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_11277676": {
"type": "attachments",
"id": "arts_11277676",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11277676",
"found": true
},
"parent": 11277568,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/01-Hamilton0044rR-Daveed-Diggs-Okieriete-Onaodowan-Anthony-Ramos-and-Lin-Manuel-Miranda-in-Hamilton-e1453839494490-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/01-Hamilton0044rR-Daveed-Diggs-Okieriete-Onaodowan-Anthony-Ramos-and-Lin-Manuel-Miranda-in-Hamilton-e1453839494490-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/01-Hamilton0044rR-Daveed-Diggs-Okieriete-Onaodowan-Anthony-Ramos-and-Lin-Manuel-Miranda-in-Hamilton-e1453839494490-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/01-Hamilton0044rR-Daveed-Diggs-Okieriete-Onaodowan-Anthony-Ramos-and-Lin-Manuel-Miranda-in-Hamilton-e1453839494490-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/01-Hamilton0044rR-Daveed-Diggs-Okieriete-Onaodowan-Anthony-Ramos-and-Lin-Manuel-Miranda-in-Hamilton-e1453839494490.jpg",
"width": 2736,
"height": 1539
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/01-Hamilton0044rR-Daveed-Diggs-Okieriete-Onaodowan-Anthony-Ramos-and-Lin-Manuel-Miranda-in-Hamilton-e1453839494490-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/01-Hamilton0044rR-Daveed-Diggs-Okieriete-Onaodowan-Anthony-Ramos-and-Lin-Manuel-Miranda-in-Hamilton-e1453839494490-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/01-Hamilton0044rR-Daveed-Diggs-Okieriete-Onaodowan-Anthony-Ramos-and-Lin-Manuel-Miranda-in-Hamilton-e1453839494490-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/01-Hamilton0044rR-Daveed-Diggs-Okieriete-Onaodowan-Anthony-Ramos-and-Lin-Manuel-Miranda-in-Hamilton-e1453839494490-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/01-Hamilton0044rR-Daveed-Diggs-Okieriete-Onaodowan-Anthony-Ramos-and-Lin-Manuel-Miranda-in-Hamilton-e1453839494490-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/01-Hamilton0044rR-Daveed-Diggs-Okieriete-Onaodowan-Anthony-Ramos-and-Lin-Manuel-Miranda-in-Hamilton-e1453839494490-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/01-Hamilton0044rR-Daveed-Diggs-Okieriete-Onaodowan-Anthony-Ramos-and-Lin-Manuel-Miranda-in-Hamilton-e1453839494490-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/01-Hamilton0044rR-Daveed-Diggs-Okieriete-Onaodowan-Anthony-Ramos-and-Lin-Manuel-Miranda-in-Hamilton-e1453839494490-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/01-Hamilton0044rR-Daveed-Diggs-Okieriete-Onaodowan-Anthony-Ramos-and-Lin-Manuel-Miranda-in-Hamilton-e1453839494490-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/01-Hamilton0044rR-Daveed-Diggs-Okieriete-Onaodowan-Anthony-Ramos-and-Lin-Manuel-Miranda-in-Hamilton-e1453839494490-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1453833883,
"modified": 1453833908,
"caption": "Daveed Diggs as Marquis de Lafayette, Okieriete Onaodowan as Hercules Mulligan, Anthony Ramos as John Laurens, and Lin-Manuel Miranda as Alexander Hamilton in HAMILTON.",
"description": "Daveed Diggs as Marquis de Lafayette, Okieriete Onaodowan as Hercules Mulligan, Anthony Ramos as John Laurens, and Lin-Manuel Miranda as Alexander Hamilton in HAMILTON.",
"title": "Daveed Diggs as Marquis de Lafayette, Okieriete Onaodowan as Hercules Mulligan, Anthony Ramos as John Laurens, and Lin-Manuel Miranda as Alexander Hamilton in HAMILTON.",
"credit": "Photo Credit: Joan Marcus ",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"pop_20046": {
"type": "attachments",
"id": "pop_20046",
"meta": {
"index": "attachments_1716263798",
"site": "pop",
"id": "20046",
"found": true
},
"parent": 20045,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2016/01/barck-obama-justin-bieber-sorry-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2016/01/barck-obama-justin-bieber-sorry-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2016/01/barck-obama-justin-bieber-sorry.jpg",
"width": 800,
"height": 450
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2016/01/barck-obama-justin-bieber-sorry-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2016/01/barck-obama-justin-bieber-sorry-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2016/01/barck-obama-justin-bieber-sorry-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2016/01/barck-obama-justin-bieber-sorry-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2016/01/barck-obama-justin-bieber-sorry-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2016/01/barck-obama-justin-bieber-sorry-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2016/01/barck-obama-justin-bieber-sorry-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1453850156,
"modified": 1453850165,
"caption": null,
"description": null,
"title": "barack-obama-justin-bieber-sorry",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"pop_20036": {
"type": "attachments",
"id": "pop_20036",
"meta": {
"index": "attachments_1716263798",
"site": "pop",
"id": "20036",
"found": true
},
"parent": 20033,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2016/01/rs_1024x759-160125171225-1024-neil-de-grasse-b.o.b.-e1453844829205-1024x576.jpg",
"width": 1024,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2016/01/rs_1024x759-160125171225-1024-neil-de-grasse-b.o.b.-e1453844829205-400x232.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 232
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2016/01/rs_1024x759-160125171225-1024-neil-de-grasse-b.o.b.-e1453844829205-960x556.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 556
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2016/01/rs_1024x759-160125171225-1024-neil-de-grasse-b.o.b.-e1453844829205-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2016/01/rs_1024x759-160125171225-1024-neil-de-grasse-b.o.b.-e1453844829205.jpg",
"width": 1024,
"height": 593
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2016/01/rs_1024x759-160125171225-1024-neil-de-grasse-b.o.b.-e1453844829205-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2016/01/rs_1024x759-160125171225-1024-neil-de-grasse-b.o.b.-e1453844829205-800x463.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 463
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2016/01/rs_1024x759-160125171225-1024-neil-de-grasse-b.o.b.-e1453844829205-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2016/01/rs_1024x759-160125171225-1024-neil-de-grasse-b.o.b.-e1453844829205-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2016/01/rs_1024x759-160125171225-1024-neil-de-grasse-b.o.b.-e1453844829205-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2016/01/rs_1024x759-160125171225-1024-neil-de-grasse-b.o.b.-e1453844829205-768x445.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 445
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2016/01/rs_1024x759-160125171225-1024-neil-de-grasse-b.o.b.-e1453844829205-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1453844722,
"modified": 1453852478,
"caption": "Neil deGrasse Tyson and B.o.B, whose rap beef is at least 10 times more interesting than Drake and Meek Mill's, if we're being honest. ",
"description": null,
"title": "rs_1024x759-160125171225-1024-neil-de-grasse-b.o.b.",
"credit": "Andrew Toth / Frazer Harrison, Getty Images",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11268315": {
"type": "attachments",
"id": "arts_11268315",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11268315",
"found": true
},
"parent": 11265621,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/Carney-KronosCROP-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/Carney-KronosCROP-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/Carney-KronosCROP-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/Carney-KronosCROP-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/Carney-KronosCROP.jpg",
"width": 1919,
"height": 1079
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/Carney-KronosCROP-1180x663.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 663
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/Carney-KronosCROP-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/Carney-KronosCROP-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/Carney-KronosCROP-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/Carney-KronosCROP-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/Carney-KronosCROP-1180x663.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 663
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/Carney-KronosCROP-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/Carney-KronosCROP-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/Carney-KronosCROP-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1453506962,
"modified": 1453507035,
"caption": "Ralph Carney (third from left) plays with the Kronos Quartet at the 2015 Cabrillo Festival of Contemporary Music in Santa Cruz ",
"description": "Ralph Carney (third from left) plays with the Kronos Quartet at the 2015 Cabrillo Festival of Contemporary Music in Santa Cruz ",
"title": "Carney & KronosCROP",
"credit": "Courtesy: Ralph Carney",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11267970": {
"type": "attachments",
"id": "arts_11267970",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11267970",
"found": true
},
"parent": 11267864,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/radioheadol-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/radioheadol-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/radioheadol.jpg",
"width": 800,
"height": 450
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/radioheadol-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/radioheadol-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/radioheadol-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/radioheadol-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/radioheadol-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/radioheadol-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/radioheadol-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1453495307,
"modified": 1453495344,
"caption": "Radiohead at Outside Lands, 2008.",
"description": "Radiohead at Outside Lands, 2008.",
"title": "radioheadol",
"credit": "Elizabeth Seward",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11260343": {
"type": "attachments",
"id": "arts_11260343",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11260343",
"found": true
},
"parent": 11260092,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/SynthMuseum.MAIN_-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/SynthMuseum.MAIN_-400x250.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 250
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/SynthMuseum.MAIN_-960x600.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 600
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/SynthMuseum.MAIN_-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/SynthMuseum.MAIN_.jpg",
"width": 1920,
"height": 1200
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/SynthMuseum.MAIN_-1180x738.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 738
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/SynthMuseum.MAIN_-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/SynthMuseum.MAIN_-800x500.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 500
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/SynthMuseum.MAIN_-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/SynthMuseum.MAIN_-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/SynthMuseum.MAIN_-1920x1200.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1200
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/SynthMuseum.MAIN_-1180x738.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 738
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/SynthMuseum.MAIN_-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/SynthMuseum.MAIN_-768x480.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 480
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/SynthMuseum.MAIN_-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1453252913,
"modified": 1453253032,
"caption": "Lance Hill at his Vintage Synthesizer Museum, where analog electronic instruments are made available for study and use.",
"description": "Lance Hill at his Vintage Synthesizer Museum, where analog electronic instruments are made available for study and use.",
"title": "SynthMuseum.MAIN",
"credit": "Alee Karim",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11265759": {
"type": "attachments",
"id": "arts_11265759",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11265759",
"found": true
},
"parent": 11265386,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/Talib-and-Dj-Hi-Tek-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/Talib-and-Dj-Hi-Tek-400x226.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 226
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/Talib-and-Dj-Hi-Tek-960x543.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 543
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/Talib-and-Dj-Hi-Tek-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/Talib-and-Dj-Hi-Tek.jpg",
"width": 2995,
"height": 1694
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/Talib-and-Dj-Hi-Tek-1180x667.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 667
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/Talib-and-Dj-Hi-Tek-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/Talib-and-Dj-Hi-Tek-800x452.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 452
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/Talib-and-Dj-Hi-Tek-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/Talib-and-Dj-Hi-Tek-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/Talib-and-Dj-Hi-Tek-1920x1086.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1086
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/Talib-and-Dj-Hi-Tek-1180x667.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 667
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/Talib-and-Dj-Hi-Tek-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/Talib-and-Dj-Hi-Tek-768x434.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 434
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/Talib-and-Dj-Hi-Tek-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1453422287,
"modified": 1453424719,
"caption": "Talib and Dj Hi Tek are Reflection Eternal.",
"description": "Talib and Dj Hi Tek are Reflection Eternal",
"title": "Talib and Dj Hi Tek are Reflection Eternal",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11265505": {
"type": "attachments",
"id": "arts_11265505",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11265505",
"found": true
},
"parent": 11263131,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/TripsFestival.MAIN_-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/TripsFestival.MAIN_-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/TripsFestival.MAIN_-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/TripsFestival.MAIN_-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/TripsFestival.MAIN_.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/TripsFestival.MAIN_-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/TripsFestival.MAIN_-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/TripsFestival.MAIN_-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/TripsFestival.MAIN_-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/TripsFestival.MAIN_-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/TripsFestival.MAIN_-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/TripsFestival.MAIN_-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/TripsFestival.MAIN_-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/TripsFestival.MAIN_-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/TripsFestival.MAIN_-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1453416184,
"modified": 1453416255,
"caption": "A group dances during the Trips Festival at Longshoreman's Hall in San Francisco, January 1966.",
"description": "A group dances during the Trips Festival at Longshoreman's Hall in San Francisco, January 1966.",
"title": "TripsFestival.MAIN",
"credit": "Gene Anthony/Wolfgang’s Vault; Courtesy of California Historical Society",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"pop_19989": {
"type": "attachments",
"id": "pop_19989",
"meta": {
"index": "attachments_1716263798",
"site": "pop",
"id": "19989",
"found": true
},
"parent": 19987,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2016/01/DAvid-Bowie-Lou-Reed-1-e1453415577725-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2016/01/DAvid-Bowie-Lou-Reed-1-e1453415577725-400x228.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 228
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2016/01/DAvid-Bowie-Lou-Reed-1-e1453415577725-960x547.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 547
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2016/01/DAvid-Bowie-Lou-Reed-1-e1453415577725-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2016/01/DAvid-Bowie-Lou-Reed-1-e1453415577725.jpg",
"width": 3000,
"height": 1710
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2016/01/DAvid-Bowie-Lou-Reed-1-e1453415577725-1440x821.jpg",
"width": 1440,
"mimeType": "image/jpeg",
"height": 821
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2016/01/DAvid-Bowie-Lou-Reed-1-e1453415577725-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2016/01/DAvid-Bowie-Lou-Reed-1-e1453415577725-800x456.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 456
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2016/01/DAvid-Bowie-Lou-Reed-1-e1453415577725-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2016/01/DAvid-Bowie-Lou-Reed-1-e1453415577725-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2016/01/DAvid-Bowie-Lou-Reed-1-e1453415577725-1920x1094.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1094
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2016/01/DAvid-Bowie-Lou-Reed-1-e1453415577725-1180x673.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 673
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2016/01/DAvid-Bowie-Lou-Reed-1-e1453415577725-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2016/01/DAvid-Bowie-Lou-Reed-1-e1453415577725-768x438.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 438
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2016/01/DAvid-Bowie-Lou-Reed-1-e1453415577725-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1453415342,
"modified": 1453415370,
"caption": "Unsurprisingly, Lou Reed is one impression Bowie had down pretty well. ",
"description": null,
"title": "\"Lou Reed New York\" At The Gallery At Hermes",
"credit": "Andrew H. Walker/Getty Images",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11263012": {
"type": "attachments",
"id": "arts_11263012",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11263012",
"found": true
},
"parent": 11262767,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/DevonWelsh-e1453404113555-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/DevonWelsh-e1453404113555-400x218.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 218
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/DevonWelsh-e1453404113555-960x523.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 523
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/DevonWelsh-e1453404113555-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/DevonWelsh-e1453404113555.jpg",
"width": 1920,
"height": 1046
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/DevonWelsh-e1453404113555-1180x643.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 643
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/DevonWelsh-e1453404113555-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/DevonWelsh-e1453404113555-800x436.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 436
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/DevonWelsh-e1453404113555-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/DevonWelsh-e1453404113555-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/DevonWelsh-e1453404113555-1920x1046.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1046
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/DevonWelsh-e1453404113555-1180x643.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 643
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/DevonWelsh-e1453404113555-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/DevonWelsh-e1453404113555-768x418.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 418
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/DevonWelsh-e1453404113555-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1453337815,
"modified": 1453404139,
"caption": "Devon Welsh of Majical Cloudz.",
"description": "Devon Welsh of Majical Cloudz.",
"title": "DevonWelsh",
"credit": "Courtesy: Devon Welsh",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11260225": {
"type": "attachments",
"id": "arts_11260225",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11260225",
"found": true
},
"parent": 11260223,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/Van-Anh-Vo-1000x576.jpg",
"width": 1000,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/Van-Anh-Vo-e1453321163425-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/Van-Anh-Vo-e1453321163425-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/Van-Anh-Vo-e1453321163425-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/Van-Anh-Vo-e1453321163425.jpg",
"width": 1000,
"height": 562
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/Van-Anh-Vo-e1453321163425-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/Van-Anh-Vo-e1453321163425-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/Van-Anh-Vo-e1453321163425-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/Van-Anh-Vo-e1453321163425-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/Van-Anh-Vo-e1453321163425-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/Van-Anh-Vo-e1453321163425-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/Van-Anh-Vo-e1453321163425-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1453252211,
"modified": 1638399231,
"caption": "Vân-Ánh Võ playing the đàn tranh.",
"description": "Vân-Ánh Võ playing the đàn tranh.",
"title": "Van Anh Vo",
"credit": "Courtesy: Vân-Ánh Võ",
"status": "inherit",
"altTag": "Vân-Ánh Võ playing the đàn tranh",
"isLoading": false,
"fetchFailed": false
},
"arts_11259735": {
"type": "attachments",
"id": "arts_11259735",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11259735",
"found": true
},
"parent": 11259734,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/blowflynewyear-002_wide-8b33cc87ed76e5b1aef9c45d16041ae4bc98d16c-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/blowflynewyear-002_wide-8b33cc87ed76e5b1aef9c45d16041ae4bc98d16c-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/blowflynewyear-002_wide-8b33cc87ed76e5b1aef9c45d16041ae4bc98d16c-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/blowflynewyear-002_wide-8b33cc87ed76e5b1aef9c45d16041ae4bc98d16c-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/blowflynewyear-002_wide-8b33cc87ed76e5b1aef9c45d16041ae4bc98d16c.jpg",
"width": 2505,
"height": 1409
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/blowflynewyear-002_wide-8b33cc87ed76e5b1aef9c45d16041ae4bc98d16c-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/blowflynewyear-002_wide-8b33cc87ed76e5b1aef9c45d16041ae4bc98d16c-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/blowflynewyear-002_wide-8b33cc87ed76e5b1aef9c45d16041ae4bc98d16c-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/blowflynewyear-002_wide-8b33cc87ed76e5b1aef9c45d16041ae4bc98d16c-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/blowflynewyear-002_wide-8b33cc87ed76e5b1aef9c45d16041ae4bc98d16c-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/blowflynewyear-002_wide-8b33cc87ed76e5b1aef9c45d16041ae4bc98d16c-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/blowflynewyear-002_wide-8b33cc87ed76e5b1aef9c45d16041ae4bc98d16c-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/blowflynewyear-002_wide-8b33cc87ed76e5b1aef9c45d16041ae4bc98d16c-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/blowflynewyear-002_wide-8b33cc87ed76e5b1aef9c45d16041ae4bc98d16c-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/blowflynewyear-002_wide-8b33cc87ed76e5b1aef9c45d16041ae4bc98d16c-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1453237359,
"modified": 1453237463,
"caption": "Blowfly, New Year's Eve 2009",
