles Amirkhanian out: “Sound poetry is the intermediary between composition of music and writing of literature,” he says.\u003c/p>\n\u003cp>“The approaches to sound poetry vary widely. You have some people who are using purely speech and sometimes just parts of words. Sometimes full sentences. Sometimes, they’re intoning or chanting or singing. But the idea is that, if you read what they’re doing on the page, it wouldn’t be a performance of the word. It has to be heard out loud.”\u003c/p>\n\u003cp>The week-long festival explores the roots of the movement, from its origins in Italian Futurism, through the German Dadaist movement, and into the radical literature of Austria, France, and the United States.\u003c/p>\n\u003cp>Among the highlights: the U.S. premiere of the entire three-movement \u003cem>Gesprochene Musik\u003c/em> by Ernst Toch. His grandson, writer Lawrence Weschler, has made an arrangement of one movement, the \u003ci>Geographical Fugue\u003c/i>, that would probably make his granddad roll in his grave. Instead of “Trinidad, and the big Mississippi and the town Honolulu and Lake Titicaca,” Weschler inserted medical terms into the piece; his new version of the movement starts with “Syphillis!”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>There are also many local sound poets involved: Michael McClure, Clark Coolidge, Sheila Davies Sumner, Susan Stone, Amy X Neuburg, and Pamela Z, my new sound poetry favorite.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=j7AZsQoD630\u003c/p>\n\u003cp>As you can see, sound poetry is cerebral, but it’s also humorous. “Of course,” says Amirkhanian. “Because when you’re speaking, and your language doesn’t make sense, naturally, people are going to find it very funny.”\u003c/p>\n\u003cp>The Other Minds Festival runs 9-14 at ODC Theater. \u003ca href=\"https://www.otherminds.org\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
"blocks": [],
"excerpt": "The Other Minds Festival always features the radical edge of music and this year is no exception. The theme is sound poetry.",
"status": "publish",
"parent": 0,
"modified": 1726771174,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 11,
"wordCount": 333
},
"headData": {
"title": "Other Minds Festival Celebrates Cerebral and Witty Sound Poetry | KQED",
"description": "The Other Minds Festival always features the radical edge of music and this year is no exception. The theme is sound poetry.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Other Minds Festival Celebrates Cerebral and Witty Sound Poetry",
"datePublished": "2018-04-04T17:44:39-07:00",
"dateModified": "2024-09-19T11:39:34-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"path": "/arts/13828645/other-minds-festival-celebrates-cerebral-and-witty-sound-poetry",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s time again for the annual \u003ca href=\"https://www.otherminds.org\" target=\"_blank\" rel=\"noopener\">Other Minds Festival\u003c/a>, this year at \u003ca href=\"https://www.odc.dance\" target=\"_blank\" rel=\"noopener\">ODC Theater\u003c/a> in San Francisco: 22 sound poets from five different countries.\u003c/p>\n\u003cp>Sound poetry? Yes. Hear me out. Or rather, hear artistic director and composer Charles Amirkhanian out: “Sound poetry is the intermediary between composition of music and writing of literature,” he says.\u003c/p>\n\u003cp>“The approaches to sound poetry vary widely. You have some people who are using purely speech and sometimes just parts of words. Sometimes full sentences. Sometimes, they’re intoning or chanting or singing. But the idea is that, if you read what they’re doing on the page, it wouldn’t be a performance of the word. It has to be heard out loud.”\u003c/p>\n\u003cp>The week-long festival explores the roots of the movement, from its origins in Italian Futurism, through the German Dadaist movement, and into the radical literature of Austria, France, and the United States.\u003c/p>\n\u003cp>Among the highlights: the U.S. premiere of the entire three-movement \u003cem>Gesprochene Musik\u003c/em> by Ernst Toch. His grandson, writer Lawrence Weschler, has made an arrangement of one movement, the \u003ci>Geographical Fugue\u003c/i>, that would probably make his granddad roll in his grave. Instead of “Trinidad, and the big Mississippi and the town Honolulu and Lake Titicaca,” Weschler inserted medical terms into the piece; his new version of the movement starts with “Syphillis!”