"description": "Blowfly, New Year's Eve 2009",
"title": "Blowfly, New Year's Eve 2009",
"credit": "Photo: John Sevigny/courtesy of the artist",
"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_11260092": {
"type": "authors",
"id": "byline_arts_11260092",
"meta": {
"override": true
},
"slug": "byline_arts_11260092",
"name": "Alee Karim",
"isLoading": false
},
"byline_arts_11259734": {
"type": "authors",
"id": "byline_arts_11259734",
"meta": {
"override": true
},
"slug": "byline_arts_11259734",
"name": "Rob Kemp",
"isLoading": false
},
"ehapsis": {
"type": "authors",
"id": "27",
"meta": {
"index": "authors_1716337520",
"id": "27",
"found": true
},
"name": "Emmanuel Hapsis",
"firstName": "Emmanuel",
"lastName": "Hapsis",
"slug": "ehapsis",
"email": "ehapsis@kqed.org",
"display_author_email": false,
"staff_mastheads": [],
"title": "KQED Contributor",
"bio": "Emmanuel Hapsis is the creator and editor of KQED Pop and also the host of \u003cem>\u003ca href=\"https://itunes.apple.com/us/podcast/the-cooler/id1041117499?mt=2\">The Cooler\u003c/a>\u003c/em>. He studied creative writing at University of Maryland and went on to receive his MFA in the field from California College of the Arts. In his free time, he sings his heart out at karaoke.",
"avatar": "https://secure.gravatar.com/avatar/6302b6f7ef8b2dcd3acd9e2c6bc570b7?s=600&d=blank&r=g",
"twitter": "xcusemybeauty",
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"Contributor",
"subscriber"
]
},
{
"site": "pop",
"roles": [
"contributor"
]
}
],
"headData": {
"title": "Emmanuel Hapsis | KQED",
"description": "KQED Contributor",
"ogImgSrc": "https://secure.gravatar.com/avatar/6302b6f7ef8b2dcd3acd9e2c6bc570b7?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/6302b6f7ef8b2dcd3acd9e2c6bc570b7?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/ehapsis"
},
"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"
},
"kjones": {
"type": "authors",
"id": "93",
"meta": {
"index": "authors_1716337520",
"id": "93",
"found": true
},
"name": "Kevin L. Jones",
"firstName": "Kevin",
"lastName": "Jones",
"slug": "kjones",
"email": "kjones@kqed.org",
"display_author_email": false,
"staff_mastheads": [],
"title": null,
"bio": null,
"avatar": "https://secure.gravatar.com/avatar/12c65b5633ed39d0a59bb7f497eff645?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"subscriber"
]
},
{
"site": "styleguide",
"roles": [
"contributor"
]
},
{
"site": "artschool",
"roles": [
"subscriber"
]
},
{
"site": "news",
"roles": [
"subscriber"
]
},
{
"site": "pop",
"roles": [
"subscriber"
]
}
],
"headData": {
"title": "Kevin L. Jones | KQED",
"description": null,
"ogImgSrc": "https://secure.gravatar.com/avatar/12c65b5633ed39d0a59bb7f497eff645?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/12c65b5633ed39d0a59bb7f497eff645?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/kjones"
},
"gmeline": {
"type": "authors",
"id": "185",
"meta": {
"index": "authors_1716337520",
"id": "185",
"found": true
},
"name": "Gabe Meline",
"firstName": "Gabe",
"lastName": "Meline",
"slug": "gmeline",
"email": "gmeline@kqed.org",
"display_author_email": true,
"staff_mastheads": [
"arts"
],
"title": "Senior Editor, KQED Arts & Culture",
"bio": "Gabe Meline entered journalism at age 15 making photocopied zines, and has since earned awards from the Edward R. Murrow Awards, the Society for Professional Journalists, the Online Journalism Awards, the Association of Alternative Newsweeklies and the California Newspaper Publishers Association. Prior to KQED, he was the editor of the \u003cem>North Bay Bohemian\u003c/em> and a touring musician. He lives with his wife and daughter in his hometown of Santa Rosa, CA.",
"avatar": "https://secure.gravatar.com/avatar/5bebe57be0d8bc2dd318934feb47299e2d2d10cba28d09d8d7afb389a2ce2bdd?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "",
"roles": [
"editor"
]
},
{
"site": "arts",
"roles": [
"administrator"
]
},
{
"site": "artschool",
"roles": [
"editor"
]
},
{
"site": "news",
"roles": [
"author"
]
},
{
"site": "pop",
"roles": [
"editor"
]
},
{
"site": "bayareabites",
"roles": [
"editor"
]
},
{
"site": "food",
"roles": [
"editor"
]
},
{
"site": "forum",
"roles": [
"administrator"
]
},
{
"site": "liveblog",
"roles": [
"editor"
]
},
{
"site": "hiphop",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Gabe Meline | KQED",
"description": "Senior Editor, KQED Arts & Culture",
"ogImgSrc": "https://secure.gravatar.com/avatar/5bebe57be0d8bc2dd318934feb47299e2d2d10cba28d09d8d7afb389a2ce2bdd?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/5bebe57be0d8bc2dd318934feb47299e2d2d10cba28d09d8d7afb389a2ce2bdd?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/gmeline"
},
"esilvers": {
"type": "authors",
"id": "7237",
"meta": {
"index": "authors_1716337520",
"id": "7237",
"found": true
},
"name": "Emma Silvers",
"firstName": "Emma",
"lastName": "Silvers",
"slug": "esilvers",
"email": "esilvers@kqed.org",
"display_author_email": false,
"staff_mastheads": [],
"title": "KQED Contributor",
"bio": "Emma Silvers is an editor at KQED Arts and a former digital producer at KQED News. Born and raised in the Bay Area, she has previously been an arts and entertainment editor at the \u003cem>San Francisco Chronicle\u003c/em>, \u003cem>SF Weekly\u003c/em> and the \u003cem>San Francisco Bay Guardian.\u003c/em> \u003ca href=\"https://www.emmasilvers.com\">Her work\u003c/a> has also appeared in \u003cem>Rolling Stone\u003c/em>, Pitchfork and \u003cem>Mother Jones\u003c/em>. In 2017 she was the recipient of the Society of Professional Journalists-Northern California's award for arts and culture reporting. In 1993 she \u003ca href=\"https://www.kqed.org/pop/16759/wait-what-my-coworker-was-a-voice-over-hyperventilator-for-jurassic-park\">hyperventilated in \u003cem>Jurassic Park\u003c/em>\u003c/a>.",
"avatar": "https://secure.gravatar.com/avatar/247beada39b88ea5759db1f51dba05cf?s=600&d=blank&r=g",
"twitter": "emmaruthless",
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"editor"
]
},
{
"site": "news",
"roles": [
"editor"
]
},
{
"site": "pop",
"roles": [
"contributor"
]
},
{
"site": "bayareabites",
"roles": [
"editor"
]
},
{
"site": "food",
"roles": [
"contributor"
]
},
{
"site": "liveblog",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Emma Silvers | KQED",
"description": "KQED Contributor",
"ogImgSrc": "https://secure.gravatar.com/avatar/247beada39b88ea5759db1f51dba05cf?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/247beada39b88ea5759db1f51dba05cf?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/esilvers"
},
"crnoveno": {
"type": "authors",
"id": "11208",
"meta": {
"index": "authors_1716337520",
"id": "11208",
"found": true
},
"name": "Creo Noveno",
"firstName": "Creo",
"lastName": "Noveno",
"slug": "crnoveno",
"email": "creonoveno@gmail.com",
"display_author_email": false,
"staff_mastheads": [],
"title": "KQED Contributor",
"bio": null,
"avatar": "https://secure.gravatar.com/avatar/0df6606b8e36036309fd287052246d01?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"subscriber"
]
},
{
"site": "pop",
"roles": [
"contributor"
]
}
],
"headData": {
"title": "Creo Noveno | KQED",
"description": "KQED Contributor",
"ogImgSrc": "https://secure.gravatar.com/avatar/0df6606b8e36036309fd287052246d01?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/0df6606b8e36036309fd287052246d01?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/crnoveno"
}
},
"pagesReducer": {
"arts_category_music": {
"type": "terms",
"id": "arts_69",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "69",
"score": 10.851607
},
"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": 309
},
"blocks": [
{
"blockName": "kqed/post-list",
"attrs": {
"layout": "cardArticle2",
"query": "posts/arts?category=music",
"seeMore": false,
"paginated": true,
"page": 309
}
},
{
"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_11277568": {
"type": "posts",
"id": "arts_11277568",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11277568",
"score": null,
"sort": [
1453834161000
]
},
"guestAuthors": [],
"slug": "broadway-hit-musical-hamilton-to-have-limited-sf-run",
"title": "Broadway Hit Musical 'Hamilton' Gets Limited SF Run",
"publishDate": 1453834161,
"format": "standard",
"headTitle": "Broadway Hit Musical ‘Hamilton’ Gets Limited SF Run | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>\u003ca href=\"http://www.hamiltonbroadway.com/?gclid=Cj0KEQiAz5y1BRDZ4Z_K_eGa84cBEiQAtQkeaAzizs7ZPYe-uYLVaOdyIYqX2xyJ9mkMcIYPYyOoWWQaAhWX8P8HAQ\" target=\"_blank\" rel=\"noopener\">\u003cem>Hamilton \u003c/em>\u003c/a>is launching its national tour in San Francisco. The hit Broadway musical begins what’s likely to be a 21-week run in March 2017, the San Francisco-based presenter \u003ca href=\"https://www.shnsf.com/Online/default.asp\" target=\"_blank\" rel=\"noopener\">SHN\u003c/a> announced Tuesday. The touring production then heads to the Hollywood Pantages Theater in August.\u003c/p>\n\u003cp>\u003cem>In the Heights\u003c/em> creator\u003ca href=\"http://www.linmanuel.com/\" target=\"_blank\" rel=\"noopener\"> Lin-Manuel Miranda’s\u003c/a> innovative musical about the life of founding father Alexander Hamilton blending rap, hip-hop and jazz influences has drawn rapt audiences since it opened on Broadway last August. Tickets have been in high demand, with resale prices soaring beyond the $900 mark. The Broadway production is sold out through Oct. 30.\u003c/p>\n\u003cp>Hundreds of people have been lining up outside the Richard Rodgers Theatre in Manhattan on performance days to try their hands at winning the ticket lottery, prompting the show’s management presenter to move proceedings \u003ca href=\"http://www.playbill.com/news/article/safety-concerns-prompt-hamilton-lottery-and-ham4ham-to-go-digital-377421\">online\u003c/a> for safety reasons.\u003c/p>\n\u003cp>The show has a strong Bay Area connection: Oakland-born rapper and actor Daveed Diggs plays the leading roles in the Broadway production of the characters Marquis de Lafayette and Thomas Jefferson.\u003c/p>\n\u003cp>\u003cem>Hamilton\u003c/em> will anchor SHN’s 2016-2017 season, joining Tony Award-winning play\u003cem> The Curious Incident of the Dog in the Night-Time\u003c/em>. Four additional Broadway productions will be announced this March. SHN member seats for the season are currently available, ranging in price from $245 to $700. Single ticket sales for \u003cem>Hamilton\u003c/em> will be announced at a later date.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Bay Area audiences won’t be the first to see Hamilton outside of New York City. The Broadway producers have announced an open-ended run in \u003ca href=\"http://broadwayinchicago.com/show/hamilton/\">Chicago\u003c/a> starting in Sept. 2016.\u003c/p>\n\n",
"blocks": [],
"excerpt": "The wildly popular show about the life of founding father Alexander Hamilton is scheduled to open at the Orpheum Theatre in March, 2017",
"status": "publish",
"parent": 0,
"modified": 1726710534,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 8,
"wordCount": 291
},
"headData": {
"title": "Broadway Hit Musical 'Hamilton' Gets Limited SF Run | KQED",
"description": "The wildly popular show about the life of founding father Alexander Hamilton is scheduled to open at the Orpheum Theatre in March, 2017",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Broadway Hit Musical 'Hamilton' Gets Limited SF Run",
"datePublished": "2016-01-26T10:49:21-08:00",
"dateModified": "2024-09-18T18:48:54-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprStoryId": "464463800",
"path": "/arts/11277568/broadway-hit-musical-hamilton-to-have-limited-sf-run",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://www.hamiltonbroadway.com/?gclid=Cj0KEQiAz5y1BRDZ4Z_K_eGa84cBEiQAtQkeaAzizs7ZPYe-uYLVaOdyIYqX2xyJ9mkMcIYPYyOoWWQaAhWX8P8HAQ\" target=\"_blank\" rel=\"noopener\">\u003cem>Hamilton \u003c/em>\u003c/a>is launching its national tour in San Francisco. The hit Broadway musical begins what’s likely to be a 21-week run in March 2017, the San Francisco-based presenter \u003ca href=\"https://www.shnsf.com/Online/default.asp\" target=\"_blank\" rel=\"noopener\">SHN\u003c/a> announced Tuesday. The touring production then heads to the Hollywood Pantages Theater in August.\u003c/p>\n\u003cp>\u003cem>In the Heights\u003c/em> creator\u003ca href=\"http://www.linmanuel.com/\" target=\"_blank\" rel=\"noopener\"> Lin-Manuel Miranda’s\u003c/a> innovative musical about the life of founding father Alexander Hamilton blending rap, hip-hop and jazz influences has drawn rapt audiences since it opened on Broadway last August. Tickets have been in high demand, with resale prices soaring beyond the $900 mark. The Broadway production is sold out through Oct. 30.\u003c/p>\n\u003cp>Hundreds of people have been lining up outside the Richard Rodgers Theatre in Manhattan on performance days to try their hands at winning the ticket lottery, prompting the show’s management presenter to move proceedings \u003ca href=\"http://www.playbill.com/news/article/safety-concerns-prompt-hamilton-lottery-and-ham4ham-to-go-digital-377421\">online\u003c/a> for safety reasons.\u003c/p>\n\u003cp>The show has a strong Bay Area connection: Oakland-born rapper and actor Daveed Diggs plays the leading roles in the Broadway production of the characters Marquis de Lafayette and Thomas Jefferson.\u003c/p>\n\u003cp>\u003cem>Hamilton\u003c/em> will anchor SHN’s 2016-2017 season, joining Tony Award-winning play\u003cem> The Curious Incident of the Dog in the Night-Time\u003c/em>. Four additional Broadway productions will be announced this March. SHN member seats for the season are currently available, ranging in price from $245 to $700. Single ticket sales for \u003cem>Hamilton\u003c/em> will be announced at a later date.\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>Bay Area audiences won’t be the first to see Hamilton outside of New York City. The Broadway producers have announced an open-ended run in \u003ca href=\"http://broadwayinchicago.com/show/hamilton/\">Chicago\u003c/a> starting in Sept. 2016.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11277568/broadway-hit-musical-hamilton-to-have-limited-sf-run",
"authors": [
"11208"
],
"categories": [
"arts_69",
"arts_235",
"arts_967"
],
"tags": [
"arts_746",
"arts_596"
],
"featImg": "arts_11277676",
"label": "arts"
},
"pop_20045": {
"type": "posts",
"id": "pop_20045",
"meta": {
"index": "posts_1716263798",
"site": "pop",
"id": "20045",
"score": null,
"sort": [
1453851064000
]
},
"parent": 0,
"labelTerm": {
"site": "pop"
},
"blocks": [],
"publishDate": 1453851064,
"format": "standard",
"disqusTitle": "Barack Obama Covers Justin Bieber's \"Sorry\" in Best Mashup of 2016",
"title": "Barack Obama Covers Justin Bieber's \"Sorry\" in Best Mashup of 2016",
"headTitle": "KQED Pop | KQED Arts",
"content": "\u003cp>[contextly_sidebar id=\"R2MQE16T7XG7WUDJb5bPZTxQSTmfCBfO\"]What could make Justin Bieber's \"Sorry\" better than it already is? A few hours ago, I would have said absolutely nothing. But that was before I was blessed enough to come across this mashup featuring the vocals of a little-known, up-and-coming singer by the name of Barack Obama. Fadi Saleh, the mastermind behind a YouTube channel called\u003ca href=\"https://www.youtube.com/user/baracksdubs\" target=\"_blank\"> Baracksdubs\u003c/a>, takes words and phrases from Obama's speeches and cobbles them together to recreate pop songs. The result: pure magic. Watch and weep with bliss as Barry gleefully body rolls as if it's his last day as President:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=IG0OIice9to\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
"disqusIdentifier": "20045 http://ww2.kqed.org/pop/?p=20045",
"disqusUrl": "https://ww2.kqed.org/pop/2016/01/26/barack-obama-covers-justin-biebers-sorry-in-best-mashup-of-2016/",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 117,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 3
},
"modified": 1453855362,
"excerpt": "Watch and weep with bliss as Barry gleefully body rolls as if it's his last day as President.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Watch and weep with bliss as Barry gleefully body rolls as if it's his last day as President.",
"title": "Barack Obama Covers Justin Bieber's \"Sorry\" in Best Mashup of 2016 | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Barack Obama Covers Justin Bieber's \"Sorry\" in Best Mashup of 2016",
"datePublished": "2016-01-26T15:31:04-08:00",
"dateModified": "2016-01-26T16:42:42-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "barack-obama-covers-justin-biebers-sorry-in-best-mashup-of-2016",
"status": "publish",
"path": "/pop/20045/barack-obama-covers-justin-biebers-sorry-in-best-mashup-of-2016",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>What could make Justin Bieber's \"Sorry\" better than it already is? A few hours ago, I would have said absolutely nothing. But that was before I was blessed enough to come across this mashup featuring the vocals of a little-known, up-and-coming singer by the name of Barack Obama. Fadi Saleh, the mastermind behind a YouTube channel called\u003ca href=\"https://www.youtube.com/user/baracksdubs\" target=\"_blank\"> Baracksdubs\u003c/a>, takes words and phrases from Obama's speeches and cobbles them together to recreate pop songs. The result: pure magic. Watch and weep with bliss as Barry gleefully body rolls as if it's his last day as President:\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/IG0OIice9to'\n title='//www.youtube.com/embed/IG0OIice9to'\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": "/pop/20045/barack-obama-covers-justin-biebers-sorry-in-best-mashup-of-2016",
"authors": [
"27"
],
"categories": [
"pop_4"
],
"tags": [
"pop_2707",
"pop_605"
],
"featImg": "pop_20046",
"label": "pop"
},
"pop_20033": {
"type": "posts",
"id": "pop_20033",
"meta": {
"index": "posts_1716263798",
"site": "pop",
"id": "20033",
"score": null,
"sort": [
1453845140000
]
},
"parent": 0,
"labelTerm": {
"site": "pop"
},
"blocks": [],
"publishDate": 1453845140,
"format": "standard",
"disqusTitle": "It's Official: Neil deGrasse Tyson and B.o.B Are In a Rap Beef About the Shape of the Earth",
"title": "It's Official: Neil deGrasse Tyson and B.o.B Are In a Rap Beef About the Shape of the Earth",
"headTitle": "KQED Pop | KQED Arts",
"content": "\u003cp>Today's science lesson, kids: Don't pick a rap battle with a scientist -- especially if he has a rapper for a nephew.\u003c/p>\n\u003cp>Ok, so where to begin? If you turned on the radio at all in 2010, you were probably unable to avoid a song called \"\u003ca href=\"https://www.youtube.com/watch?v=8PTDv_szmL0\" target=\"_blank\">Nothin' On You\u003c/a>,\" the debut single from B.o.B., aka Bobby Ray Jr., a rapper from Decatur, Georgia. In the five years since then, the artist has had several chart-topping singles, often collaborations -- with Hayley Williams of Paramore, with T.I. and Chris Brown, with Taylor Swift.\u003c/p>\n\u003cp>Well, the 27-year-old went and made headlines again yesterday for another, um, collaboration of sorts. First, he spent the evening of Jan. 24 and most of Jan. 25 tweeting about his belief that the world is in fact flat and that NASA is lying to us all (see below).\u003c/p>\n\u003cp>https://twitter.com/bobatl/status/691411463051804676\u003c/p>\n\u003cp>https://twitter.com/bobatl/status/691498246578032640\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The World's Most Accessible Astrophysicist Neil deGrasse Tyson then had the audacity to respond to some of B.o.B's tweets with some verified\u003ca href=\"https://twitter.com/neiltyson/with_replies\" target=\"_blank\"> science facts\u003c/a>, explaining why the world might look flat while continuing to be round, a reality that was established in the 3rd century BC.\u003c/p>\n\u003cp>https://twitter.com/neiltyson/status/691652747674980355\u003c/p>\n\u003cp>B.o.B then responded overnight with -- what else? -- a diss track sampling a speech of Tyson's. Bonus (kind of): In said track, the rapper expresses a much wider ranger of beliefs in conspiracy theories (including references to Holocaust deniers, Stalin, UFO crash cover-ups, and President Obama being controlled by some kind of shadowy Jewish force) than his original burst of crazy. \u003ca href=\"http://genius.com/Bob-flatline-lyrics\" target=\"_blank\">Check out the lyrics on Genius.com\u003c/a> for a handy walk-through of the insanity.\u003c/p>\n\u003cp>https://soundcloud.com/bobatl/bob-flatline-feat-neil-tyson\u003c/p>\n\u003cp>As for Neil deGrasse Tyson? Never one to shy away from a debate, the scientist did what any beloved celebrity intellectual would do -- turned to his nephew, the rapper Steven J. Tyson (aka TYSON) and released \u003ca href=\"https://twitter.com/neiltyson/status/692092680680120321\" target=\"_blank\">a response diss track of his own\u003c/a> just this afternoon.\u003c/p>\n\u003cp>Behold: \"Flat to Fact,\" which, if you didn't catch the reference to Drake's 2015 Meek Mill diss track \"Back to Back,\" perhaps you'll note that the beat and instrumentals are pretty much exactly the same, while the rapping is, well...it's rapping.\u003c/p>\n\u003cp>\"I got science in my corner and there's nothing to fear/I'm not sure what it was that really made you think you could disrespect a Tyson and your ship won't sink.\" The song manages to diss Stacey Dash and Donald Trump in a rather efficient manner, as well.\u003c/p>\n\u003cp>https://soundcloud.com/drtyson/flat-to-fact\u003c/p>\n\u003cp>#Science, indeed. Your move, B.o.b.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
"disqusIdentifier": "20033 http://ww2.kqed.org/pop/?p=20033",
"disqusUrl": "https://ww2.kqed.org/pop/2016/01/26/its-official-neil-degrasse-tyson-and-b-o-b-are-in-a-rap-beef-about-the-shape-of-the-earth/",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": true,
"hasPolis": false,
"wordCount": 476,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 11
},
"modified": 1453852482,
"excerpt": "Don't mess with an astrophysicist -- especially when he has a rapper for a nephew. ",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Don't mess with an astrophysicist -- especially when he has a rapper for a nephew. ",
"title": "It's Official: Neil deGrasse Tyson and B.o.B Are In a Rap Beef About the Shape of the Earth | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "It's Official: Neil deGrasse Tyson and B.o.B Are In a Rap Beef About the Shape of the Earth",
"datePublished": "2016-01-26T13:52:20-08:00",
"dateModified": "2016-01-26T15:54:42-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "its-official-neil-degrasse-tyson-and-b-o-b-are-in-a-rap-beef-about-the-shape-of-the-earth",
"status": "publish",
"path": "/pop/20033/its-official-neil-degrasse-tyson-and-b-o-b-are-in-a-rap-beef-about-the-shape-of-the-earth",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Today's science lesson, kids: Don't pick a rap battle with a scientist -- especially if he has a rapper for a nephew.\u003c/p>\n\u003cp>Ok, so where to begin? If you turned on the radio at all in 2010, you were probably unable to avoid a song called \"\u003ca href=\"https://www.youtube.com/watch?v=8PTDv_szmL0\" target=\"_blank\">Nothin' On You\u003c/a>,\" the debut single from B.o.B., aka Bobby Ray Jr., a rapper from Decatur, Georgia. In the five years since then, the artist has had several chart-topping singles, often collaborations -- with Hayley Williams of Paramore, with T.I. and Chris Brown, with Taylor Swift.\u003c/p>\n\u003cp>Well, the 27-year-old went and made headlines again yesterday for another, um, collaboration of sorts. First, he spent the evening of Jan. 24 and most of Jan. 25 tweeting about his belief that the world is in fact flat and that NASA is lying to us all (see below).\u003c/p>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "singleTwitterStatus",
"attributes": {
"named": {
"id": "691411463051804676"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "singleTwitterStatus",
"attributes": {
"named": {
"id": "691498246578032640"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The World's Most Accessible Astrophysicist Neil deGrasse Tyson then had the audacity to respond to some of B.o.B's tweets with some verified\u003ca href=\"https://twitter.com/neiltyson/with_replies\" target=\"_blank\"> science facts\u003c/a>, explaining why the world might look flat while continuing to be round, a reality that was established in the 3rd century BC.\u003c/p>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "singleTwitterStatus",
"attributes": {
"named": {
"id": "691652747674980355"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>B.o.B then responded overnight with -- what else? -- a diss track sampling a speech of Tyson's. Bonus (kind of): In said track, the rapper expresses a much wider ranger of beliefs in conspiracy theories (including references to Holocaust deniers, Stalin, UFO crash cover-ups, and President Obama being controlled by some kind of shadowy Jewish force) than his original burst of crazy. \u003ca href=\"http://genius.com/Bob-flatline-lyrics\" target=\"_blank\">Check out the lyrics on Genius.com\u003c/a> for a handy walk-through of the insanity.\u003c/p>\n\u003cp>https://soundcloud.com/bobatl/bob-flatline-feat-neil-tyson\u003c/p>\n\u003cp>As for Neil deGrasse Tyson? Never one to shy away from a debate, the scientist did what any beloved celebrity intellectual would do -- turned to his nephew, the rapper Steven J. Tyson (aka TYSON) and released \u003ca href=\"https://twitter.com/neiltyson/status/692092680680120321\" target=\"_blank\">a response diss track of his own\u003c/a> just this afternoon.\u003c/p>\n\u003cp>Behold: \"Flat to Fact,\" which, if you didn't catch the reference to Drake's 2015 Meek Mill diss track \"Back to Back,\" perhaps you'll note that the beat and instrumentals are pretty much exactly the same, while the rapping is, well...it's rapping.\u003c/p>\n\u003cp>\"I got science in my corner and there's nothing to fear/I'm not sure what it was that really made you think you could disrespect a Tyson and your ship won't sink.\" The song manages to diss Stacey Dash and Donald Trump in a rather efficient manner, as well.\u003c/p>\n\u003cp>https://soundcloud.com/drtyson/flat-to-fact\u003c/p>\n\u003cp>#Science, indeed. Your move, B.o.b.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/pop/20033/its-official-neil-degrasse-tyson-and-b-o-b-are-in-a-rap-beef-about-the-shape-of-the-earth",
"authors": [
"7237"
],
"categories": [
"pop_4",
"pop_1536"
],
"featImg": "pop_20036",
"label": "pop"
},
"arts_11265621": {
"type": "posts",
"id": "arts_11265621",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11265621",
"score": null,
"sort": [
1453564806000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1453564806,
"format": "standard",
"title": "In the Wake of Tragedy, Ralph Carney Finds a New Voice",
"headTitle": "In the Wake of Tragedy, Ralph Carney Finds a New Voice | KQED",
"content": "\u003cp>Before he moved to Portland near the end of 2015, multi-instrumentalist Ralph Carney set up a temporary studio in the basement of his apartment near San Francisco’s Golden Gate Park. It was probably originally intended for storing tools or Christmas decorations, but Carney crammed the tiny space with instruments and recording equipment.\u003c/p>\n\u003cp>Carney was frenetic as he walked around that studio, showing me his setup during an interview late last year. It was just like one of his sax solos: he practically hopped from one instrument to the next, performing in bursts.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/247946991″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>If you have good taste in music, Carney is probably all over your collection. He’s played with artists as diverse as Tom Waits and the B-52s. If you were alive in the ’80s, you heard his distinctive solo on the Waitresses’ “I Know what Boys Like.”\u003c/p>\n\u003cp>“I recorded it like three weeks before I moved out of New York, and I had a really bad sinus infection,” Carney says. “They kept going, ‘Do another one man, you almost got it.’ And I’d be like, ‘BLAH!’ Because I was pissed off. It came off like, ‘rat neh neh neh.'”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=qAp9aiDXM5g\u003c/p>\n\u003cp>Carney was asked to join the band — the group’s leader, Chris Butler, had played with Carney in the Akron-based punk band Tin Huey — but he turned down the offer. \u003c/p>\n\u003cp>“So Mars Williams took the gig [with the Waitresses] and they did a video with Mars lip-syncing my solo,” Carney says. “I was so upset. ‘That’s me — he’s going to get all the wealth!’” (Carney now laughs at the thought, and says he and Williams have been good friends for years.) \u003c/p>\n\u003cp>[contextly_sidebar id=”RS2fT0vSfkNclT7GZggyJ5mO0i0LGe5d”]\u003c/p>\n\u003cp>In recent years, Carney’s main income has come from playing gigs at local restaurants, as well as recordings he’s made at home. There in the dark apartment studio is where he recorded parts for the soundtrack to the Netflix series \u003cem>Bojack Horseman\u003c/em>, songs he wrote with his nephew, Patrick Carney of the Black Keys. It’s also where he recorded the bass sax part that would become the backbone of St. Vincent’s 2014 single, “Digital Witness.” (Carney’s sax was sampled for the keyboard riff on this track.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=mVAxUMuhz98\u003c/p>\n\u003cp>But the majority of his home studio recordings have been self-released — including a piece that he now considers one of the best songs he’s ever written. It came to him after a moment of tragedy: the \u003ca href=\"https://en.wikipedia.org/wiki/Charleston_church_shooting\" target=\"_blank\" rel=\"noopener\">Charleston Church Massacre\u003c/a>, which took place on the evening of June 17, 2015, when a gunman killed nine people at the Emanuel African Methodist Episcopal Church, including the church’s senior pastor.\u003c/p>\n\u003cp>“I was watching the news and when they arraigned the guy, the victims’ families were there, and they were all like, ‘I forgive you,’” Carney says. “I just lost it. I was crying, and I was thinking about John Coltrane’s ‘Alabama.’”\u003c/p>\n\u003cp>Coltrane wrote the song “Alabama” in response to the 1963 bombing of a Birmingham church by the Ku Klux Klan, an attack that killed four young girls. Wordless, the sorrow Coltrane felt from the tragedy is palpable in his playing.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=5cnIZ826ZVE\u003c/p>\n\u003cp>“People are always saying I post that song [on social media] too much, because I’m always posting it after a tragedy,” Carney says.\u003c/p>\n\u003cp>With a face full of tears and Coltrane stuck in his head, Carney went downstairs and began playing.\u003c/p>\n\u003cp>“I was just in a trance and I got my bass sax, which is pretty big, and I recorded a thing. It was just going to be a bass sax, but then I was like, ‘let me just add baritone’…and I just went from there,” Carney says. “I played the whole family of saxophones until I got to the highest one, and then I was like, ‘Oh, this is pretty good.'” He laughs.\u003c/p>\n\u003cp>When Carney was happy with the final product, a three-minute track called “Lament for Charleston,” he did what he usually does with his own songs: he posted it on his \u003ca href=\"https://ralphcarney.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Bandcamp page\u003c/a> and shared it on Facebook.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=uwZICH_pyBM\u003c/p>\n\u003cp>“I post tons of my music and I get, ‘Hey, that was pretty cool.’ But this time the reaction was immediate,” he says.\u003c/p>\n\u003cp>The song hit a nerve in a lot of people, including Carney’s old friend, the \u003ca href=\"http://www.davidcoulter.co.uk/about/\" target=\"_blank\" rel=\"noopener\">British multi-instrumentalist David Coulter\u003c/a>.\u003c/p>\n\u003cp>“I cried after hearing it,” says Coulter. “It was this amazingly, overwhelmingly beautiful and moving piece that was just like this big scream, and it just kinda said everything that I was thinking and couldn’t put into words.”\u003c/p>\n\u003cp>Coulter knew other people had to hear this composition, and passed it on to his friend David Harrington. Harrington is the founder of the Grammy Award-winning Kronos Quartet — probably one of the most recognizable groups in the world of classical music — and much of what Kronos plays comes from outside composers, sources that vary from Philip Glass to Jimi Hendrix.\u003c/p>\n\u003cp>“Since 1973, Kronos has worked closely with composers,” Harrington says. “I can’t tell you where the next piece might come from and I don’t want to know. What I want to do is have Kronos ready for music that we feel we need to jump into, that our audience has to hear.”\u003c/p>\n\u003cp>At the time Carney released “Lament,” the quartet was preparing for the \u003ca href=\"http://ww2.kqed.org/arts/2015/06/30/live-review-terry-riley-festival-with-kronos-quartet-at-sfjazz-center/\" target=\"_blank\" rel=\"noopener\">Terry Riley Festival at SF Jazz\u003c/a>, a series of sold-out concerts attended by thousands, and what Harrington describes as the biggest event Kronos had ever worked on. But after Coulter played the track for Harrington, the world-renowned violinist wanted to jump on it right away. After receiving permission from Carney, Harrington asked a composer to work overnight to arrange a version for the quartet to play at the festival.\u003c/p>\n\u003cp>That plan shifted slightly — the arrangement was ready in time, but “we didn’t have the brain cells available to do it at the Riley Festival” in the end, says Harrington.\u003c/p>\n\u003cfigure id=\"attachment_11268314\" class=\"wp-caption alignright\" style=\"max-width: 413px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11268314\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Ralph-Carney2CROP-413x600.jpg\" alt=\"Ralph Carney, 2015\" width=\"413\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Ralph-Carney2CROP-413x600.jpg 413w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Ralph-Carney2CROP-400x582.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Ralph-Carney2CROP.jpg 599w\" sizes=\"(max-width: 413px) 100vw, 413px\">\u003cfigcaption class=\"wp-caption-text\">Ralph Carney, 2015 \u003ccite>(Photo: Dennis Hearne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Instead, the quartet prepared the piece for the Cabrillo Festival of Contemporary Music in Santa Cruz. And this time, they invited Carney to join their rehearsal.\u003c/p>\n\u003cp>After running through the song twice, Harrington asked if Carney would join them onstage at the festival to play their version of his composition.\u003c/p>\n\u003cp>“I was really surprised I didn’t cry when I was doing it,” Carney says.\u003c/p>\n\u003cp>Since that performance, Carney has moved to Portland, thanks to the rising cost of living in San Francisco. But his experience playing with Kronos was a perfect sendoff, he says, after living in the city for 28 years. Carney says he’s known the feeling of validation before, but that moment onstage was unlike any other experience: It wasn’t just a job. He had written a song to combat the sadness that followed a national tragedy — and people not only wanted to hear it, they wanted it to be heard.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>And then there’s this: Carney, who turns 60 on Jan. 23, says writing “Lament for Charleston” fundamentally changed the way he composes music. Instead of crafting each note, he improvises completely, letting his heart write the song.\u003c/p>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1390,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 30
},
"modified": 1705045355,
"excerpt": "On his 60th birthday, the multi-instrumentalist explains how the Charleston Church Massacre inspired one of his most powerful compositions. ",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "On his 60th birthday, the multi-instrumentalist explains how the Charleston Church Massacre inspired one of his most powerful compositions. ",
"title": "In the Wake of Tragedy, Ralph Carney Finds a New Voice | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "In the Wake of Tragedy, Ralph Carney Finds a New Voice",
"datePublished": "2016-01-23T08:00:06-08:00",
"dateModified": "2024-01-11T23:42:35-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "in-the-wake-of-tragedy-ralph-carney-finds-a-new-voice",
"status": "publish",
"sticky": false,
"nprStoryId": "464104711",
"path": "/arts/11265621/in-the-wake-of-tragedy-ralph-carney-finds-a-new-voice",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Before he moved to Portland near the end of 2015, multi-instrumentalist Ralph Carney set up a temporary studio in the basement of his apartment near San Francisco’s Golden Gate Park. It was probably originally intended for storing tools or Christmas decorations, but Carney crammed the tiny space with instruments and recording equipment.\u003c/p>\n\u003cp>Carney was frenetic as he walked around that studio, showing me his setup during an interview late last year. It was just like one of his sax solos: he practically hopped from one instrument to the next, performing in bursts.\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/247946991″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/247946991″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>If you have good taste in music, Carney is probably all over your collection. He’s played with artists as diverse as Tom Waits and the B-52s. If you were alive in the ’80s, you heard his distinctive solo on the Waitresses’ “I Know what Boys Like.”\u003c/p>\n\u003cp>“I recorded it like three weeks before I moved out of New York, and I had a really bad sinus infection,” Carney says. “They kept going, ‘Do another one man, you almost got it.’ And I’d be like, ‘BLAH!’ Because I was pissed off. It came off like, ‘rat neh neh neh.'”\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/qAp9aiDXM5g'\n title='//www.youtube.com/embed/qAp9aiDXM5g'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Carney was asked to join the band — the group’s leader, Chris Butler, had played with Carney in the Akron-based punk band Tin Huey — but he turned down the offer. \u003c/p>\n\u003cp>“So Mars Williams took the gig [with the Waitresses] and they did a video with Mars lip-syncing my solo,” Carney says. “I was so upset. ‘That’s me — he’s going to get all the wealth!’” (Carney now laughs at the thought, and says he and Williams have been good friends for years.) \u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>In recent years, Carney’s main income has come from playing gigs at local restaurants, as well as recordings he’s made at home. There in the dark apartment studio is where he recorded parts for the soundtrack to the Netflix series \u003cem>Bojack Horseman\u003c/em>, songs he wrote with his nephew, Patrick Carney of the Black Keys. It’s also where he recorded the bass sax part that would become the backbone of St. Vincent’s 2014 single, “Digital Witness.” (Carney’s sax was sampled for the keyboard riff on this track.)\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/mVAxUMuhz98'\n title='//www.youtube.com/embed/mVAxUMuhz98'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But the majority of his home studio recordings have been self-released — including a piece that he now considers one of the best songs he’s ever written. It came to him after a moment of tragedy: the \u003ca href=\"https://en.wikipedia.org/wiki/Charleston_church_shooting\" target=\"_blank\" rel=\"noopener\">Charleston Church Massacre\u003c/a>, which took place on the evening of June 17, 2015, when a gunman killed nine people at the Emanuel African Methodist Episcopal Church, including the church’s senior pastor.\u003c/p>\n\u003cp>“I was watching the news and when they arraigned the guy, the victims’ families were there, and they were all like, ‘I forgive you,’” Carney says. “I just lost it. I was crying, and I was thinking about John Coltrane’s ‘Alabama.’”\u003c/p>\n\u003cp>Coltrane wrote the song “Alabama” in response to the 1963 bombing of a Birmingham church by the Ku Klux Klan, an attack that killed four young girls. Wordless, the sorrow Coltrane felt from the tragedy is palpable in his playing.\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/5cnIZ826ZVE'\n title='//www.youtube.com/embed/5cnIZ826ZVE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“People are always saying I post that song [on social media] too much, because I’m always posting it after a tragedy,” Carney says.\u003c/p>\n\u003cp>With a face full of tears and Coltrane stuck in his head, Carney went downstairs and began playing.\u003c/p>\n\u003cp>“I was just in a trance and I got my bass sax, which is pretty big, and I recorded a thing. It was just going to be a bass sax, but then I was like, ‘let me just add baritone’…and I just went from there,” Carney says. “I played the whole family of saxophones until I got to the highest one, and then I was like, ‘Oh, this is pretty good.'” He laughs.\u003c/p>\n\u003cp>When Carney was happy with the final product, a three-minute track called “Lament for Charleston,” he did what he usually does with his own songs: he posted it on his \u003ca href=\"https://ralphcarney.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Bandcamp page\u003c/a> and shared it on Facebook.\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/uwZICH_pyBM'\n title='//www.youtube.com/embed/uwZICH_pyBM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“I post tons of my music and I get, ‘Hey, that was pretty cool.’ But this time the reaction was immediate,” he says.\u003c/p>\n\u003cp>The song hit a nerve in a lot of people, including Carney’s old friend, the \u003ca href=\"http://www.davidcoulter.co.uk/about/\" target=\"_blank\" rel=\"noopener\">British multi-instrumentalist David Coulter\u003c/a>.\u003c/p>\n\u003cp>“I cried after hearing it,” says Coulter. “It was this amazingly, overwhelmingly beautiful and moving piece that was just like this big scream, and it just kinda said everything that I was thinking and couldn’t put into words.”\u003c/p>\n\u003cp>Coulter knew other people had to hear this composition, and passed it on to his friend David Harrington. Harrington is the founder of the Grammy Award-winning Kronos Quartet — probably one of the most recognizable groups in the world of classical music — and much of what Kronos plays comes from outside composers, sources that vary from Philip Glass to Jimi Hendrix.\u003c/p>\n\u003cp>“Since 1973, Kronos has worked closely with composers,” Harrington says. “I can’t tell you where the next piece might come from and I don’t want to know. What I want to do is have Kronos ready for music that we feel we need to jump into, that our audience has to hear.”\u003c/p>\n\u003cp>At the time Carney released “Lament,” the quartet was preparing for the \u003ca href=\"http://ww2.kqed.org/arts/2015/06/30/live-review-terry-riley-festival-with-kronos-quartet-at-sfjazz-center/\" target=\"_blank\" rel=\"noopener\">Terry Riley Festival at SF Jazz\u003c/a>, a series of sold-out concerts attended by thousands, and what Harrington describes as the biggest event Kronos had ever worked on. But after Coulter played the track for Harrington, the world-renowned violinist wanted to jump on it right away. After receiving permission from Carney, Harrington asked a composer to work overnight to arrange a version for the quartet to play at the festival.\u003c/p>\n\u003cp>That plan shifted slightly — the arrangement was ready in time, but “we didn’t have the brain cells available to do it at the Riley Festival” in the end, says Harrington.\u003c/p>\n\u003cfigure id=\"attachment_11268314\" class=\"wp-caption alignright\" style=\"max-width: 413px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11268314\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Ralph-Carney2CROP-413x600.jpg\" alt=\"Ralph Carney, 2015\" width=\"413\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Ralph-Carney2CROP-413x600.jpg 413w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Ralph-Carney2CROP-400x582.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Ralph-Carney2CROP.jpg 599w\" sizes=\"(max-width: 413px) 100vw, 413px\">\u003cfigcaption class=\"wp-caption-text\">Ralph Carney, 2015 \u003ccite>(Photo: Dennis Hearne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Instead, the quartet prepared the piece for the Cabrillo Festival of Contemporary Music in Santa Cruz. And this time, they invited Carney to join their rehearsal.\u003c/p>\n\u003cp>After running through the song twice, Harrington asked if Carney would join them onstage at the festival to play their version of his composition.\u003c/p>\n\u003cp>“I was really surprised I didn’t cry when I was doing it,” Carney says.\u003c/p>\n\u003cp>Since that performance, Carney has moved to Portland, thanks to the rising cost of living in San Francisco. But his experience playing with Kronos was a perfect sendoff, he says, after living in the city for 28 years. Carney says he’s known the feeling of validation before, but that moment onstage was unlike any other experience: It wasn’t just a job. He had written a song to combat the sadness that followed a national tragedy — and people not only wanted to hear it, they wanted it to be heard.\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>And then there’s this: Carney, who turns 60 on Jan. 23, says writing “Lament for Charleston” fundamentally changed the way he composes music. Instead of crafting each note, he improvises completely, letting his heart write the song.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11265621/in-the-wake-of-tragedy-ralph-carney-finds-a-new-voice",
"authors": [
"93"
],
"categories": [
"arts_69",
"arts_235"
],
"tags": [
"arts_596"
],
"featImg": "arts_11268315",
"label": "arts"
},
"arts_11267864": {
"type": "posts",
"id": "arts_11267864",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11267864",
"score": null,
"sort": [
1453495577000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1453495577,
"format": "standard",
"title": "So What if Radiohead is Headlining Outside Lands?",
"headTitle": "So What if Radiohead is Headlining Outside Lands? | KQED",
"content": "\u003cp>It’s Friday, and the rumors are a-swirling: specifically, that Radiohead will headline Outside Lands this year in Golden Gate Park.\u003c/p>\n\u003cp>Confirmed by \u003ca href=\"http://consequenceofsound.net/2016/01/radiohead-to-headline-lollapalooza-other-major-north-american-festivals/\" target=\"_blank\" rel=\"noopener\">“sources,” according to Consequence of Sound\u003c/a>, Radiohead is scheduled to play the three-day festival in San Francisco this August. If true, it would mean a return to Golden Gate Park for the band, who \u003ca href=\"http://citysound.bohemian.com/2008/08/27/live-review-outside-lands-festival-day-one/\" target=\"_blank\" rel=\"noopener\">ushered in the inaugural Outside Lands\u003c/a> in 2008.\u003c/p>\n\u003cfigure id=\"attachment_11267971\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11267971\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/thomyorke.jpg\" alt=\"Thom Yorke at Outside Lands, 2008.\" width=\"400\" height=\"601\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/thomyorke.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/thomyorke-399x600.jpg 399w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Thom Yorke at Outside Lands, 2008. \u003ccite>(Elizabeth Seward)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A representative from Outside Lands \u003ca href=\"http://consequenceofsound.net/2016/01/radiohead-to-headline-lollapalooza-other-major-north-american-festivals/\" target=\"_blank\" rel=\"noopener\">declined comment\u003c/a> to Consequence of Sound, saying that “We would be thrilled to have Radiohead headline Outside Lands, but we do not announce our lineup for a couple of months.”\u003c/p>\n\u003cp>If the “sources” are correct — and who are we to say they are or aren’t? — then there are a few things that need to happen here.\u003c/p>\n\u003cp>\u003cstrong>1. The sound system needs to be bulletproof\u003c/strong>. One of the more notable incidents during Radiohead’s 2008 appearance at Outside Lands came when the \u003ca href=\"https://www.youtube.com/watch?v=9QPfJKdKsXM\" target=\"_blank\" rel=\"noopener\">sound cut out mid-song\u003c/a> — not once, but twice. Sound engineers: double-or triple-check everything this time around.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>2. All paths in the park get widened\u003c/strong>. Do you remember the stampede in 2008 between the end of Beck’s set in Sutro Meadow and Radiohead’s set in the Polo Fields? Thousands of people, plowing down fences and trampling through bushes. Pro tip: widen all pathways an additional 10 feet for Radiohead.\u003c/p>\n\u003cp>\u003cstrong>3. Band must play “Fake Plastic Trees.”\u003c/strong> At Outside Lands, multicolored lights splay out across the towering trees surrounding the Polo Fields, and in 2008, as the band played “Fake Plastic Trees,” they never looked so strange, surreal, and marvelous. Put it in their contract: the song must be played.\u003c/p>\n\u003cp>\u003cstrong>4. The Black Keys play the side stage\u003c/strong>. Last year’s head-to-head booking of the Black Keys on the main Polo Field stage while Kendrick Lamar played the smaller Twin Peaks stage will \u003ca href=\"http://ww2.kqed.org/arts/2015/08/04/outside-lands-fighting-championship/\" target=\"_blank\" rel=\"noopener\">probably go down as an embarrassment\u003c/a> in the history books. Just to be safe and rectify the situation: this year, force the Black Keys to play at the same time as Radiohead.\u003c/p>\n\u003cp>\u003cstrong>5. Thom Yorke appears on KQED Forum\u003c/strong>. Really, there’s no excuse \u003cem>not\u003c/em> to, right?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Radiohead is also scheduled to play Lollapalooza in Chicago and the Osheaga Music Festival in Montreal. Consequence of Sound’s report can be found \u003ca href=\"http://consequenceofsound.net/2016/01/radiohead-to-headline-lollapalooza-other-major-north-american-festivals/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 415,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 12