\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>There are also many local sound poets involved: Michael McClure, Clark Coolidge, Sheila Davies Sumner, Susan Stone, Amy X Neuburg, and Pamela Z, my new sound poetry favorite.\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/j7AZsQoD630'\n title='//www.youtube.com/embed/j7AZsQoD630'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>As you can see, sound poetry is cerebral, but it’s also humorous. “Of course,” says Amirkhanian. “Because when you’re speaking, and your language doesn’t make sense, naturally, people are going to find it very funny.”\u003c/p>\n\u003cp>The Other Minds Festival runs 9-14 at ODC Theater. \u003ca href=\"https://www.otherminds.org\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13828645/other-minds-festival-celebrates-cerebral-and-witty-sound-poetry",
"authors": [
"251"
],
"programs": [
"arts_140"
],
"categories": [
"arts_69"
],
"tags": [
"arts_1406",
"arts_1692",
"arts_1496",
"arts_1146"
],
"featImg": "arts_13828698",
"label": "arts_140"
},
"arts_13828637": {
"type": "posts",
"id": "arts_13828637",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13828637",
"score": null,
"sort": [
1522885770000
]
},
"guestAuthors": [],
"slug": "kronos-quartet-plays-live-to-a-found-footage-homage-to-hitchcock",
"title": "Kronos Quartet Plays Live to a Found-Footage Homage to Hitchcock",
"publishDate": 1522885770,
"format": "standard",
"headTitle": "Kronos Quartet Plays Live to a Found-Footage Homage to Hitchcock | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003cp>We don’t spend a lot of time these days thinking about San Francisco as an icon of noir, but with the fog and the hills and the crazy quilt-like streets, it was very much that when the great Alfred Hitchcock made the classic 1958 film \u003cem>Vertigo\u003c/em>.\u003c/p>\n\u003cp>So imagine a modern day homage to \u003ci>Vertigo\u003c/i> stitched together from 200-plus snippets of found footage like a crazy quilt. Instead of panels, the quilt it made up of scene from TV and movies that are classic in their own right, like \u003cem>The Lady From Shanghai\u003c/em>, \u003cem>The Conversation\u003c/em>, and \u003cem>Basic Instinct.\u003c/em>\u003c/p>\n\u003cp>The \u003ca href=\"https://www.sffilm.org\" target=\"_blank\" rel=\"noopener\">San Francisco Film Society\u003c/a> and \u003ca href=\"https://live.stanford.edu\" target=\"_blank\" rel=\"noopener\">Stanford Live\u003c/a> co-commissioned \u003cem>Green Fog\u003c/em> from filmmaker \u003ca href=\"https://vimeo.com/user4895266\" target=\"_blank\" rel=\"noopener\">Guy Maddin\u003c/a>, as well as a new score from composer \u003ca href=\"http://jacobgarchik.com/?page_id=8\" target=\"_blank\" rel=\"noopener\">Jacob Garchik\u003c/a> for the \u003ca href=\"http://kronosquartet.org\" target=\"_blank\" rel=\"noopener\">Kronos Quartet\u003c/a> to play live with the film. The first performance was at the 2017 San Francisco International Film Festival.\u003c/p>\n\u003cp>Chris Lorway, Executive Director says this has been making the film festival rounds for good reason. He says when he and Noah Cowen of SFFilm cooked up this idea a little over a year ago, “we had no requirements but that it had to be a love letter to the city.”\u003c/p>\n\u003cp>As Maddin’s interns combed through archival footage and found lots of chasing across rooftops and steep hills, “they realized they could put together the plot of \u003cem>Vertigo\u003c/em>,” Lorway notes, making \u003cem>Green Fog\u003c/em> a love letter to San Francisco, but also Hitchcock.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=J4LTz4OC3pA\u003c/p>\n\u003cp>Lorway also says the new score delivers a tip of the hat to Bernard Hermann, who wrote the soundtrack to \u003cem>Vertigo\u003c/em>. Ummm, maybe? Some critics say you might hurt your brain trying too hard to make the connections between the originals and the homages, but what is unarguable is that you will be entertained.\u003c/p>\n\u003cp>“It’s pretty fun,” Lorway adds. “It’s got a tongue-in-cheek element to it that was a bit surprising to me.”\u003c/p>\n\u003cp>The Kronos Quartet and throat singer Tanya Tagaq perform live with the movie \u003cem>Green Fog\u003c/em> on April 6 at the Bing Concert Hall. \u003ca href=\"https://live.stanford.edu/calendar/april-2018/kronos-quartet\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\n\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
"blocks": [],
"excerpt": "Don't go to 'Green Fog' expecting Alfred Hitchcock and Bernard Herman. Go with curiosity to see inspired artists responding to the classic film 'Vertigo.'",
"status": "publish",
"parent": 0,