},
"modified": 1705045363,
"excerpt": "Is Radiohead playing this year's Outside Lands, as rumored? If so, here's what needs to happen.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Is Radiohead playing this year's Outside Lands, as rumored? If so, here's what needs to happen.",
"title": "So What if Radiohead is Headlining Outside Lands? | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "So What if Radiohead is Headlining Outside Lands?",
"datePublished": "2016-01-22T12:46:17-08:00",
"dateModified": "2024-01-11T23:42:43-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "so-what-if-radiohead-is-headlining-outside-lands",
"status": "publish",
"sticky": false,
"nprStoryId": "464013110",
"path": "/arts/11267864/so-what-if-radiohead-is-headlining-outside-lands",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s Friday, and the rumors are a-swirling: specifically, that Radiohead will headline Outside Lands this year in Golden Gate Park.\u003c/p>\n\u003cp>Confirmed by \u003ca href=\"http://consequenceofsound.net/2016/01/radiohead-to-headline-lollapalooza-other-major-north-american-festivals/\" target=\"_blank\" rel=\"noopener\">“sources,” according to Consequence of Sound\u003c/a>, Radiohead is scheduled to play the three-day festival in San Francisco this August. If true, it would mean a return to Golden Gate Park for the band, who \u003ca href=\"http://citysound.bohemian.com/2008/08/27/live-review-outside-lands-festival-day-one/\" target=\"_blank\" rel=\"noopener\">ushered in the inaugural Outside Lands\u003c/a> in 2008.\u003c/p>\n\u003cfigure id=\"attachment_11267971\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11267971\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/thomyorke.jpg\" alt=\"Thom Yorke at Outside Lands, 2008.\" width=\"400\" height=\"601\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/thomyorke.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/thomyorke-399x600.jpg 399w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Thom Yorke at Outside Lands, 2008. \u003ccite>(Elizabeth Seward)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A representative from Outside Lands \u003ca href=\"http://consequenceofsound.net/2016/01/radiohead-to-headline-lollapalooza-other-major-north-american-festivals/\" target=\"_blank\" rel=\"noopener\">declined comment\u003c/a> to Consequence of Sound, saying that “We would be thrilled to have Radiohead headline Outside Lands, but we do not announce our lineup for a couple of months.”\u003c/p>\n\u003cp>If the “sources” are correct — and who are we to say they are or aren’t? — then there are a few things that need to happen here.\u003c/p>\n\u003cp>\u003cstrong>1. The sound system needs to be bulletproof\u003c/strong>. One of the more notable incidents during Radiohead’s 2008 appearance at Outside Lands came when the \u003ca href=\"https://www.youtube.com/watch?v=9QPfJKdKsXM\" target=\"_blank\" rel=\"noopener\">sound cut out mid-song\u003c/a> — not once, but twice. Sound engineers: double-or triple-check everything this time around.\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>2. All paths in the park get widened\u003c/strong>. Do you remember the stampede in 2008 between the end of Beck’s set in Sutro Meadow and Radiohead’s set in the Polo Fields? Thousands of people, plowing down fences and trampling through bushes. Pro tip: widen all pathways an additional 10 feet for Radiohead.\u003c/p>\n\u003cp>\u003cstrong>3. Band must play “Fake Plastic Trees.”\u003c/strong> At Outside Lands, multicolored lights splay out across the towering trees surrounding the Polo Fields, and in 2008, as the band played “Fake Plastic Trees,” they never looked so strange, surreal, and marvelous. Put it in their contract: the song must be played.\u003c/p>\n\u003cp>\u003cstrong>4. The Black Keys play the side stage\u003c/strong>. Last year’s head-to-head booking of the Black Keys on the main Polo Field stage while Kendrick Lamar played the smaller Twin Peaks stage will \u003ca href=\"http://ww2.kqed.org/arts/2015/08/04/outside-lands-fighting-championship/\" target=\"_blank\" rel=\"noopener\">probably go down as an embarrassment\u003c/a> in the history books. Just to be safe and rectify the situation: this year, force the Black Keys to play at the same time as Radiohead.\u003c/p>\n\u003cp>\u003cstrong>5. Thom Yorke appears on KQED Forum\u003c/strong>. Really, there’s no excuse \u003cem>not\u003c/em> to, right?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Radiohead is also scheduled to play Lollapalooza in Chicago and the Osheaga Music Festival in Montreal. Consequence of Sound’s report can be found \u003ca href=\"http://consequenceofsound.net/2016/01/radiohead-to-headline-lollapalooza-other-major-north-american-festivals/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11267864/so-what-if-radiohead-is-headlining-outside-lands",
"authors": [
"185"
],
"categories": [
"arts_69"
],
"tags": [
"arts_596"
],
"featImg": "arts_11267970",
"label": "arts"
},
"arts_11260092": {
"type": "posts",
"id": "arts_11260092",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11260092",
"score": null,
"sort": [
1453492841000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1453492841,
"format": "standard",
"title": "At Emeryville's Vintage Synthesizer Museum, Analog Sounds Rule",
"headTitle": "At Emeryville’s Vintage Synthesizer Museum, Analog Sounds Rule | KQED",
"content": "\u003cp>It’s the sound of R2D2 in \u003cem>Star Wars\u003c/em>, the Tardis in \u003cem>Doctor Who\u003c/em>, the transporter in \u003cem>Star Trek\u003c/em> and the original Cylons in \u003cem>Battlestar Galactica\u003c/em>. It’s the ominous tension-inducing pulse in Pink Floyd’s “\u003ca href=\"https://www.youtube.com/watch?v=VouHPeO4Gls\" target=\"_blank\" rel=\"noopener\">On the Run\u003c/a>,” the squiggly joyful noise at the start of The Who’s “\u003ca href=\"https://www.youtube.com/watch?v=x2KRpRMSu4g\" target=\"_blank\" rel=\"noopener\">Baba O’Riley\u003c/a>,” and the epic supernovae that punctuate Rush’s “\u003ca href=\"https://www.youtube.com/watch?v=auLBLk4ibAk\" target=\"_blank\" rel=\"noopener\">Tom Sawyer\u003c/a>.”\u003c/p>\n\u003cfigure id=\"attachment_11260348\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/2016-01-11-22.34.18.jpg\" alt=\"The EMS Synthi AKS.\" width=\"800\" height=\"1067\" class=\"size-full wp-image-11260348\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/2016-01-11-22.34.18.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/2016-01-11-22.34.18-400x534.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/2016-01-11-22.34.18-450x600.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/2016-01-11-22.34.18-768x1024.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The EMS Synthi AKS. \u003ccite>(Alee Karim)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It” is the sound of the analog synthesizer, a machine originally designed to mimic acoustic instruments but whose unique timbres — created by routing electronically-generated tones through filters and signal processors — inspire a unique aural space. And though they’ve become rare instruments, the various synthesizers responsible for the above sounds can be found alongside many others at the East Bay-based \u003ca href=\"http://www.vintagesynthmuseum.com/VSM_Home.html\" target=\"_blank\" rel=\"noopener\">Vintage Synthesizer Museum\u003c/a>, just off of San Pablo Ave. in Emeryville.\u003c/p>\n\u003cp>Lance Hill is the affable 40-something curator of the Museum, whose boyish hipster looks shave a good decade off of that number. By appointment, he makes his showroom available to all interested, expert and novice alike. For the former, he offers his synthesizers for in-house rental (the museum’s synths have graced records by Dan the Automator, Neurosis, Blackalicious and others). For the latter, he offers a three-day crash course that leaves one with enough basic facility in audio synthesis to create their own compositions — or, at the very least, the ability to make some cool robot noises.\u003c/p>\n\u003cfigure id=\"attachment_11260350\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/2016-01-11-22.37.57.jpg\" alt=\"The EMS Vocoder.\" width=\"800\" height=\"1067\" class=\"size-full wp-image-11260350\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/2016-01-11-22.37.57.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/2016-01-11-22.37.57-400x534.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/2016-01-11-22.37.57-450x600.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/2016-01-11-22.37.57-768x1024.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The EMS Vocoder. \u003ccite>(Alee Karim)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Once the exclusive province of engineers and programmers, synthesizers have evolved to become much easier to use and manipulate since their earliest iterations. The \u003ca href=\"https://en.wikipedia.org/wiki/Modular_synthesizer\" target=\"_blank\" rel=\"noopener\">modular synthesizer\u003c/a> was an imposing array of wires, plugs, and knobs that began sharing real estate with piano-style keyboards, thus making the device more accessible (not at all dissimilar to the addition of a typewriter keyboard to the first personal computers). But just like computers, synthesizers don’t do anything unless told to. They’re only as good as their users’ deft way with the sliders and knobs, marking the difference between an artful aural sculpture or total garbage.\u003c/p>\n\u003cp>Boot up one of Hill’s synthesizers and see for yourself: some are so opaque in their functionality, they’ll yield nary a peep no matter how hard you button-mash. Grumble to Hill, though, and he’ll show that you were a just few knob-twists away from laser guns.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>A few notable synths at Hill’s museum include:\u003c/p>\n\u003cp>\u003cstrong>The ARP 2600\u003c/strong>. Fifty-odd knobs and sliders dominate this war-torn steel beast. But with a little coaxing, one can recreate the voice of R2D2 from the original \u003cem>Star Wars\u003c/em> with surprising accuracy. The challenge comes in tweaking the knobs just so to express the range of emotions that we expect from the little robot. Watch original \u003cem>Star Wars\u003c/em> sound designer Ben Burtt explain how he mixed the human and the synthetic to create that distinctive sound:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=eUwnFYBPMlU\u003c/p>\n\u003cp>\u003cstrong>The Moog Taurus\u003c/strong>. This foot-triggered synthesizer uses electric organ-style pedals to produce its thick bass magic. Popularized by the Rush hit “Tom Sawyer,” bassist Geddy Lee deployed the Taurus to fatten their trio sound while playing live. Check out the original video for “Tom Sawyer” and spy Lee tap dancing on his Taurus:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=auLBLk4ibAk\u003c/p>\n\u003cp>\u003cstrong>The EMS Vocoder\u003c/strong>. A synthesizer designed to distort and bedazzle vocals, the EMS is a console about the size of a stereo receiver connected to a microphone; it’s often mistakenly credited as the source of \u003ca href=\"https://en.wikipedia.org/wiki/Auto-Tune\" target=\"_blank\" rel=\"noopener\">Autotuned vocals\u003c/a>. In addition to countless disco songs, the vocoder is the basis for the voice of the Cylons on the original \u003cem>Battlestar Galactica\u003c/em>:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=YPL7QPCfVZc\u003c/p>\n\u003cp>A younger generation might consider Hill’s museum an aberration in the Bay Area, but the region’s history with the analog synthesizer runs deep. In fact, one of the earliest innovators of the synthesizer is Berkeley-based \u003ca href=\"http://electronicmusic.wikia.com/wiki/Donald_Buchla\" target=\"_blank\" rel=\"noopener\">Don Buchla\u003c/a>, who, along with the late Robert Moog, is popularly considered the father of the modern synthesizer. Whereas Buchla is more often associated with the aforementioned unwieldy arrays of wires and circuits known as the modular synthesizer, Moog popularized and commercialized the synthesizer with accessible, keyboard-based designs. Buchla’s instruments are less prominent in pop culture, but Nine Inch Nails’ Alessandro Cortini happens to tinker with one in the video for “The Hand That Feeds”:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=xwhBRJStz7w\u003c/p>\n\u003cp>Original units designed by both Moog and Buchla fetch tens of thousands of dollars on the resale market, despite the fact that both Buchla and Moog’s manufacturers have issued reproductions of their original machines. But at the Vintage Synthesizer Museum, one hardly needs a dime to lay hands on these lovely old beasts.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Visits and classes can be booked through the Vintage Synthesizer Museum’s \u003ca href=\"https://www.facebook.com/vintagesynthmuseum/\" target=\"_blank\" rel=\"noopener\">Facebook page\u003c/a>.\u003c/em>\u003c/p>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 858,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 14
},
"modified": 1705045364,
"excerpt": "From the beeps of R2D2 to the underpinning of prog-rock hits, analog synthesizers are more prevalent in popular culture than many may think.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "From the beeps of R2D2 to the underpinning of prog-rock hits, analog synthesizers are more prevalent in popular culture than many may think.",
"title": "At Emeryville's Vintage Synthesizer Museum, Analog Sounds Rule | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "At Emeryville's Vintage Synthesizer Museum, Analog Sounds Rule",
"datePublished": "2016-01-22T12:00:41-08:00",
"dateModified": "2024-01-11T23:42:44-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "at-emeryvilles-vintage-synthesizer-museum-analog-sounds-rule",
"status": "publish",
"nprByline": "Alee Karim",
"sticky": false,
"nprStoryId": "464006218",
"path": "/arts/11260092/at-emeryvilles-vintage-synthesizer-museum-analog-sounds-rule",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s the sound of R2D2 in \u003cem>Star Wars\u003c/em>, the Tardis in \u003cem>Doctor Who\u003c/em>, the transporter in \u003cem>Star Trek\u003c/em> and the original Cylons in \u003cem>Battlestar Galactica\u003c/em>. It’s the ominous tension-inducing pulse in Pink Floyd’s “\u003ca href=\"https://www.youtube.com/watch?v=VouHPeO4Gls\" target=\"_blank\" rel=\"noopener\">On the Run\u003c/a>,” the squiggly joyful noise at the start of The Who’s “\u003ca href=\"https://www.youtube.com/watch?v=x2KRpRMSu4g\" target=\"_blank\" rel=\"noopener\">Baba O’Riley\u003c/a>,” and the epic supernovae that punctuate Rush’s “\u003ca href=\"https://www.youtube.com/watch?v=auLBLk4ibAk\" target=\"_blank\" rel=\"noopener\">Tom Sawyer\u003c/a>.”\u003c/p>\n\u003cfigure id=\"attachment_11260348\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/2016-01-11-22.34.18.jpg\" alt=\"The EMS Synthi AKS.\" width=\"800\" height=\"1067\" class=\"size-full wp-image-11260348\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/2016-01-11-22.34.18.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/2016-01-11-22.34.18-400x534.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/2016-01-11-22.34.18-450x600.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/2016-01-11-22.34.18-768x1024.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The EMS Synthi AKS. \u003ccite>(Alee Karim)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It” is the sound of the analog synthesizer, a machine originally designed to mimic acoustic instruments but whose unique timbres — created by routing electronically-generated tones through filters and signal processors — inspire a unique aural space. And though they’ve become rare instruments, the various synthesizers responsible for the above sounds can be found alongside many others at the East Bay-based \u003ca href=\"http://www.vintagesynthmuseum.com/VSM_Home.html\" target=\"_blank\" rel=\"noopener\">Vintage Synthesizer Museum\u003c/a>, just off of San Pablo Ave. in Emeryville.\u003c/p>\n\u003cp>Lance Hill is the affable 40-something curator of the Museum, whose boyish hipster looks shave a good decade off of that number. By appointment, he makes his showroom available to all interested, expert and novice alike. For the former, he offers his synthesizers for in-house rental (the museum’s synths have graced records by Dan the Automator, Neurosis, Blackalicious and others). For the latter, he offers a three-day crash course that leaves one with enough basic facility in audio synthesis to create their own compositions — or, at the very least, the ability to make some cool robot noises.\u003c/p>\n\u003cfigure id=\"attachment_11260350\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/2016-01-11-22.37.57.jpg\" alt=\"The EMS Vocoder.\" width=\"800\" height=\"1067\" class=\"size-full wp-image-11260350\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/2016-01-11-22.37.57.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/2016-01-11-22.37.57-400x534.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/2016-01-11-22.37.57-450x600.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/2016-01-11-22.37.57-768x1024.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The EMS Vocoder. \u003ccite>(Alee Karim)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Once the exclusive province of engineers and programmers, synthesizers have evolved to become much easier to use and manipulate since their earliest iterations. The \u003ca href=\"https://en.wikipedia.org/wiki/Modular_synthesizer\" target=\"_blank\" rel=\"noopener\">modular synthesizer\u003c/a> was an imposing array of wires, plugs, and knobs that began sharing real estate with piano-style keyboards, thus making the device more accessible (not at all dissimilar to the addition of a typewriter keyboard to the first personal computers). But just like computers, synthesizers don’t do anything unless told to. They’re only as good as their users’ deft way with the sliders and knobs, marking the difference between an artful aural sculpture or total garbage.\u003c/p>\n\u003cp>Boot up one of Hill’s synthesizers and see for yourself: some are so opaque in their functionality, they’ll yield nary a peep no matter how hard you button-mash. Grumble to Hill, though, and he’ll show that you were a just few knob-twists away from laser guns.\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>A few notable synths at Hill’s museum include:\u003c/p>\n\u003cp>\u003cstrong>The ARP 2600\u003c/strong>. Fifty-odd knobs and sliders dominate this war-torn steel beast. But with a little coaxing, one can recreate the voice of R2D2 from the original \u003cem>Star Wars\u003c/em> with surprising accuracy. The challenge comes in tweaking the knobs just so to express the range of emotions that we expect from the little robot. Watch original \u003cem>Star Wars\u003c/em> sound designer Ben Burtt explain how he mixed the human and the synthetic to create that distinctive sound:\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/eUwnFYBPMlU'\n title='//www.youtube.com/embed/eUwnFYBPMlU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>The Moog Taurus\u003c/strong>. This foot-triggered synthesizer uses electric organ-style pedals to produce its thick bass magic. Popularized by the Rush hit “Tom Sawyer,” bassist Geddy Lee deployed the Taurus to fatten their trio sound while playing live. Check out the original video for “Tom Sawyer” and spy Lee tap dancing on his Taurus:\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/auLBLk4ibAk'\n title='//www.youtube.com/embed/auLBLk4ibAk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>The EMS Vocoder\u003c/strong>. A synthesizer designed to distort and bedazzle vocals, the EMS is a console about the size of a stereo receiver connected to a microphone; it’s often mistakenly credited as the source of \u003ca href=\"https://en.wikipedia.org/wiki/Auto-Tune\" target=\"_blank\" rel=\"noopener\">Autotuned vocals\u003c/a>. In addition to countless disco songs, the vocoder is the basis for the voice of the Cylons on the original \u003cem>Battlestar Galactica\u003c/em>:\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/YPL7QPCfVZc'\n title='//www.youtube.com/embed/YPL7QPCfVZc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>A younger generation might consider Hill’s museum an aberration in the Bay Area, but the region’s history with the analog synthesizer runs deep. In fact, one of the earliest innovators of the synthesizer is Berkeley-based \u003ca href=\"http://electronicmusic.wikia.com/wiki/Donald_Buchla\" target=\"_blank\" rel=\"noopener\">Don Buchla\u003c/a>, who, along with the late Robert Moog, is popularly considered the father of the modern synthesizer. Whereas Buchla is more often associated with the aforementioned unwieldy arrays of wires and circuits known as the modular synthesizer, Moog popularized and commercialized the synthesizer with accessible, keyboard-based designs. Buchla’s instruments are less prominent in pop culture, but Nine Inch Nails’ Alessandro Cortini happens to tinker with one in the video for “The Hand That Feeds”:\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/xwhBRJStz7w'\n title='//www.youtube.com/embed/xwhBRJStz7w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Original units designed by both Moog and Buchla fetch tens of thousands of dollars on the resale market, despite the fact that both Buchla and Moog’s manufacturers have issued reproductions of their original machines. But at the Vintage Synthesizer Museum, one hardly needs a dime to lay hands on these lovely old beasts.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Visits and classes can be booked through the Vintage Synthesizer Museum’s \u003ca href=\"https://www.facebook.com/vintagesynthmuseum/\" target=\"_blank\" rel=\"noopener\">Facebook page\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11260092/at-emeryvilles-vintage-synthesizer-museum-analog-sounds-rule",
"authors": [
"byline_arts_11260092"
],
"categories": [
"arts_69"
],
"tags": [
"arts_1118",
"arts_596"
],
"featImg": "arts_11260343",
"label": "arts"
},
"arts_11265386": {
"type": "posts",
"id": "arts_11265386",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11265386",
"score": null,
"sort": [
1453424757000
]
},
"guestAuthors": [],
"slug": "cy-and-davids-picks-obamas-playlist-an-odyssey-for-refugees-and-gather-ye-oddballs",
"title": "Cy and David's Picks: Obama's Playlist, an Odyssey for Refugees, and Gather-Ye-Oddballs",
"publishDate": 1453424757,
"format": "standard",