"modified": 1726771176,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 11,
"wordCount": 372
},
"headData": {
"title": "Kronos Quartet Plays Live to a Found-Footage Homage to Hitchcock | KQED",
"description": "Don't go to 'Green Fog' expecting Alfred Hitchcock and Bernard Herman. Go with curiosity to see inspired artists responding to the classic film 'Vertigo.'",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Kronos Quartet Plays Live to a Found-Footage Homage to Hitchcock",
"datePublished": "2018-04-04T16:49:30-07:00",
"dateModified": "2024-09-19T11:39:36-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"path": "/arts/13828637/kronos-quartet-plays-live-to-a-found-footage-homage-to-hitchcock",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>We don’t spend a lot of time these days thinking about San Francisco as an icon of noir, but with the fog and the hills and the crazy quilt-like streets, it was very much that when the great Alfred Hitchcock made the classic 1958 film \u003cem>Vertigo\u003c/em>.\u003c/p>\n\u003cp>So imagine a modern day homage to \u003ci>Vertigo\u003c/i> stitched together from 200-plus snippets of found footage like a crazy quilt. Instead of panels, the quilt it made up of scene from TV and movies that are classic in their own right, like \u003cem>The Lady From Shanghai\u003c/em>, \u003cem>The Conversation\u003c/em>, and \u003cem>Basic Instinct.\u003c/em>\u003c/p>\n\u003cp>The \u003ca href=\"https://www.sffilm.org\" target=\"_blank\" rel=\"noopener\">San Francisco Film Society\u003c/a> and \u003ca href=\"https://live.stanford.edu\" target=\"_blank\" rel=\"noopener\">Stanford Live\u003c/a> co-commissioned \u003cem>Green Fog\u003c/em> from filmmaker \u003ca href=\"https://vimeo.com/user4895266\" target=\"_blank\" rel=\"noopener\">Guy Maddin\u003c/a>, as well as a new score from composer \u003ca href=\"http://jacobgarchik.com/?page_id=8\" target=\"_blank\" rel=\"noopener\">Jacob Garchik\u003c/a> for the \u003ca href=\"http://kronosquartet.org\" target=\"_blank\" rel=\"noopener\">Kronos Quartet\u003c/a> to play live with the film. The first performance was at the 2017 San Francisco International Film Festival.\u003c/p>\n\u003cp>Chris Lorway, Executive Director says this has been making the film festival rounds for good reason. He says when he and Noah Cowen of SFFilm cooked up this idea a little over a year ago, “we had no requirements but that it had to be a love letter to the city.”\u003c/p>\n\u003cp>As Maddin’s interns combed through archival footage and found lots of chasing across rooftops and steep hills, “they realized they could put together the plot of \u003cem>Vertigo\u003c/em>,” Lorway notes, making \u003cem>Green Fog\u003c/em> a love letter to San Francisco, but also Hitchcock.\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/J4LTz4OC3pA'\n title='//www.youtube.com/embed/J4LTz4OC3pA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Lorway also says the new score delivers a tip of the hat to Bernard Hermann, who wrote the soundtrack to \u003cem>Vertigo\u003c/em>. Ummm, maybe? Some critics say you might hurt your brain trying too hard to make the connections between the originals and the homages, but what is unarguable is that you will be entertained.\u003c/p>\n\u003cp>“It’s pretty fun,” Lorway adds. “It’s got a tongue-in-cheek element to it that was a bit surprising to me.”\u003c/p>\n\u003cp>The Kronos Quartet and throat singer Tanya Tagaq perform live with the movie \u003cem>Green Fog\u003c/em> on April 6 at the Bing Concert Hall. \u003ca href=\"https://live.stanford.edu/calendar/april-2018/kronos-quartet\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\n\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13828637/kronos-quartet-plays-live-to-a-found-footage-homage-to-hitchcock",
"authors": [
"251"
],
"programs": [
"arts_140"
],
"categories": [
"arts_74",
"arts_69"
],
"tags": [
"arts_3669",
"arts_2308",
"arts_977",
"arts_1315",
"arts_3772",
"arts_2265"
],
"featImg": "arts_13828643",
"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": {},
"racesGenElection2026PresidentialReducer": {},
"radioSchedulesReducer": {},
"listsReducer": {
"posts/arts?category=music": {
"isFetching": false,
"latestQuery": {
"from": 2256,
"size": 12
},
"vitalsOnly": false,
"totalRequested": 12,
"isLoading": false,
"isLoadingMore": true,
"total": {
"value": 4934,
"relation": "eq"
},
"items": [
"arts_13829142",
"arts_13829221",
"arts_13829196",
"arts_13829045",
"arts_13828960",
"arts_13828618",
"arts_13828649",
"arts_13828633",
"arts_13828705",
"arts_13828695",
"arts_13828645",