"headTitle": "Cy and David’s Picks: Obama’s Playlist, an Odyssey for Refugees, and Gather-Ye-Oddballs | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003caside class=\"aligncenter\">\n\u003ch4>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/h4>\n\u003cp>http://www.kqed.org/.stream/anon/radio/thedolist/2016/01/00114022.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>https://www.youtube.com/watch?v=Cq2EwnBr_oM\u003c/p>\n\u003cp>\u003cstrong>Jan. 28 – Jan. 31:\u003c/strong> Cameron Carpenter may be as much a showman and as bedecked with rhinestones as Liberace, but he gets more respect for his explorations of the grand classical works of Back and Scriabin, as well as the pop songbook of Lightfoot and Bacharach. (The video above is his take on “Georgia on My Mind.”). His four-day residency at SFJAZZ will be give organ lovers a chance to hear the Northern California premiere of the \u003ca href=\"https://www.sfjazz.org/onthecorner/five-things-you-should-know-about-international-touring-organ\" target=\"_blank\" rel=\"noopener\">“International Touring Organ,”\u003c/a> a totally 21st century digital instrument. \u003ca href=\"https://www.sfjazz.org/events/2015-16/0128/cameron-carpenter\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11265518\" class=\"wp-caption aligncenter\" style=\"max-width: 770px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11265518\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Davod-Crpss.jpg\" alt=\"David Cross\" width=\"770\" height=\"401\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Davod-Crpss.jpg 770w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Davod-Crpss-400x208.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Davod-Crpss-768x400.jpg 768w\" sizes=\"(max-width: 770px) 100vw, 770px\">\u003cfigcaption class=\"wp-caption-text\">David Cross\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan 28 & 31:\u003c/strong> Standup comedian David Cross strikes just the right balance between political satire and ridiculous dating routines. He grew up poor in the Southeast, so it’s very personal, and funny, when he takes on Southern Bible-thumpers, And yes, you do know his work. He was on \u003cem>Arrested Development\u003c/em> and partnered with Bob Oldenkirk on \u003cem>Mr. Show\u003c/em>, and he’s done voices for \u003cem>Kung Fu Panda\u003c/em> and \u003cem>Alvin and the Chipmunks\u003c/em>. He’s doing two shows, one at San Francisco’s Davies Hall Jan. 28, and then Jan. 31 at the Wells Fargo Center in Santa Rosa.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=A1lbfA8Xyz8\u003c/p>\n\u003cp>\u003cstrong>Jan. 22 – 23 & Feb. 6 & Feb. 12\u003c/strong>: Fremont composer\u003cstrong> \u003c/strong>\u003ca href=\"http://www.vananhvo.com/\" target=\"_blank\" rel=\"noopener\">Võ Vân Ánh\u003c/a> is a musical genius. She grew up in Hanoi mastering her country’s folk tradition, winning awards for her mastery of traditional instruments, especially the \u003ca href=\"https://en.wikipedia.org/wiki/%C4%90%C3%A0n_tranh\" target=\"_blank\" rel=\"noopener\">đàn tranh\u003c/a> (Vietnamese zither), đàn bầu, and bamboo xylophone. This weekend, she stages the world premiere of her multimedia suite \u003ca href=\"http://www.ybca.org/odyssey\" target=\"_blank\" rel=\"noopener\">\u003cem>The Odyssey: from Vietnam to America\u003c/em>, \u003c/a>about the Vietnamese boat people, a project she has worked on for 10 years. Then she plays the \u003ca href=\"http://kronosquartet.org/kronos-presents/detail/2397\" target=\"_blank\" rel=\"noopener\">Kronos Quartet’s Explorer Series Feb. 6\u003c/a>, and then The \u003ca href=\"http://www.oaklandsymphony.org/event/notes-from-vietnam/\" target=\"_blank\" rel=\"noopener\">Oakland Symphony premieres her \u003cem>Lullaby for a Country\u003c/em>, a concerto for đàn tranh Feb. 12th\u003c/a>. Vo’s music is strange and very, very beautiful.\u003c/p>\n\u003cfigure id=\"attachment_11265625\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11265625\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Calling-All-Choirs-1180x785.jpg\" alt=\"Calling All Choirs\" width=\"640\" height=\"426\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Calling-All-Choirs-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Calling-All-Choirs-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Calling-All-Choirs-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Calling-All-Choirs-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Calling-All-Choirs-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Calling-All-Choirs.jpg 1225w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Calling All Choir \u003ccite>(Photo Credit: Eric Gillet)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan. 23 & 30:\u003c/strong> One member describes the Calling All Choir as a non-audition gather-ye-oddballs group, that sounds pretty darn good. I can attest to that. A lot of credit goes to the ambitious leadership of composer Mark Growden, who founded the groups both a musical and service organization. The choir often plays retirement homes and residential treatment centers. These concerts (in Berkeley at the Crowden School and in SF at Mission Dolores Basilica) will features songs from around the globe including “Noah’s Dove,” arranged by Growden. Details for both concerts \u003ca href=\"http://callingallchoir.org/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. And it’s a \u003cstrong>CHEAP THRILL! \u003c/strong>Just $15.\u003c/p>\n\u003cfigure id=\"attachment_11265648\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11265648 size-large\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Zoe-Klein-performs-in-Dance-Missions-Theaters-Dance-In-Revolting-Times-festival-1180x786.jpg\" alt=\"\" width=\"640\" height=\"426\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Zoe-Klein-performs-in-Dance-Missions-Theaters-Dance-In-Revolting-Times-festival-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Zoe-Klein-performs-in-Dance-Missions-Theaters-Dance-In-Revolting-Times-festival-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Zoe-Klein-performs-in-Dance-Missions-Theaters-Dance-In-Revolting-Times-festival-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Zoe-Klein-performs-in-Dance-Missions-Theaters-Dance-In-Revolting-Times-festival-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Zoe-Klein-performs-in-Dance-Missions-Theaters-Dance-In-Revolting-Times-festival-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Zoe-Klein-performs-in-Dance-Missions-Theaters-Dance-In-Revolting-Times-festival-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Zoe-Klein-performs-in-Dance-Missions-Theaters-Dance-In-Revolting-Times-festival.jpg 2000w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Zoe Klein performs in Dance Mission’s Theater’s Dance In Revolting Times festival\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan. 23 – Feb. 7:\u003c/strong> Immigration, Black Lives Matter, health care policy, how war affects women in Iraq: issues for the Presidential debates, and for \u003ca href=\"http://www.dancemission.com/\" target=\"_blank\" rel=\"noopener\">Dance Mission Theater\u003c/a>’s second annual D.I.R.T Festival, Dance In Revolting Times, over the next three weekends. This first weekend is a collaboration with the \u003ca href=\"http://Black%20Choreographers%20Festival.\" target=\"_blank\" rel=\"noopener\">Black Choreographers Festival.\u003c/a> \u003ca href=\"http://dancemission.com/performances/upcoming.html#dirt\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ihItq4ZQ8LM\u003c/p>\n\u003cp>\u003cstrong>Jan. 27\u003c/strong>: Talib Kweli is so political and so smart, he even shows up on President Obama’s playlist, and he recently did an American hip-hop songbook concert at Lincoln Center. His name is a Swahili-Arabic mashup that means “true seeker.” Now Kweli is teaming up again with DJ Hi Tek, his Reflection Eternal partner of 20 years. Expect less bling and more politics. Reflection Eternal play two\u003ca href=\"http://www.yoshis.com/search/?q=TALIB%20KWELI%20&%20HI%20TEK%20-%20REFLECTION%20ETERNAL\" target=\"_blank\" rel=\"noopener\"> shows at Yoshi’s in Oakland. \u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11265760\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11265760\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Ubuntu-Theater-Projects-production-of-The-Gospel-of-Lovingkindness-1180x787.jpg\" alt=\"Ubuntu Theater Project's production of 'The Gospel of Lovingkindness'\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Ubuntu-Theater-Projects-production-of-The-Gospel-of-Lovingkindness-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Ubuntu-Theater-Projects-production-of-The-Gospel-of-Lovingkindness-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Ubuntu-Theater-Projects-production-of-The-Gospel-of-Lovingkindness-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Ubuntu-Theater-Projects-production-of-The-Gospel-of-Lovingkindness-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Ubuntu-Theater-Projects-production-of-The-Gospel-of-Lovingkindness-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Ubuntu-Theater-Projects-production-of-The-Gospel-of-Lovingkindness.jpg 1500w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Ubuntu Theater Project’s production of ‘The Gospel of Lovingkindness’ \u003ccite>(Photo Credit: Colin Blattel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Through Jan. 31: \u003c/strong>\u003ca href=\"http://www.ubuntutheaterproject.com/\" target=\"_blank\" rel=\"noopener\">The Ubuntu Theater Project \u003c/a>is a valiant effort for Oakland, a new repertory company doing serious theater. To open their first full season, they’re presenting a heartfelt production of Oakland born playwright Marcus Gardley’s \u003cem>The Gospel of Lovingkindness, \u003c/em>about the senseless killings of young black men, and what happens when one woman fights back. It’s in a perfectly intimate setting:\u003ca href=\"http://www.oaklandcitychurch.org/\" target=\"_blank\" rel=\"noopener\"> Oakland City Church, \u003c/a>on the border between the Dimond and the Laurel Districts. \u003ca href=\"http://www.ubuntutheaterproject.com/our-season/\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\n",
"blocks": [],
"excerpt": "KQED's Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.",
"status": "publish",
"parent": 0,
"modified": 1726788225,
"stats": {
"hasAudio": true,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 9,
"wordCount": 784
},
"headData": {
"title": "Cy and David's Picks: Obama's Playlist, an Odyssey for Refugees, and Gather-Ye-Oddballs | KQED",
"description": "KQED's Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Cy and David's Picks: Obama's Playlist, an Odyssey for Refugees, and Gather-Ye-Oddballs",
"datePublished": "2016-01-21T17:05:57-08:00",
"dateModified": "2024-09-19T16:23:45-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprStoryId": "463898187",
"path": "/arts/11265386/cy-and-davids-picks-obamas-playlist-an-odyssey-for-refugees-and-gather-ye-oddballs",
"audioUrl": "http://www.kqed.org/.stream/anon/radio/thedolist/2016/01/00114022.mp3",
"audioDuration": null,
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"aligncenter\">\n\u003ch4>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/h4>\n\u003cp>http://www.kqed.org/.stream/anon/radio/thedolist/2016/01/00114022.mp3\u003cbr>\n\u003c/p>\u003c/aside>\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/Cq2EwnBr_oM'\n title='//www.youtube.com/embed/Cq2EwnBr_oM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Jan. 28 – Jan. 31:\u003c/strong> Cameron Carpenter may be as much a showman and as bedecked with rhinestones as Liberace, but he gets more respect for his explorations of the grand classical works of Back and Scriabin, as well as the pop songbook of Lightfoot and Bacharach. (The video above is his take on “Georgia on My Mind.”). His four-day residency at SFJAZZ will be give organ lovers a chance to hear the Northern California premiere of the \u003ca href=\"https://www.sfjazz.org/onthecorner/five-things-you-should-know-about-international-touring-organ\" target=\"_blank\" rel=\"noopener\">“International Touring Organ,”\u003c/a> a totally 21st century digital instrument. \u003ca href=\"https://www.sfjazz.org/events/2015-16/0128/cameron-carpenter\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11265518\" class=\"wp-caption aligncenter\" style=\"max-width: 770px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11265518\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Davod-Crpss.jpg\" alt=\"David Cross\" width=\"770\" height=\"401\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Davod-Crpss.jpg 770w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Davod-Crpss-400x208.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Davod-Crpss-768x400.jpg 768w\" sizes=\"(max-width: 770px) 100vw, 770px\">\u003cfigcaption class=\"wp-caption-text\">David Cross\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan 28 & 31:\u003c/strong> Standup comedian David Cross strikes just the right balance between political satire and ridiculous dating routines. He grew up poor in the Southeast, so it’s very personal, and funny, when he takes on Southern Bible-thumpers, And yes, you do know his work. He was on \u003cem>Arrested Development\u003c/em> and partnered with Bob Oldenkirk on \u003cem>Mr. Show\u003c/em>, and he’s done voices for \u003cem>Kung Fu Panda\u003c/em> and \u003cem>Alvin and the Chipmunks\u003c/em>. He’s doing two shows, one at San Francisco’s Davies Hall Jan. 28, and then Jan. 31 at the Wells Fargo Center in Santa Rosa.\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/A1lbfA8Xyz8'\n title='//www.youtube.com/embed/A1lbfA8Xyz8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Jan. 22 – 23 & Feb. 6 & Feb. 12\u003c/strong>: Fremont composer\u003cstrong> \u003c/strong>\u003ca href=\"http://www.vananhvo.com/\" target=\"_blank\" rel=\"noopener\">Võ Vân Ánh\u003c/a> is a musical genius. She grew up in Hanoi mastering her country’s folk tradition, winning awards for her mastery of traditional instruments, especially the \u003ca href=\"https://en.wikipedia.org/wiki/%C4%90%C3%A0n_tranh\" target=\"_blank\" rel=\"noopener\">đàn tranh\u003c/a> (Vietnamese zither), đàn bầu, and bamboo xylophone. This weekend, she stages the world premiere of her multimedia suite \u003ca href=\"http://www.ybca.org/odyssey\" target=\"_blank\" rel=\"noopener\">\u003cem>The Odyssey: from Vietnam to America\u003c/em>, \u003c/a>about the Vietnamese boat people, a project she has worked on for 10 years. Then she plays the \u003ca href=\"http://kronosquartet.org/kronos-presents/detail/2397\" target=\"_blank\" rel=\"noopener\">Kronos Quartet’s Explorer Series Feb. 6\u003c/a>, and then The \u003ca href=\"http://www.oaklandsymphony.org/event/notes-from-vietnam/\" target=\"_blank\" rel=\"noopener\">Oakland Symphony premieres her \u003cem>Lullaby for a Country\u003c/em>, a concerto for đàn tranh Feb. 12th\u003c/a>. Vo’s music is strange and very, very beautiful.\u003c/p>\n\u003cfigure id=\"attachment_11265625\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11265625\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Calling-All-Choirs-1180x785.jpg\" alt=\"Calling All Choirs\" width=\"640\" height=\"426\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Calling-All-Choirs-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Calling-All-Choirs-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Calling-All-Choirs-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Calling-All-Choirs-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Calling-All-Choirs-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Calling-All-Choirs.jpg 1225w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Calling All Choir \u003ccite>(Photo Credit: Eric Gillet)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan. 23 & 30:\u003c/strong> One member describes the Calling All Choir as a non-audition gather-ye-oddballs group, that sounds pretty darn good. I can attest to that. A lot of credit goes to the ambitious leadership of composer Mark Growden, who founded the groups both a musical and service organization. The choir often plays retirement homes and residential treatment centers. These concerts (in Berkeley at the Crowden School and in SF at Mission Dolores Basilica) will features songs from around the globe including “Noah’s Dove,” arranged by Growden. Details for both concerts \u003ca href=\"http://callingallchoir.org/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. And it’s a \u003cstrong>CHEAP THRILL! \u003c/strong>Just $15.\u003c/p>\n\u003cfigure id=\"attachment_11265648\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11265648 size-large\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Zoe-Klein-performs-in-Dance-Missions-Theaters-Dance-In-Revolting-Times-festival-1180x786.jpg\" alt=\"\" width=\"640\" height=\"426\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Zoe-Klein-performs-in-Dance-Missions-Theaters-Dance-In-Revolting-Times-festival-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Zoe-Klein-performs-in-Dance-Missions-Theaters-Dance-In-Revolting-Times-festival-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Zoe-Klein-performs-in-Dance-Missions-Theaters-Dance-In-Revolting-Times-festival-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Zoe-Klein-performs-in-Dance-Missions-Theaters-Dance-In-Revolting-Times-festival-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Zoe-Klein-performs-in-Dance-Missions-Theaters-Dance-In-Revolting-Times-festival-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Zoe-Klein-performs-in-Dance-Missions-Theaters-Dance-In-Revolting-Times-festival-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Zoe-Klein-performs-in-Dance-Missions-Theaters-Dance-In-Revolting-Times-festival.jpg 2000w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Zoe Klein performs in Dance Mission’s Theater’s Dance In Revolting Times festival\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan. 23 – Feb. 7:\u003c/strong> Immigration, Black Lives Matter, health care policy, how war affects women in Iraq: issues for the Presidential debates, and for \u003ca href=\"http://www.dancemission.com/\" target=\"_blank\" rel=\"noopener\">Dance Mission Theater\u003c/a>’s second annual D.I.R.T Festival, Dance In Revolting Times, over the next three weekends. This first weekend is a collaboration with the \u003ca href=\"http://Black%20Choreographers%20Festival.\" target=\"_blank\" rel=\"noopener\">Black Choreographers Festival.\u003c/a> \u003ca href=\"http://dancemission.com/performances/upcoming.html#dirt\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\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/ihItq4ZQ8LM'\n title='//www.youtube.com/embed/ihItq4ZQ8LM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Jan. 27\u003c/strong>: Talib Kweli is so political and so smart, he even shows up on President Obama’s playlist, and he recently did an American hip-hop songbook concert at Lincoln Center. His name is a Swahili-Arabic mashup that means “true seeker.” Now Kweli is teaming up again with DJ Hi Tek, his Reflection Eternal partner of 20 years. Expect less bling and more politics. Reflection Eternal play two\u003ca href=\"http://www.yoshis.com/search/?q=TALIB%20KWELI%20&%20HI%20TEK%20-%20REFLECTION%20ETERNAL\" target=\"_blank\" rel=\"noopener\"> shows at Yoshi’s in Oakland. \u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11265760\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11265760\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Ubuntu-Theater-Projects-production-of-The-Gospel-of-Lovingkindness-1180x787.jpg\" alt=\"Ubuntu Theater Project's production of 'The Gospel of Lovingkindness'\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Ubuntu-Theater-Projects-production-of-The-Gospel-of-Lovingkindness-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Ubuntu-Theater-Projects-production-of-The-Gospel-of-Lovingkindness-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Ubuntu-Theater-Projects-production-of-The-Gospel-of-Lovingkindness-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Ubuntu-Theater-Projects-production-of-The-Gospel-of-Lovingkindness-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Ubuntu-Theater-Projects-production-of-The-Gospel-of-Lovingkindness-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Ubuntu-Theater-Projects-production-of-The-Gospel-of-Lovingkindness.jpg 1500w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Ubuntu Theater Project’s production of ‘The Gospel of Lovingkindness’ \u003ccite>(Photo Credit: Colin Blattel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Through Jan. 31: \u003c/strong>\u003ca href=\"http://www.ubuntutheaterproject.com/\" target=\"_blank\" rel=\"noopener\">The Ubuntu Theater Project \u003c/a>is a valiant effort for Oakland, a new repertory company doing serious theater. To open their first full season, they’re presenting a heartfelt production of Oakland born playwright Marcus Gardley’s \u003cem>The Gospel of Lovingkindness, \u003c/em>about the senseless killings of young black men, and what happens when one woman fights back. It’s in a perfectly intimate setting:\u003ca href=\"http://www.oaklandcitychurch.org/\" target=\"_blank\" rel=\"noopener\"> Oakland City Church, \u003c/a>on the border between the Dimond and the Laurel Districts. \u003ca href=\"http://www.ubuntutheaterproject.com/our-season/\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11265386/cy-and-davids-picks-obamas-playlist-an-odyssey-for-refugees-and-gather-ye-oddballs",
"authors": [
"32"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_968",
"arts_966",
"arts_69",
"arts_967"
],
"tags": [
"arts_1118",
"arts_1006",
"arts_596",
"arts_626"
],
"featImg": "arts_11265759",
"label": "arts_140"
},
"arts_11263131": {
"type": "posts",
"id": "arts_11263131",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11263131",
"score": null,
"sort": [
1453417203000
]
},
"guestAuthors": [],
"slug": "qa-stewart-brand-revisits-the-trips-festival-50-years-later",
"title": "Q&A: Stewart Brand Revisits the Trips Festival, 50 Years Later",
"publishDate": 1453417203,
"format": "standard",