"arts_13828637"
],
"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_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_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_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_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_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_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_967": {
"type": "terms",
"id": "arts_967",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "967",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Theater",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Theater Archives | KQED Arts",
"ogDescription": null
},
"ttid": 985,
"slug": "theater",
"isLoading": false,
"link": "/arts/category/theater"
},
"arts_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_1643": {
"type": "terms",
"id": "arts_1643",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1643",
"found": true
},
"relationships": {},
"featImg": null,
"name": "San Francisco Ballet",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "San Francisco Ballet Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1655,
"slug": "san-francisco-ballet",
"isLoading": false,
"link": "/arts/tag/san-francisco-ballet"
},
"arts_626": {
"type": "terms",
"id": "arts_626",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "626",
"found": true
},
"relationships": {},
"featImg": null,
"name": "the-do-list-featured",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "the-do-list-featured Archives | KQED Arts",
"ogDescription": null
},
"ttid": 634,
"slug": "the-do-list-featured",
"isLoading": false,
"link": "/arts/tag/the-do-list-featured"
},
"arts_1240": {
"type": "terms",
"id": "arts_1240",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1240",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Z Space",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Z Space Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1252,
"slug": "z-space",
"isLoading": false,
"link": "/arts/tag/z-space"
},
"arts_2996": {
"type": "terms",
"id": "arts_2996",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2996",
"found": true
},
"relationships": {},
"featImg": null,
"name": "the fillmore",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "the fillmore Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3008,
"slug": "the-fillmore",
"isLoading": false,
"link": "/arts/tag/the-fillmore"
},
"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_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_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_4525": {
"type": "terms",
"id": "arts_4525",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "4525",
"found": true
},
"relationships": {},
"featImg": null,
"name": "The Hustle",
"description": null,
"taxonomy": "series",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "The Hustle Archives | KQED Arts",
"ogDescription": null
},
"ttid": 4537,
"slug": "hustle",
"isLoading": false,
"link": "/arts/series/hustle"
},
"arts_4213": {
"type": "terms",
"id": "arts_4213",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "4213",
"found": true
},
"relationships": {},
"featImg": null,
"name": "the hustle",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "the hustle Archives | KQED Arts",
"ogDescription": null
},
"ttid": 4225,
"slug": "the-hustle",
"isLoading": false,
"link": "/arts/tag/the-hustle"
},
"arts_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_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_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_3669": {
"type": "terms",
"id": "arts_3669",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3669",
"found": true
},
"relationships": {},
"featImg": null,
"name": "alfred hitchcock",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "alfred hitchcock Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3681,
"slug": "alfred-hitchcock",
"isLoading": false,
"link": "/arts/tag/alfred-hitchcock"
},
"arts_3419": {
"type": "terms",
"id": "arts_3419",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3419",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Chicano",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Chicano Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3431,
"slug": "chicano",
"isLoading": false,
"link": "/arts/tag/chicano"
},
"arts_1942": {
"type": "terms",
"id": "arts_1942",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1942",
"found": true
},
"relationships": {},
"featImg": null,
"name": "comics",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "comics Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1954,