"headTitle": "Q&A: Stewart Brand Revisits the Trips Festival, 50 Years Later | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>Stewart Brand doesn’t get out much. Not in public, at least. When I tell him that I’m surprised to see his name on the lineup for the \u003ca href=\"http://www.californiahistoricalsociety.org/exhibitions/events_calendar.html#50th-anniversary\" target=\"_blank\" rel=\"noopener\">California Historical Society’s 50th Anniversary of the Trips Festival\u003c/a>, celebrating a landmark 1966 event which he co-founded, his dry response is trademark Brand: “I am lazy,” he quips, “it’s true.”\u003c/p>\n\u003cp>“Lazy” is hardly the adjective for Brand in the years since the Trips Festival — a seminal convergence of performance art, psychedelic drugs, live readings by Ken Kesey and the San Francisco debut of the newly-christened Grateful Dead held at the Longshoreman’s Hall over three nights in 1966. Brand famously launched and edited the \u003cem>Whole Earth Catalog\u003c/em>, codifying the back-to-the-land movement; he cofounded the WELL, a pioneering online bulletin board system prefiguring the internet as we know it today; and he created the Long Now Foundation, the effort to expand civilization’s thinking beyond the immediate future. (Somewhat controversially, with the \u003ca href=\"https://en.wikipedia.org/wiki/Global_Business_Network\" target=\"_blank\" rel=\"noopener\">Global Business Network\u003c/a>, he also advises some of the world’s largest corporations.) In the Bay Area and beyond, Brand has been in the sidelines — if not the spotlight — of movements in science, technology and culture.\u003c/p>\n\u003cfigure id=\"attachment_11265506\" class=\"wp-caption alignright\" style=\"max-width: 396px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11265506\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/BrandAtTripsFest-396x600.jpg\" alt=\"Stewart Brand wearing his 'Whole Earth' button.\" width=\"396\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BrandAtTripsFest-396x600.jpg 396w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BrandAtTripsFest-400x606.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BrandAtTripsFest.jpg 495w\" sizes=\"(max-width: 396px) 100vw, 396px\">\u003cfigcaption class=\"wp-caption-text\">Stewart Brand wearing his \u003ca href=\"http://sb.longnow.org/SB_homepage/WholeEarth_buton.html\" target=\"_blank\" rel=\"noopener\">‘Whole Earth’ button\u003c/a>. \u003ccite>(Courtesy JP Cutler Media)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Long regarded as the genesis of the Haight-Ashbury era in San Francisco, the Trips Festival was a seed that grew in every direction. Bill Graham, one of its organizers, would go on to transform the rock concert promotions industry. Stanley Owsley, who ran sound and supplied LSD for the festival, would go on to build the template for large-scale live sound. Anna Halprin’s Dancers Workshop, the San Francisco Mime Troupe, the Open Theater and the San Francisco Tape Music Center would become pillars in the avant-garde arts community. Nearly everyone involved in the festival, which stands as one of the largest-scale acid tests before LSD was outlawed nine months later, went on to change the cultural landscape.\u003c/p>\n\u003cp>“I think people were very aware that they were making history,” says Anthea Hartig, executive director of the \u003ca href=\"http://www.californiahistoricalsociety.org/\" target=\"_blank\" rel=\"noopener\">California Historical Society\u003c/a>, which presents three days of anniversary events this week. “They were simultaneously reimagining what it meant to dance, to be, to play music. It was an incredible blurring of lines.”\u003c/p>\n\u003cp>From his houseboat in Sausalito, Brand spoke with KQED about the festival, its legacy, and the ways it changed his own approach to the world.\u003c/p>\n\u003cfigure id=\"attachment_11265507\" class=\"wp-caption alignright\" style=\"max-width: 505px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11265507\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/TripsFestFlyer.jpg\" alt=\"The original flyer for the Trips Festival, 1966.\" width=\"505\" height=\"734\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/TripsFestFlyer.jpg 505w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/TripsFestFlyer-400x581.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/TripsFestFlyer-413x600.jpg 413w\" sizes=\"(max-width: 505px) 100vw, 505px\">\u003cfigcaption class=\"wp-caption-text\">The original flyer for the Trips Festival, 1966.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>You rarely appear in public these days. What made you agree to appear at this event?\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It’s local. It’s easy. It’s probably some interesting people. And it is actually 50 years ago that we did the Trips Festival. It seemed important at the time, and in some ways it seems important still. All of that made it easy and attractive.\u003c/p>\n\u003cp>\u003cstrong>You’re someone who often thinks about, and talks about, the future. This going to be thinking and talking about the past — 50 years ago. How does it feel to look back? \u003c/strong>\u003c/p>\n\u003cp>Well, the Long Now Foundation, where I am President and have been mainly occupied for the last 20 years — we are focused on continuity. The Trips Festival was a continuity event. It was kind of a transitional event from one period of art in the Bay Area to another period. A lot of what it was expressing then is, I think, still very present — certainly in Burning Man, and in certain relationships that artists have to each other, and, increasingly, that engineers have to each other in the Bay Area. The interaction of engineers and artists, there was a certain amount of it at the Trips Festival and there’s certainly a lot more now. It’s part of the Bay Area’s ongoing contribution to culture and society.\u003c/p>\n\u003cp>\u003cstrong>You mentioned Burning Man. What other things grew out of the ideology at the Trips Festival?\u003c/strong>\u003c/p>\n\u003cp>I think one of the main things is the idea of no spectators. The idea that an audience shows up to a certain kind of event expecting to \u003cem>do\u003c/em> something, not just to see something. Raves came on through that. People came to the Trips Festival in outfits, and stoned, and prepared to dance. There was not much seating in Longshoreman’s Hall. There was a great big floor with scaffolding in the middle, where Ken Kesey and Ken Babbs and I were dangling. That floor was always filled with people doing stuff. It was at its best when the Grateful Dead, newly named the Grateful Dead, were playing. That’s why we did a reprise Sunday night of their amazing show on Saturday night.\u003c/p>\n\u003cp>\u003cstrong>Did you go on to be a fan of the Grateful Dead? \u003c/strong>\u003c/p>\n\u003cp>Friends with [them]. I went to several of their concerts and got to know the band pretty well. Kesey’s Merry Pranksters and the Grateful Dead were tightly bound along with Wavy Gravy and the Hog Farm. That was a cadre that I rode with for a while.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=OXDuEjr7ta0\u003c/p>\n\u003cp>\u003cstrong>I’m interested in the ways in which the festival laid the groundwork for the WELL, which, like the festival, seemed to be a great experiment in connecting people. The Trips Festival was also a giant LSD experiment, with people being able to see connections that weren’t readily apparent to most people. Was it the ability to see those connections that laid the groundwork for the idea of the WELL? \u003c/strong>\u003c/p>\n\u003cp>I am not sure that there is a psychedelic connection or not. The psychedelic thing mainly was a signifier that one was part of a certain cohort, of a certain body of people who were of a certain age, who got to know each other. It was social in that sense. As a drug, I think it’s probably not as social as Ecstasy, or MDMA — which I haven’t tried, but its reputation is highly social. The formula I was working on with public events and with the WELL is that you collect a bunch of interesting in the same place at the same time, and then turn up the flame — such that they mix more rapidly, and their budding emotion is more intense. It’s just the basic formula of how you make a good party. I’m not a party animal. But maybe because of that, if there is going to be a party that I am involved in, I want to make sure it’s overwhelming.\u003c/p>\n\u003cfigure id=\"attachment_11265508\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11265508\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/BrandatHome.jpg\" alt=\"Stewart Brand at his home in Sausalito, 2010.\" width=\"800\" height=\"598\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BrandatHome.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BrandatHome-400x299.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BrandatHome-768x574.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stewart Brand at his home in Sausalito, 2010. \u003ccite>(Wikimedia Commons)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>You yourself didn’t have any grand revelations while on LSD, visualizing the whole schematic of the internet before your eyes or anything like that? \u003c/strong>\u003c/p>\n\u003cp>No, the grand revelation I had with LSD was that seeing the Earth from space would change everything. That was actually shortly after a Trips Festival, so I imagine there’s that connection. It was spring of 1966, and we had been in space for 10 years, and nobody had taken a photograph of the Earth, not the Russians or Soviets as they were then, nor us. I saw that button: “\u003ca href=\"http://sb.longnow.org/SB_homepage/WholeEarth_buton.html\" target=\"_blank\" rel=\"noopener\">Why Haven’t We Seen a Photograph of the Whole Earth Yet?\u003c/a>” That was purely a low-dosage LSD afternoon in North Beach.\u003c/p>\n\u003cp>\u003cstrong>How do you feel about the idea of the “hippie-to-tech pipeline”? Biopics of Steve Jobs, for example, that focus on his mind expansion and how it turned into his technological ideas later. Is that characterization of early tech correct in your estimate? \u003c/strong>\u003c/p>\n\u003cp>Stuff that happens to somebody in their twenties is going to be formative, no matter what. For lots of people it’s travel. They work in the Peace Corps and that’s who they are. Their first amazing job establishes their sense of what’s possible. And psychedelic drugs were new, so they were unique to us. They were indeed potent, and led to revelations and occasions. Maybe more occasions than revelations. In any case, they were definitely formative in the case of Steve Jobs. The couple of times that he and I talked, we would reminisce about acid trips.\u003c/p>\n\u003cp>\u003cstrong>You say it brought more occasions than revelations. What do you mean by that? \u003c/strong>\u003c/p>\n\u003cp>The occasions that… From ’66 on, LSD was illegal and marijuana was illegal. I never actually bought dope in my life; it was always given to me. There was a lot of sort of handing around of this contraband. So it was necessarily underground, and necessarily a kind of trust connection. A lot of people got started in business being young entrepreneurial drug dealers who went on to great things later on in other businesses. There was this medium of exchange that we were all engaged in. I think it was consequential.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Ufls8DNTxPI\u003c/p>\n\u003cp>\u003cstrong>As far as specific snapshots go, when you think of the Trips Festival today, what memories come immediately to mind?\u003c/strong>\u003c/p>\n\u003cp>I guess my favorite moment is the one that I designed, in which I hired an Olympic-level gymnast named Dan Millman. I think it was in the peak of weirdness on Saturday. We dragged a trampoline that I borrowed from San Francisco State College out into the middle space in Longshoreman’s Hall and set up a series of linked strobes around it. And then suddenly, from the balcony, he comes diving through the air in a ski mask, lands on the trampoline and proceeds to go up and up and up doing Olympic-level triple somersaults and multiple twists and whatnot. All with the flash-flash-flash of the strobe lights, and with people standing around wondering if what they were seeing was there in the world or there in their mind, and they were sort of checking with each other: “Do you see what I see?”\u003c/p>\n\u003cp>He did a beautiful performance, which can’t have been easy with a strobe light and a ski mask on. He did enough of those to blow your mind. Then he snuck off into the crowd and we removed the trampoline and that was that. I paid him $50, I think.\u003c/p>\n\u003cp>\u003cstrong>Getting people together and turning up the flame.\u003c/strong>\u003c/p>\n\u003cp>Yeah, and that was turning up the flame. People were doing it for each other in various ways. The Grateful Dead, it was one of their earliest big audiences. They developed that capability of feeding off the juice in the audience with the kind of heterodyne effect. They went back and forth, and it got pretty ecstatic in there.\u003c/p>\n\u003cp>\u003cstrong>When you see those photos and videos, do you recognize the Stewart Brand that’s in them? \u003c/strong>\u003c/p>\n\u003cp>Yeah, if anything, there’s too much continuity in me. I’m still in the Bay Area after all these years, still know a lot of the same people. I’m engaged in various forms of scientific but still somewhat artistic endeavors with other people, doing those same things. To me I just see a guy with more hair.\u003c/p>\n\u003cfigure id=\"attachment_11265514\" class=\"wp-caption alignright\" style=\"max-width: 651px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11265514\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/SBatTED2010.jpg\" alt=\"Stewart Brand flashing his support for nuclear power at a TED talk, 2010. \" width=\"651\" height=\"876\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/SBatTED2010.jpg 651w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/SBatTED2010-400x538.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/SBatTED2010-446x600.jpg 446w\" sizes=\"(max-width: 651px) 100vw, 651px\">\u003cfigcaption class=\"wp-caption-text\">Stewart Brand flashing his support for nuclear power at a TED talk, 2010. \u003ccite>(TED/Maria Aufmuth)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>You have changed in some ways, though. Specifically, in your book \u003cem>Whole Earth Discipline,\u003c/em> you advocate not only for a back-to-the-city approach, but for nuclear power and GMOs. Some people saw this as a flip-flop or a betrayal; others even accused you of corporate propaganda for clients of your Global Business Network. What was your reaction to those accusations?\u003c/strong>\u003c/p>\n\u003cp>Annoyance. It’s so damn lazy when you disagree with something to claim that person must be a shill for some other thing that you disapprove of. That particular book is, I think, one of my two best books. It was treated as such in England. It got reviewed everywhere, and very favorably, and got fabulous blurbs from all the heavyweights. In this country it didn’t get reviewed basically anywhere. Not even the \u003cem>San Francisco Chronicle\u003c/em> or the \u003cem>New York Times\u003c/em> or any of the places you might expect to see a former National Book Award Winner’s new groundbreaking book to be reviewed. There was kind of a boycott, a shunning that occurred. In one way, I suppose one can be flattered: “Well, this is far-out enough that people are actually shunning it.” In another, I’m just annoyed that not enough people are reading it to know if it’s worth shunning or not.\u003c/p>\n\u003cp>\u003cstrong>When you think about the Trips Festival and the community of people around it, and then where you are now and specifically with that book, is it uncomfortable to engage with the counterculture community again?\u003c/strong>\u003c/p>\n\u003cp>God, no. Sorry, I’m a hippie. You know, Steve Jobs probably said he was a hippie. He was a master of the universe, but he was also a hippie and still went barefoot when he could. That’s my tribe. I’m still in it.\u003c/p>\n\u003cp>\u003cstrong>Even though some of your ideas run counter to what that movement has long held dear? \u003c/strong>\u003c/p>\n\u003cp>Look, the \u003cem>Whole Earth Catalog\u003c/em> was a counter-counterculture phenomenon. One of the hippie characteristics was a very powerful romantic engagement, a personal subjective engagement with the world, which kind of eschewed the engineering/technological/scientific approach to things. As a result, you had communes that could not function because they couldn’t finish the dome and make it leak-proof, and they couldn’t make the garden actually grow food. And so the \u003cem>Whole Earth Catalog\u003c/em>, in a way that accessed tools, was pure Buckminster Fuller. Tools are more important than anything else in terms of enabling things. I had no politics in there; very little art, actually. It was an enlightenment publication in a romantic period. Being counter-countercultural is my mode, I guess.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cem>Stewart Brand appears Friday, Jan. 22, at \u003c/em>The 1960s Revisited: A 50th Anniversary Celebration\u003cem> at Obscura Digital in San Francisco, presented by the California Historical Society. \u003ca href=\"http://www.californiahistoricalsociety.org/exhibitions/events_calendar.html#50th-anniversary\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Interview has been edited for length and clarity.\u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "Talking with Bay Area visionary Stewart Brand about the enduring influence of the Trips Festival, the seminal 1966 gathering of music, LSD, spoken-word, dance and more.",
"status": "publish",
"parent": 0,
"modified": 1726788227,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 38,
"wordCount": 2423
},
"headData": {
"title": "Q&A: Stewart Brand Revisits the Trips Festival, 50 Years Later | KQED",
"description": "Talking with Bay Area visionary Stewart Brand about the enduring influence of the Trips Festival, the seminal 1966 gathering of music, LSD, spoken-word, dance and more.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Q&A: Stewart Brand Revisits the Trips Festival, 50 Years Later",
"datePublished": "2016-01-21T15:00:03-08:00",
"dateModified": "2024-09-19T16:23:47-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprStoryId": "463883307",
"path": "/arts/11263131/qa-stewart-brand-revisits-the-trips-festival-50-years-later",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Stewart Brand doesn’t get out much. Not in public, at least. When I tell him that I’m surprised to see his name on the lineup for the \u003ca href=\"http://www.californiahistoricalsociety.org/exhibitions/events_calendar.html#50th-anniversary\" target=\"_blank\" rel=\"noopener\">California Historical Society’s 50th Anniversary of the Trips Festival\u003c/a>, celebrating a landmark 1966 event which he co-founded, his dry response is trademark Brand: “I am lazy,” he quips, “it’s true.”\u003c/p>\n\u003cp>“Lazy” is hardly the adjective for Brand in the years since the Trips Festival — a seminal convergence of performance art, psychedelic drugs, live readings by Ken Kesey and the San Francisco debut of the newly-christened Grateful Dead held at the Longshoreman’s Hall over three nights in 1966. Brand famously launched and edited the \u003cem>Whole Earth Catalog\u003c/em>, codifying the back-to-the-land movement; he cofounded the WELL, a pioneering online bulletin board system prefiguring the internet as we know it today; and he created the Long Now Foundation, the effort to expand civilization’s thinking beyond the immediate future. (Somewhat controversially, with the \u003ca href=\"https://en.wikipedia.org/wiki/Global_Business_Network\" target=\"_blank\" rel=\"noopener\">Global Business Network\u003c/a>, he also advises some of the world’s largest corporations.) In the Bay Area and beyond, Brand has been in the sidelines — if not the spotlight — of movements in science, technology and culture.\u003c/p>\n\u003cfigure id=\"attachment_11265506\" class=\"wp-caption alignright\" style=\"max-width: 396px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11265506\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/BrandAtTripsFest-396x600.jpg\" alt=\"Stewart Brand wearing his 'Whole Earth' button.\" width=\"396\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BrandAtTripsFest-396x600.jpg 396w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BrandAtTripsFest-400x606.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BrandAtTripsFest.jpg 495w\" sizes=\"(max-width: 396px) 100vw, 396px\">\u003cfigcaption class=\"wp-caption-text\">Stewart Brand wearing his \u003ca href=\"http://sb.longnow.org/SB_homepage/WholeEarth_buton.html\" target=\"_blank\" rel=\"noopener\">‘Whole Earth’ button\u003c/a>. \u003ccite>(Courtesy JP Cutler Media)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Long regarded as the genesis of the Haight-Ashbury era in San Francisco, the Trips Festival was a seed that grew in every direction. Bill Graham, one of its organizers, would go on to transform the rock concert promotions industry. Stanley Owsley, who ran sound and supplied LSD for the festival, would go on to build the template for large-scale live sound. Anna Halprin’s Dancers Workshop, the San Francisco Mime Troupe, the Open Theater and the San Francisco Tape Music Center would become pillars in the avant-garde arts community. Nearly everyone involved in the festival, which stands as one of the largest-scale acid tests before LSD was outlawed nine months later, went on to change the cultural landscape.\u003c/p>\n\u003cp>“I think people were very aware that they were making history,” says Anthea Hartig, executive director of the \u003ca href=\"http://www.californiahistoricalsociety.org/\" target=\"_blank\" rel=\"noopener\">California Historical Society\u003c/a>, which presents three days of anniversary events this week. “They were simultaneously reimagining what it meant to dance, to be, to play music. It was an incredible blurring of lines.”\u003c/p>\n\u003cp>From his houseboat in Sausalito, Brand spoke with KQED about the festival, its legacy, and the ways it changed his own approach to the world.\u003c/p>\n\u003cfigure id=\"attachment_11265507\" class=\"wp-caption alignright\" style=\"max-width: 505px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11265507\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/TripsFestFlyer.jpg\" alt=\"The original flyer for the Trips Festival, 1966.\" width=\"505\" height=\"734\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/TripsFestFlyer.jpg 505w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/TripsFestFlyer-400x581.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/TripsFestFlyer-413x600.jpg 413w\" sizes=\"(max-width: 505px) 100vw, 505px\">\u003cfigcaption class=\"wp-caption-text\">The original flyer for the Trips Festival, 1966.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>You rarely appear in public these days. What made you agree to appear at this event?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s local. It’s easy. It’s probably some interesting people. And it is actually 50 years ago that we did the Trips Festival. It seemed important at the time, and in some ways it seems important still. All of that made it easy and attractive.\u003c/p>\n\u003cp>\u003cstrong>You’re someone who often thinks about, and talks about, the future. This going to be thinking and talking about the past — 50 years ago. How does it feel to look back? \u003c/strong>\u003c/p>\n\u003cp>Well, the Long Now Foundation, where I am President and have been mainly occupied for the last 20 years — we are focused on continuity. The Trips Festival was a continuity event. It was kind of a transitional event from one period of art in the Bay Area to another period. A lot of what it was expressing then is, I think, still very present — certainly in Burning Man, and in certain relationships that artists have to each other, and, increasingly, that engineers have to each other in the Bay Area. The interaction of engineers and artists, there was a certain amount of it at the Trips Festival and there’s certainly a lot more now. It’s part of the Bay Area’s ongoing contribution to culture and society.\u003c/p>\n\u003cp>\u003cstrong>You mentioned Burning Man. What other things grew out of the ideology at the Trips Festival?\u003c/strong>\u003c/p>\n\u003cp>I think one of the main things is the idea of no spectators. The idea that an audience shows up to a certain kind of event expecting to \u003cem>do\u003c/em> something, not just to see something. Raves came on through that. People came to the Trips Festival in outfits, and stoned, and prepared to dance. There was not much seating in Longshoreman’s Hall. There was a great big floor with scaffolding in the middle, where Ken Kesey and Ken Babbs and I were dangling. That floor was always filled with people doing stuff. It was at its best when the Grateful Dead, newly named the Grateful Dead, were playing. That’s why we did a reprise Sunday night of their amazing show on Saturday night.\u003c/p>\n\u003cp>\u003cstrong>Did you go on to be a fan of the Grateful Dead? \u003c/strong>\u003c/p>\n\u003cp>Friends with [them]. I went to several of their concerts and got to know the band pretty well. Kesey’s Merry Pranksters and the Grateful Dead were tightly bound along with Wavy Gravy and the Hog Farm. That was a cadre that I rode with for a while.\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/OXDuEjr7ta0'\n title='//www.youtube.com/embed/OXDuEjr7ta0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>I’m interested in the ways in which the festival laid the groundwork for the WELL, which, like the festival, seemed to be a great experiment in connecting people. The Trips Festival was also a giant LSD experiment, with people being able to see connections that weren’t readily apparent to most people. Was it the ability to see those connections that laid the groundwork for the idea of the WELL? \u003c/strong>\u003c/p>\n\u003cp>I am not sure that there is a psychedelic connection or not. The psychedelic thing mainly was a signifier that one was part of a certain cohort, of a certain body of people who were of a certain age, who got to know each other. It was social in that sense. As a drug, I think it’s probably not as social as Ecstasy, or MDMA — which I haven’t tried, but its reputation is highly social. The formula I was working on with public events and with the WELL is that you collect a bunch of interesting in the same place at the same time, and then turn up the flame — such that they mix more rapidly, and their budding emotion is more intense. It’s just the basic formula of how you make a good party. I’m not a party animal. But maybe because of that, if there is going to be a party that I am involved in, I want to make sure it’s overwhelming.\u003c/p>\n\u003cfigure id=\"attachment_11265508\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11265508\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/BrandatHome.jpg\" alt=\"Stewart Brand at his home in Sausalito, 2010.