"slug": "comics",
"isLoading": false,
"link": "/arts/tag/comics"
},
"arts_1414": {
"type": "terms",
"id": "arts_1414",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1414",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Cutting Ball Theater",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Cutting Ball Theater Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1426,
"slug": "cutting-ball-theater",
"isLoading": false,
"link": "/arts/tag/cutting-ball-theater"
},
"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"
},
"arts_3607": {
"type": "terms",
"id": "arts_3607",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3607",
"found": true
},
"relationships": {},
"featImg": null,
"name": "experimental music",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "experimental music Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3619,
"slug": "experimental-music",
"isLoading": false,
"link": "/arts/tag/experimental-music"
},
"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_3772": {
"type": "terms",
"id": "arts_3772",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3772",
"found": true
},
"relationships": {},
"name": "SFFILM",
"slug": "sffilm",
"taxonomy": "tag",
"description": null,
"featImg": null,
"headData": {
"title": "SFFILM | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 3784,
"isLoading": false,
"link": "/arts/tag/sffilm"
},
"arts_2265": {
"type": "terms",
"id": "arts_2265",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2265",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Stanford Live",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Stanford Live Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2277,
"slug": "stanford-live",
"isLoading": false,
"link": "/arts/tag/stanford-live"
},
"arts_1406": {
"type": "terms",
"id": "arts_1406",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1406",
"found": true
},
"relationships": {},
"featImg": null,
"name": "ODC",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "ODC Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1418,
"slug": "odc",
"isLoading": false,
"link": "/arts/tag/odc"
},
"arts_1692": {
"type": "terms",
"id": "arts_1692",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1692",
"found": true
},
"relationships": {},
"featImg": null,
"name": "other minds",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "other minds Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1704,
"slug": "other-minds",
"isLoading": false,
"link": "/arts/tag/other-minds"
},
"arts_1496": {
"type": "terms",
"id": "arts_1496",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1496",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Poetry",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Poetry Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1508,
"slug": "poetry",
"isLoading": false,
"link": "/arts/tag/poetry"
},
"arts_1146": {
"type": "terms",
"id": "arts_1146",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1146",
"found": true
},
"relationships": {},
"featImg": null,
"name": "San Francisco",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "San Francisco Archives | KQED Arts",
"ogDescription": null
},
"ttid": 701,
"slug": "san-francisco",
"isLoading": false,
"link": "/arts/tag/san-francisco"
},
"arts_2308": {
"type": "terms",
"id": "arts_2308",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2308",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Bing Concert Hall",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Bing Concert Hall Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2320,
"slug": "bing-concert-hall",
"isLoading": false,
"link": "/arts/tag/bing-concert-hall"
},
"arts_977": {
"type": "terms",
"id": "arts_977",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "977",
"found": true
},
"relationships": {},
"name": "Film",
"slug": "film",
"taxonomy": "tag",
"description": null,
"featImg": null,
"headData": {
"title": "Film Archives | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 995,
"isLoading": false,
"link": "/arts/tag/film"
},
"arts_1315": {
"type": "terms",
"id": "arts_1315",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1315",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Palo Alto",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Palo Alto Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1327,
"slug": "palo-alto",
"isLoading": false,
"link": "/arts/tag/palo-alto"
}
},
"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
},
"requestOutcomesReducer": {
"notFound": []
}
}