\" width=\"800\" height=\"598\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BrandatHome.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BrandatHome-400x299.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BrandatHome-768x574.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stewart Brand at his home in Sausalito, 2010. \u003ccite>(Wikimedia Commons)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>You yourself didn’t have any grand revelations while on LSD, visualizing the whole schematic of the internet before your eyes or anything like that? \u003c/strong>\u003c/p>\n\u003cp>No, the grand revelation I had with LSD was that seeing the Earth from space would change everything. That was actually shortly after a Trips Festival, so I imagine there’s that connection. It was spring of 1966, and we had been in space for 10 years, and nobody had taken a photograph of the Earth, not the Russians or Soviets as they were then, nor us. I saw that button: “\u003ca href=\"http://sb.longnow.org/SB_homepage/WholeEarth_buton.html\" target=\"_blank\" rel=\"noopener\">Why Haven’t We Seen a Photograph of the Whole Earth Yet?\u003c/a>” That was purely a low-dosage LSD afternoon in North Beach.\u003c/p>\n\u003cp>\u003cstrong>How do you feel about the idea of the “hippie-to-tech pipeline”? Biopics of Steve Jobs, for example, that focus on his mind expansion and how it turned into his technological ideas later. Is that characterization of early tech correct in your estimate? \u003c/strong>\u003c/p>\n\u003cp>Stuff that happens to somebody in their twenties is going to be formative, no matter what. For lots of people it’s travel. They work in the Peace Corps and that’s who they are. Their first amazing job establishes their sense of what’s possible. And psychedelic drugs were new, so they were unique to us. They were indeed potent, and led to revelations and occasions. Maybe more occasions than revelations. In any case, they were definitely formative in the case of Steve Jobs. The couple of times that he and I talked, we would reminisce about acid trips.\u003c/p>\n\u003cp>\u003cstrong>You say it brought more occasions than revelations. What do you mean by that? \u003c/strong>\u003c/p>\n\u003cp>The occasions that… From ’66 on, LSD was illegal and marijuana was illegal. I never actually bought dope in my life; it was always given to me. There was a lot of sort of handing around of this contraband. So it was necessarily underground, and necessarily a kind of trust connection. A lot of people got started in business being young entrepreneurial drug dealers who went on to great things later on in other businesses. There was this medium of exchange that we were all engaged in. I think it was consequential.\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/Ufls8DNTxPI'\n title='//www.youtube.com/embed/Ufls8DNTxPI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>As far as specific snapshots go, when you think of the Trips Festival today, what memories come immediately to mind?\u003c/strong>\u003c/p>\n\u003cp>I guess my favorite moment is the one that I designed, in which I hired an Olympic-level gymnast named Dan Millman. I think it was in the peak of weirdness on Saturday. We dragged a trampoline that I borrowed from San Francisco State College out into the middle space in Longshoreman’s Hall and set up a series of linked strobes around it. And then suddenly, from the balcony, he comes diving through the air in a ski mask, lands on the trampoline and proceeds to go up and up and up doing Olympic-level triple somersaults and multiple twists and whatnot. All with the flash-flash-flash of the strobe lights, and with people standing around wondering if what they were seeing was there in the world or there in their mind, and they were sort of checking with each other: “Do you see what I see?”\u003c/p>\n\u003cp>He did a beautiful performance, which can’t have been easy with a strobe light and a ski mask on. He did enough of those to blow your mind. Then he snuck off into the crowd and we removed the trampoline and that was that. I paid him $50, I think.\u003c/p>\n\u003cp>\u003cstrong>Getting people together and turning up the flame.\u003c/strong>\u003c/p>\n\u003cp>Yeah, and that was turning up the flame. People were doing it for each other in various ways. The Grateful Dead, it was one of their earliest big audiences. They developed that capability of feeding off the juice in the audience with the kind of heterodyne effect. They went back and forth, and it got pretty ecstatic in there.\u003c/p>\n\u003cp>\u003cstrong>When you see those photos and videos, do you recognize the Stewart Brand that’s in them? \u003c/strong>\u003c/p>\n\u003cp>Yeah, if anything, there’s too much continuity in me. I’m still in the Bay Area after all these years, still know a lot of the same people. I’m engaged in various forms of scientific but still somewhat artistic endeavors with other people, doing those same things. To me I just see a guy with more hair.\u003c/p>\n\u003cfigure id=\"attachment_11265514\" class=\"wp-caption alignright\" style=\"max-width: 651px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11265514\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/SBatTED2010.jpg\" alt=\"Stewart Brand flashing his support for nuclear power at a TED talk, 2010. \" width=\"651\" height=\"876\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/SBatTED2010.jpg 651w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/SBatTED2010-400x538.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/SBatTED2010-446x600.jpg 446w\" sizes=\"(max-width: 651px) 100vw, 651px\">\u003cfigcaption class=\"wp-caption-text\">Stewart Brand flashing his support for nuclear power at a TED talk, 2010. \u003ccite>(TED/Maria Aufmuth)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>You have changed in some ways, though. Specifically, in your book \u003cem>Whole Earth Discipline,\u003c/em> you advocate not only for a back-to-the-city approach, but for nuclear power and GMOs. Some people saw this as a flip-flop or a betrayal; others even accused you of corporate propaganda for clients of your Global Business Network. What was your reaction to those accusations?\u003c/strong>\u003c/p>\n\u003cp>Annoyance. It’s so damn lazy when you disagree with something to claim that person must be a shill for some other thing that you disapprove of. That particular book is, I think, one of my two best books. It was treated as such in England. It got reviewed everywhere, and very favorably, and got fabulous blurbs from all the heavyweights. In this country it didn’t get reviewed basically anywhere. Not even the \u003cem>San Francisco Chronicle\u003c/em> or the \u003cem>New York Times\u003c/em> or any of the places you might expect to see a former National Book Award Winner’s new groundbreaking book to be reviewed. There was kind of a boycott, a shunning that occurred. In one way, I suppose one can be flattered: “Well, this is far-out enough that people are actually shunning it.” In another, I’m just annoyed that not enough people are reading it to know if it’s worth shunning or not.\u003c/p>\n\u003cp>\u003cstrong>When you think about the Trips Festival and the community of people around it, and then where you are now and specifically with that book, is it uncomfortable to engage with the counterculture community again?\u003c/strong>\u003c/p>\n\u003cp>God, no. Sorry, I’m a hippie. You know, Steve Jobs probably said he was a hippie. He was a master of the universe, but he was also a hippie and still went barefoot when he could. That’s my tribe. I’m still in it.\u003c/p>\n\u003cp>\u003cstrong>Even though some of your ideas run counter to what that movement has long held dear? \u003c/strong>\u003c/p>\n\u003cp>Look, the \u003cem>Whole Earth Catalog\u003c/em> was a counter-counterculture phenomenon. One of the hippie characteristics was a very powerful romantic engagement, a personal subjective engagement with the world, which kind of eschewed the engineering/technological/scientific approach to things. As a result, you had communes that could not function because they couldn’t finish the dome and make it leak-proof, and they couldn’t make the garden actually grow food. And so the \u003cem>Whole Earth Catalog\u003c/em>, in a way that accessed tools, was pure Buckminster Fuller. Tools are more important than anything else in terms of enabling things. I had no politics in there; very little art, actually. It was an enlightenment publication in a romantic period. Being counter-countercultural is my mode, I guess.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cem>Stewart Brand appears Friday, Jan. 22, at \u003c/em>The 1960s Revisited: A 50th Anniversary Celebration\u003cem> at Obscura Digital in San Francisco, presented by the California Historical Society. \u003ca href=\"http://www.californiahistoricalsociety.org/exhibitions/events_calendar.html#50th-anniversary\" target=\"_blank\" rel=\"noopener\">Details 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>Interview has been edited for length and clarity.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11263131/qa-stewart-brand-revisits-the-trips-festival-50-years-later",
"authors": [
"185"
],
"categories": [
"arts_69"
],
"tags": [
"arts_1118",
"arts_1425",
"arts_596",
"arts_989"
],
"featImg": "arts_11265505",
"label": "arts"
},
"pop_19987": {
"type": "posts",
"id": "pop_19987",
"meta": {
"index": "posts_1716263798",
"site": "pop",
"id": "19987",
"score": null,
"sort": [
1453415593000
]
},
"parent": 0,
"labelTerm": {
"site": "pop"
},
"blocks": [],
"publishDate": 1453415593,
"format": "standard",
"disqusTitle": "Listen: David Bowie's Hilarious Impressions of Bruce Springsteen, Tom Waits, Lou Reed, Iggy Pop and More",
"title": "Listen: David Bowie's Hilarious Impressions of Bruce Springsteen, Tom Waits, Lou Reed, Iggy Pop and More",
"headTitle": "KQED Pop | KQED Arts",
"content": "\u003cp>Yes, I know, you've read everything there is to read about Bowie over the past week and a half. You've listened to every record, watched every interview, dissected conversations about what he meant to the queer community, to children's movies, to your great aunt Marla.\u003c/p>\n\u003cp>But you probably haven't heard this: The Starman himself, with more than a hint of audible glee, performing spot-on impressions of other contemporary musical greats -- including Bruce Springsteen, Bob Dylan, Lou Reed, and more.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=NrtXFTw2ico\u003c/p>\n\u003cp>Recording engineer Mark Saunders uploaded the previously buried recordings to YouTube a couple days ago, with the following explanation of their origin:\u003c/p>\n\u003cp>\u003cem>I was lucky enough to work with Bowie in 1985 at Westside Studios in London. My bosses, Clive Langer and Alan Winstanley (Madness, Dexys Midnight Runners, Elvis Costello, Bush) were producing the soundtrack for the movie \u003c/em>Absolute Beginners\u003cem>, for which Bowie was acting and writing songs (it was a better soundtrack than it was a movie!) and I was graduating from assistant engineer to engineer at that time.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>The day Bowie was first due to show up at Westside, we were all a bit nervous — Bowie was the biggest star client for Clive and Alan at that point in time. We kept looking out the windows, waiting for a stretch limo to show up and an entire entourage to walk in, but then a black cab showed up and out popped the unaccompanied Bowie. He walked in, announced in what seemed a more cockney voice than I remembered, “Hi, I’m David Bowie,” and shook our hands. He seemed smaller than I imagined he would be in person. A bit later I noticed that the cockney had dissipated somewhat and he also seemed to have grown more upright and taller, too. I thought, “Wow, he really is a chameleon,” and wondered if the earlier exaggerated cockney was his way of reducing his superstar status temporarily to put people at ease on first meeting him.\u003c/em>\u003c/p>\n\u003cp>\u003cem>The impersonations on this YouTube posting were recorded in August '85, when Bowie came in to do the lead vocal. At the end of the session, he broke into the impersonations and I realized that these might get erased at some point, so I quickly put a cassette in and hit “record.” \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://www.marksaunders.com.hostbaby.com/blog/david_bowie_impersonates..../\" target=\"_blank\">Over on Saunders' blog\u003c/a>, the engineer goes on to tell the story of how Mick Jagger and David Bowie's cover of \"Dancing in the Street\" was recorded. Somehow, the story does not involve piles upon piles of cocaine. Nevertheless: Gems galore.\u003c/p>\n\n",
"disqusIdentifier": "19987 http://ww2.kqed.org/pop/?p=19987",
"disqusUrl": "https://ww2.kqed.org/pop/2016/01/21/listen-david-bowies-hilarious-impressions-of-bruce-springsteen-tom-waits-lou-reed-iggy-pop-and-more/",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 443,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 9
},
"modified": 1453416470,
"excerpt": "He may have seemed larger than life -- but he sure knew how to have fun in the studio. ",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "He may have seemed larger than life -- but he sure knew how to have fun in the studio. ",
"title": "Listen: David Bowie's Hilarious Impressions of Bruce Springsteen, Tom Waits, Lou Reed, Iggy Pop and More | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Listen: David Bowie's Hilarious Impressions of Bruce Springsteen, Tom Waits, Lou Reed, Iggy Pop and More",
"datePublished": "2016-01-21T14:33:13-08:00",
"dateModified": "2016-01-21T14:47:50-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "listen-david-bowies-hilarious-impressions-of-bruce-springsteen-tom-waits-lou-reed-iggy-pop-and-more",
"status": "publish",
"path": "/pop/19987/listen-david-bowies-hilarious-impressions-of-bruce-springsteen-tom-waits-lou-reed-iggy-pop-and-more",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Yes, I know, you've read everything there is to read about Bowie over the past week and a half. You've listened to every record, watched every interview, dissected conversations about what he meant to the queer community, to children's movies, to your great aunt Marla.\u003c/p>\n\u003cp>But you probably haven't heard this: The Starman himself, with more than a hint of audible glee, performing spot-on impressions of other contemporary musical greats -- including Bruce Springsteen, Bob Dylan, Lou Reed, and more.\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/NrtXFTw2ico'\n title='//www.youtube.com/embed/NrtXFTw2ico'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Recording engineer Mark Saunders uploaded the previously buried recordings to YouTube a couple days ago, with the following explanation of their origin:\u003c/p>\n\u003cp>\u003cem>I was lucky enough to work with Bowie in 1985 at Westside Studios in London. My bosses, Clive Langer and Alan Winstanley (Madness, Dexys Midnight Runners, Elvis Costello, Bush) were producing the soundtrack for the movie \u003c/em>Absolute Beginners\u003cem>, for which Bowie was acting and writing songs (it was a better soundtrack than it was a movie!) and I was graduating from assistant engineer to engineer at that time.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>The day Bowie was first due to show up at Westside, we were all a bit nervous — Bowie was the biggest star client for Clive and Alan at that point in time. We kept looking out the windows, waiting for a stretch limo to show up and an entire entourage to walk in, but then a black cab showed up and out popped the unaccompanied Bowie. He walked in, announced in what seemed a more cockney voice than I remembered, “Hi, I’m David Bowie,” and shook our hands. He seemed smaller than I imagined he would be in person. A bit later I noticed that the cockney had dissipated somewhat and he also seemed to have grown more upright and taller, too. I thought, “Wow, he really is a chameleon,” and wondered if the earlier exaggerated cockney was his way of reducing his superstar status temporarily to put people at ease on first meeting him.\u003c/em>\u003c/p>\n\u003cp>\u003cem>The impersonations on this YouTube posting were recorded in August '85, when Bowie came in to do the lead vocal. At the end of the session, he broke into the impersonations and I realized that these might get erased at some point, so I quickly put a cassette in and hit “record.” \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://www.marksaunders.com.hostbaby.com/blog/david_bowie_impersonates..../\" target=\"_blank\">Over on Saunders' blog\u003c/a>, the engineer goes on to tell the story of how Mick Jagger and David Bowie's cover of \"Dancing in the Street\" was recorded. Somehow, the story does not involve piles upon piles of cocaine. Nevertheless: Gems galore.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/pop/19987/listen-david-bowies-hilarious-impressions-of-bruce-springsteen-tom-waits-lou-reed-iggy-pop-and-more",
"authors": [
"7237"
],
"categories": [
"pop_4",
"pop_1041"
],
"featImg": "pop_19989",
"label": "pop"
},
"arts_11262767": {
"type": "posts",
"id": "arts_11262767",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11262767",
"score": null,
"sort": [
1453338013000
]
},
"guestAuthors": [],
"slug": "sound-advice-the-brutal-intimacy-of-majical-cloudz-and-more-music-picks",
"title": "Sound Advice: The Brutal Intimacy of Majical Cloudz and More Music Picks",
"publishDate": 1453338013,
"format": "standard",
"headTitle": "Sound Advice: The Brutal Intimacy of Majical Cloudz and More Music Picks | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003cp>By now, you know the way musical rules work. The more volume behind a singer or rapper, the more they’re emboldened to look the crowd in the eyes. Countless punk singers and rappers have squatted down, gotten in people’s faces, jumped into the crowd and obliterated the fourth wall. Those trading in quieter music — like jazz, folk, or classical — tend to hew firmly to their place, acknowledging the audience from time to time, often minimally and nearly always between songs. These are our expectations as an audience. We know what we’re getting.\u003c/p>\n\u003cp>Seeing the Montreal duo Majical Cloudz live is, then, an inherently off-putting experience. With only Matthew Otto’s whisper-thin electronic loops supporting his warm crooning baritone, singer Devon Welsh manages to be more antagonistic, more piercing and more brutally intimate than any punk singer I’ve seen. Even during instrumental passages — \u003cem>especially\u003c/em> during instrumental passages — he stands alone, sometimes whipping the microphone downward in rhythm, just… \u003cem>staring at you\u003c/em>. Remember Marina Abramović’s \u003cem>\u003ca href=\"http://marinafilm.com/\" target=\"_blank\" rel=\"noopener\">The Artist is Present\u003c/a>\u003c/em>? It’s like that.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=3lN5IvE1esc\u003c/p>\n\u003cp>When I first saw Majical Cloudz, I laughed. The next time, though, I could barely move. And in talking with Welsh afterward, I learned that he’s very aware of his stage presence and what it does to people. Coupled with his lyrics, which skip the niceties and jump straight to meaning-of-life discourses on love and death, he leaves himself vulnerable onstage, night after night — even during the band’s 2014 string of shows opening for Lorde in huge halls.\u003c/p>\n\u003cp>As far as recordings go, 2013’s \u003ca href=\"https://www.youtube.com/watch?v=KFepUrJIt7c&list=PLZqsyBiYZFQ2UJ9PgXsgZDsYEbm4Asfwq\" target=\"_blank\" rel=\"noopener\">\u003cem>Impersonator\u003c/em>\u003c/a> is a solid place to start. But there’s nothing like seeing a live performance. Majical Cloudz play Tuesday, Jan. 26, at the Chapel. \u003ca href=\"http://www.thechapelsf.com/event/979097-majical-cloudz-san-francisco/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Other live music of note this week:\u003c/p>\n\u003cfigure id=\"attachment_11263009\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11263009\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Crux-800x533.jpg\" alt=\"Josh Windmiller of the Crux. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Crux-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Crux-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Crux-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Crux.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Josh Windmiller of the Crux.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Thursday, Jan. 21: The Crux at Rossi’s 1906 in El Verano\u003c/strong>. Formerly a dance hall, Rossi’s 1906 is a rural Sonoma County outpost that’s started hosting live music, and this week’s show is as dramatic as it gets. The Crux combine folk and jazz with raucous, eruptive vocals (and a clanging, heavy chain), and openers the Oddjob Ensemble update gypsy-jazz and Klezmer for a modern, anxiety-riddled era. Beer’s on tap and BBQ’s on the grill; \u003ca href=\"https://www.facebook.com/events/194870904190859/\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11263010\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11263010\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/GhostWorld-800x448.jpg\" alt=\"A scene from 'Ghost World.'\" width=\"800\" height=\"448\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/GhostWorld-800x448.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/GhostWorld-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/GhostWorld-768x430.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/GhostWorld.jpg 846w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A scene from ‘Ghost World.’\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Friday, Jan. 22: The Cheap Suit Serenaders at Freight & Salvage\u003c/strong>. Terry Zwigoff’s 2001 film \u003cem>Ghost World\u003c/em> contains a fun Easter egg: in a scene where Thora Birch and Scarlett Johansson are looking through records at a garage sale, Birch holds up a record and asks Steve Buscemi about it. “\u003ca href=\"https://youtu.be/ZsXmZVtdFWo?t=1m31s\" target=\"_blank\" rel=\"noopener\">Nah, that one’s not so great\u003c/a>,” Buscemi says — the joke being that the record is by the Cheap Suit Serenaders, Zwigoff’s old-timey group with R. Crumb. Though Crumb isn’t with the group on this go-around, Zwigoff leads the banjo mayhem when the band plays at the Freight. \u003ca href=\"http://thefreight.org/cheap-suit-serenaders-5\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11263011\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11263011\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/DesArk-800x502.jpg\" alt=\"Des Ark.\" width=\"800\" height=\"502\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/DesArk-800x502.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/DesArk-400x251.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/DesArk-768x482.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/DesArk-960x603.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/DesArk.jpg 999w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Des Ark.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Wednesday, Jan. 27: Des Ark at the Rickshaw Stop\u003c/strong>. There’s no telling exactly what will be on stage at a Des Ark show: sometimes a full band, sometimes a duo, sometimes a solo acoustic performance. But no matter the setting, Aimée Argote’s songs are haunting things. Even the ones with cheeky titles: “\u003ca href=\"http://www.themusic-world.com/artist/des_ark/lyrics/if_by_gay_you_mean_totally_freaking_awesome_then_yeah_i_guess_its_pretty_gay\" target=\"_blank\" rel=\"noopener\">If By Gay You Mean Totally Freaking Awesome, Then Yeah, I Guess it’s Pretty Gay\u003c/a>” is a desperate, poetic recap of a doomed relationship. The Ohio band Saintseneca headlines. \u003ca href=\"http://www.rickshawstop.com/event/987583-saintseneca-san-francisco/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\n",
"blocks": [],
"excerpt": "The Montreal duo joins the Cheap Suit Serenaders, Des Ark and the Crux in this week's live music picks.",
"status": "publish",
"parent": 0,
"modified": 1726704338,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 10,
"wordCount": 640
},
"headData": {
"title": "Sound Advice: The Brutal Intimacy of Majical Cloudz and More Music Picks | KQED",
"description": "The Montreal duo joins the Cheap Suit Serenaders, Des Ark and the Crux in this week's live music picks.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Sound Advice: The Brutal Intimacy of Majical Cloudz and More Music Picks",
"datePublished": "2016-01-20T17:00:13-08:00",
"dateModified": "2024-09-18T17:05:38-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprStoryId": "463765365",
"path": "/arts/11262767/sound-advice-the-brutal-intimacy-of-majical-cloudz-and-more-music-picks",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>By now, you know the way musical rules work. The more volume behind a singer or rapper, the more they’re emboldened to look the crowd in the eyes. Countless punk singers and rappers have squatted down, gotten in people’s faces, jumped into the crowd and obliterated the fourth wall. Those trading in quieter music — like jazz, folk, or classical — tend to hew firmly to their place, acknowledging the audience from time to time, often minimally and nearly always between songs. These are our expectations as an audience. We know what we’re getting.\u003c/p>\n\u003cp>Seeing the Montreal duo Majical Cloudz live is, then, an inherently off-putting experience. With only Matthew Otto’s whisper-thin electronic loops supporting his warm crooning baritone, singer Devon Welsh manages to be more antagonistic, more piercing and more brutally intimate than any punk singer I’ve seen. Even during instrumental passages — \u003cem>especially\u003c/em> during instrumental passages — he stands alone, sometimes whipping the microphone downward in rhythm, just… \u003cem>staring at you\u003c/em>. Remember Marina Abramović’s \u003cem>\u003ca href=\"http://marinafilm.com/\" target=\"_blank\" rel=\"noopener\">The Artist is Present\u003c/a>\u003c/em>? It’s like that.\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/3lN5IvE1esc'\n title='//www.youtube.com/embed/3lN5IvE1esc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>When I first saw Majical Cloudz, I laughed. The next time, though, I could barely move. And in talking with Welsh afterward, I learned that he’s very aware of his stage presence and what it does to people. Coupled with his lyrics, which skip the niceties and jump straight to meaning-of-life discourses on love and death, he leaves himself vulnerable onstage, night after night — even during the band’s 2014 string of shows opening for Lorde in huge halls.\u003c/p>\n\u003cp>As far as recordings go, 2013’s \u003ca href=\"https://www.youtube.com/watch?v=KFepUrJIt7c&list=PLZqsyBiYZFQ2UJ9PgXsgZDsYEbm4Asfwq\" target=\"_blank\" rel=\"noopener\">\u003cem>Impersonator\u003c/em>\u003c/a> is a solid place to start. But there’s nothing like seeing a live performance. Majical Cloudz play Tuesday, Jan. 26, at the Chapel. \u003ca href=\"http://www.thechapelsf.com/event/979097-majical-cloudz-san-francisco/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Other live music of note this week:\u003c/p>\n\u003cfigure id=\"attachment_11263009\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11263009\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Crux-800x533.jpg\" alt=\"Josh Windmiller of the Crux. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Crux-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Crux-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Crux-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Crux.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Josh Windmiller of the Crux.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Thursday, Jan. 21: The Crux at Rossi’s 1906 in El Verano\u003c/strong>. Formerly a dance hall, Rossi’s 1906 is a rural Sonoma County outpost that’s started hosting live music, and this week’s show is as dramatic as it gets. The Crux combine folk and jazz with raucous, eruptive vocals (and a clanging, heavy chain), and openers the Oddjob Ensemble update gypsy-jazz and Klezmer for a modern, anxiety-riddled era. Beer’s on tap and BBQ’s on the grill; \u003ca href=\"https://www.facebook.com/events/194870904190859/\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11263010\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11263010\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/GhostWorld-800x448.jpg\" alt=\"A scene from 'Ghost World.'\" width=\"800\" height=\"448\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/GhostWorld-800x448.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/GhostWorld-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/GhostWorld-768x430.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/GhostWorld.jpg 846w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A scene from ‘Ghost World.’\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Friday, Jan. 22: The Cheap Suit Serenaders at Freight & Salvage\u003c/strong>. Terry Zwigoff’s 2001 film \u003cem>Ghost World\u003c/em> contains a fun Easter egg: in a scene where Thora Birch and Scarlett Johansson are looking through records at a garage sale, Birch holds up a record and asks Steve Buscemi about it. “\u003ca href=\"https://youtu.be/ZsXmZVtdFWo?t=1m31s\" target=\"_blank\" rel=\"noopener\">Nah, that one’s not so great\u003c/a>,” Buscemi says — the joke being that the record is by the Cheap Suit Serenaders, Zwigoff’s old-timey group with R. Crumb. Though Crumb isn’t with the group on this go-around, Zwigoff leads the banjo mayhem when the band plays at the Freight. \u003ca href=\"http://thefreight.org/cheap-suit-serenaders-5\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11263011\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11263011\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/DesArk-800x502.jpg\" alt=\"Des Ark.\" width=\"800\" height=\"502\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/DesArk-800x502.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/DesArk-400x251.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/DesArk-768x482.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/DesArk-960x603.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/DesArk.jpg 999w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Des Ark.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Wednesday, Jan. 27: Des Ark at the Rickshaw Stop\u003c/strong>. There’s no telling exactly what will be on stage at a Des Ark show: sometimes a full band, sometimes a duo, sometimes a solo acoustic performance. But no matter the setting, Aimée Argote’s songs are haunting things. Even the ones with cheeky titles: “\u003ca href=\"http://www.themusic-world.com/artist/des_ark/lyrics/if_by_gay_you_mean_totally_freaking_awesome_then_yeah_i_guess_its_pretty_gay\" target=\"_blank\" rel=\"noopener\">If By Gay You Mean Totally Freaking Awesome, Then Yeah, I Guess it’s Pretty Gay\u003c/a>” is a desperate, poetic recap of a doomed relationship. The Ohio band Saintseneca headlines. \u003ca href=\"http://www.rickshawstop.com/event/987583-saintseneca-san-francisco/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11262767/sound-advice-the-brutal-intimacy-of-majical-cloudz-and-more-music-picks",
"authors": [
"185"
],
"programs": [
"arts_140"
],
"categories": [
"arts_69"
],
"tags": [
"arts_1118",
"arts_596",
"arts_626"
],
"featImg": "arts_11263012",
"label": "arts_140"
},
"arts_11260223": {
"type": "posts",
"id": "arts_11260223",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11260223",
"score": null,
"sort": [
1453321044000
]
},
"guestAuthors": [],
"slug": "van-anh-vo-transforms-a-refugees-odyssey-into-a-musical-performance",
"title": "Vân-Ánh Võ Transforms a Refugee's Odyssey into a Musical Performance",
"publishDate": 1453321044,
"format": "standard",
"headTitle": "Vân-Ánh Võ Transforms a Refugee’s Odyssey into a Musical Performance | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>Whenever musician and composer \u003ca href=\"http://www.vananhvo.com/\" target=\"_blank\" rel=\"noopener\">Vân-Ánh Võ \u003c/a>gets together with her friends in the Vietnamese American community, she says, “After having food, after having fun, we all end up talking how we came here.”\u003c/p>\n\u003cp>Võ grew up in Hanoi and left in 1995, when the U.S. normalized relations with the Vietnam. But she learned that many of her friends in the South Bay’s large Vietnamese-American community were “boat people,” meaning they were part of the hundreds of thousands who fled Vietnam on overcrowded boats in the late ’70s and survived terrible hardships on the South China Sea.\u003c/p>\n\u003cp>“And the more I hear about their story,” Võ said, “the more I wanted to share this. Especially since the middle of last year, when boat people from Syria came on the news.”\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/243326138″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>So Võ wrote \u003cem>\u003ca href=\"http://www.ybca.org/odyssey\" target=\"_blank\" rel=\"noopener\">The Odyssey: From Vietnam to America\u003c/a>\u003c/em>, a multimedia suite for quartet, video, audio samples and electronics. The music is about the terrors the boat people faced, which included “starvation, drowning, pirates.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=E_i_HkeqN5E\u003c/p>\n\u003cp>But Võ says that the piece is also about how some on the boat kept up their spirits by humming lullabies to themselves, including this one from the south of Vietnam (translated by Võ):\u003c/p>\n\u003cblockquote>\u003cp>“My little dear child, just sleep,\u003cbr>\nAnd I am here for you.\u003cbr>\nI know the road is not easy,\u003cbr>\nbut I will take you in hand, and walk you.\u003cbr>\nAnd you know you have to take the exam,\u003cbr>\nbut I have to take the test of life.”\u003c/p>\u003c/blockquote>\n\u003cp>We talked last week in Võ’s studio, located in the damp garage of her Fremont home, where she lives with her husband and two kids. Playing music is a family tradition — her father played guitar in the North Vietnamese army during the war — and her studio is crowded with instruments. She has won awards for her mastery of Vietnamese folk music and her skill with traditional instruments, especially the Vietnamese zither, which is called the \u003ca href=\"http://www.tienghatquehuong.com/instruments/DanTranh.htm\" target=\"_blank\" rel=\"noopener\">đàn tranh.\u003c/a> She has more than 20 đàn tranhs, many of her own design.\u003c/p>\n\u003cfigure id=\"attachment_11262346\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11262346\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/IMG_474837341-1180x885.jpg\" alt=\"Van-Anh Vo playing a Dan Tranh of her own design\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/IMG_474837341-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/IMG_474837341-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/IMG_474837341-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/IMG_474837341-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/IMG_474837341-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/IMG_474837341-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Vân-Ánh Võ playing a đàn tranh of her own design \u003ccite>(Photo Credit: Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Since her move to the U.S., Võ has won an Emmy for a documentary soundtrack she wrote, and she’s \u003ca href=\"http://www.innova.mu/albums/van-anh-vanessa-vo/three-mountain-pass\" target=\"_blank\" rel=\"noopener\">collaborated often\u003c/a> with San Francisco’s \u003ca href=\"http://www.kronosquartet.org/\" target=\"_blank\" rel=\"noopener\">Kronos Quartet.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11262289\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11262289\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Van-Anh-Vo-Album-1180x1180.jpg\" alt=\"Van-Anh Vo Album with Kronos Quartet \" width=\"640\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Van-Anh-Vo-Album-1180x1179.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Van-Anh-Vo-Album-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Van-Anh-Vo-Album-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Van-Anh-Vo-Album-768x767.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Van-Anh-Vo-Album-960x959.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Van-Anh-Vo-Album-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Van-Anh-Vo-Album-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Van-Anh-Vo-Album-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Van-Anh-Vo-Album-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Van-Anh-Vo-Album-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Van-Anh-Vo-Album.jpg 1433w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Van-Anh Vo Album with Kronos Quartet\u003c/figcaption>\u003c/figure>\n\u003cp>For \u003cem>The Odyssey\u003c/em>, she’s working with her own band, Vân-Ánh Võ Quartet, the members of which play cello, accordion, traditional Vietnamese instruments and Taiko drums. Her suite incorporates traditional sounds: Võ plays the đàn tranh, the \u003ca href=\"https://en.wikipedia.org/wiki/%C4%90%C3%A0n_b%E1%BA%A7u\" target=\"_blank\" rel=\"noopener\">single-stringed đàn bầu\u003c/a> and a bamboo xylophone. Plus there are layers of electronics and even a version of the old blues song “House of the Rising Sun,” included because Võ remembers when the \u003ca href=\"https://www.youtube.com/watch?v=hRXb7K7k7bQ\" target=\"_blank\" rel=\"noopener\">1964 version by The Animals\u003c/a> became popular in Vietnam.\u003c/p>\n\u003cfigure id=\"attachment_11262402\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11262402\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/005-1180x730.jpg\" alt=\"Vân-Ánh Võ Quartet (The VA’V) with Alex Kelly, cello, Jimi Nakagawa, taiko, and percussions, and Dan Cantrell, accordion \" width=\"640\" height=\"396\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/005-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/005-400x247.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/005-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/005-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/005-1920x1188.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/005-960x594.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Vân-Ánh Võ Quartet (The VA’V) with Alex Kelly, cello, Jimi Nakagawa, taiko, and percussions, and Dan Cantrell, accordion \u003ccite>(Photo Credit: Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Võ did 60 interviews with boat people for her research, who she connected with through Santa Clara’s \u003ca href=\"http://aaci.org/\" target=\"_blank\" rel=\"noopener\">Asian Americans for Community Involvement (AACI)\u003c/a>, founded in 1979 to provide medical and psychiatric services for Vietnamese refugees.\u003c/p>\n\u003cp>“Many in our community,” said AACI’s Michele Lew, “we know they would never walk through our mental health counseling door because of the stigma.” But may find some therapeutic help by informing the artist and helping her get the story right.\u003c/p>\n\u003cfigure id=\"attachment_11260357\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11260357\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/013-e1453318159556-1180x676.jpg\" alt=\"Michelle Lew and Cam Vu of AACI\" width=\"640\" height=\"367\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/013-e1453318159556-1180x676.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/013-e1453318159556-400x229.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/013-e1453318159556-800x459.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/013-e1453318159556-768x440.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/013-e1453318159556-1920x1101.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/013-e1453318159556-960x550.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">President Michelle Lew and Development Director Cam Vu of AACI \u003ccite>(Photo Credit: Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mai Bui, a software engineer, shared her story with Võ. Bui lives in Milipitas, in a house where photos of her three daughters cover her mantle. She and her brother left their family behind in prison in 1979, and spent days on a crowded boat without food or water, until a Thai merchant ship towed them into Bangkok. They ran at night to avoid pirates.\u003c/p>\n\u003cp>“The ocean sound is really romantic,” Bui recalled, “but at that time, it’s scary, up to this point I cannot look at the Ocean or the sea at night. It still bring back my memory.”\u003c/p>\n\u003cfigure id=\"attachment_11262401\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11262401\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/002-1180x885.jpg\" alt=\"Mai Bui\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/002-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/002-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/002-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/002-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/002-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/002-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Mai Bui \u003ccite>(Photo Credit: Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Võ is having a busy new year. Besides performing her new suite, she’s also writing a \u003ca href=\"http://www.oaklandsymphony.org/event/notes-from-vietnam/\" target=\"_blank\" rel=\"noopener\">đàn tranh concerto for the Oakland Symphony,\u003c/a> which is set to premiere Feb. 12 at the Paramount Theater, and she’s performing Feb. 6 at SFJAZZ as part of the \u003ca href=\"http://www.kronosquartet.org/kronos-presents\" target=\"_blank\" rel=\"noopener\">Kronos Festival\u003c/a>. After that, she takes \u003cem>The Odyssey\u003c/em> to the Kennedy Center in Washington D.C., then to Houston and Orange County, which is home to many Vietnamese Americans.\u003c/p>\n\u003cp>Võ says there’s a higher message in her music: a plea for nations to take in refugees, and a protest of the wars that divide us.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“To let unheard voices, be voiced,” she said.\u003c/p>\n\n",
"blocks": [],
"excerpt": "The Emmy-winning composer has written a new multimedia piece that tells the story of the \"boat people:\" Vietnamese refugees who came to this country following the Vietnam War. ",
"status": "publish",
"parent": 0,
"modified": 1726771294,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 19,
"wordCount": 950
},
"headData": {
"title": "Vân-Ánh Võ Transforms a Refugee's Odyssey into a Musical Performance | KQED",
"description": "The Emmy-winning composer has written a new multimedia piece that tells the story of the "boat people:" Vietnamese refugees who came to this country following the Vietnam War. ",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Vân-Ánh Võ Transforms a Refugee's Odyssey into a Musical Performance",
"datePublished": "2016-01-20T12:17:24-08:00",
"dateModified": "2024-09-19T11:41:34-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprStoryId": "463736371",
"path": "/arts/11260223/van-anh-vo-transforms-a-refugees-odyssey-into-a-musical-performance",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Whenever musician and composer \u003ca href=\"http://www.vananhvo.com/\" target=\"_blank\" rel=\"noopener\">Vân-Ánh Võ \u003c/a>gets together with her friends in the Vietnamese American community, she says, “After having food, after having fun, we all end up talking how we came here.”\u003c/p>\n\u003cp>Võ grew up in Hanoi and left in 1995, when the U.S. normalized relations with the Vietnam. But she learned that many of her friends in the South Bay’s large Vietnamese-American community were “boat people,” meaning they were part of the hundreds of thousands who fled Vietnam on overcrowded boats in the late ’70s and survived terrible hardships on the South China Sea.\u003c/p>\n\u003cp>“And the more I hear about their story,” Võ said, “the more I wanted to share this. Especially since the middle of last year, when boat people from Syria came on the news.”\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/243326138″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/243326138″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>So Võ wrote \u003cem>\u003ca href=\"http://www.ybca.org/odyssey\" target=\"_blank\" rel=\"noopener\">The Odyssey: From Vietnam to America\u003c/a>\u003c/em>, a multimedia suite for quartet, video, audio samples and electronics. The music is about the terrors the boat people faced, which included “starvation, drowning, pirates.”\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/E_i_HkeqN5E'\n title='//www.youtube.com/embed/E_i_HkeqN5E'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But Võ says that the piece is also about how some on the boat kept up their spirits by humming lullabies to themselves, including this one from the south of Vietnam (translated by Võ):\u003c/p>\n\u003cblockquote>\u003cp>“My little dear child, just sleep,\u003cbr>\nAnd I am here for you.\u003cbr>\nI know the road is not easy,\u003cbr>\nbut I will take you in hand, and walk you.\u003cbr>\nAnd you know you have to take the exam,\u003cbr>\nbut I have to take the test of life.”\u003c/p>\u003c/blockquote>\n\u003cp>We talked last week in Võ’s studio, located in the damp garage of her Fremont home, where she lives with her husband and two kids. Playing music is a family tradition — her father played guitar in the North Vietnamese army during the war — and her studio is crowded with instruments. She has won awards for her mastery of Vietnamese folk music and her skill with traditional instruments, especially the Vietnamese zither, which is called the \u003ca href=\"http://www.tienghatquehuong.com/instruments/DanTranh.htm\" target=\"_blank\" rel=\"noopener\">đàn tranh.\u003c/a> She has more than 20 đàn tranhs, many of her own design.\u003c/p>\n\u003cfigure id=\"attachment_11262346\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11262346\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/IMG_474837341-1180x885.jpg\" alt=\"Van-Anh Vo playing a Dan Tranh of her own design\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/IMG_474837341-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/IMG_474837341-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/IMG_474837341-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/IMG_474837341-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/IMG_474837341-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/IMG_474837341-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Vân-Ánh Võ playing a đàn tranh of her own design \u003ccite>(Photo Credit: Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Since her move to the U.S., Võ has won an Emmy for a documentary soundtrack she wrote, and she’s \u003ca href=\"http://www.innova.mu/albums/van-anh-vanessa-vo/three-mountain-pass\" target=\"_blank\" rel=\"noopener\">collaborated often\u003c/a> with San Francisco’s \u003ca href=\"http://www.kronosquartet.org/\" target=\"_blank\" rel=\"noopener\">Kronos Quartet.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11262289\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11262289\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Van-Anh-Vo-Album-1180x1180.jpg\" alt=\"Van-Anh Vo Album with Kronos Quartet \" width=\"640\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Van-Anh-Vo-Album-1180x1179.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Van-Anh-Vo-Album-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Van-Anh-Vo-Album-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Van-Anh-Vo-Album-768x767.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Van-Anh-Vo-Album-960x959.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Van-Anh-Vo-Album-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Van-Anh-Vo-Album-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Van-Anh-Vo-Album-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Van-Anh-Vo-Album-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Van-Anh-Vo-Album-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Van-Anh-Vo-Album.jpg 1433w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Van-Anh Vo Album with Kronos Quartet\u003c/figcaption>\u003c/figure>\n\u003cp>For \u003cem>The Odyssey\u003c/em>, she’s working with her own band, Vân-Ánh Võ Quartet, the members of which play cello, accordion, traditional Vietnamese instruments and Taiko drums. Her suite incorporates traditional sounds: Võ plays the đàn tranh, the \u003ca href=\"https://en.wikipedia.org/wiki/%C4%90%C3%A0n_b%E1%BA%A7u\" target=\"_blank\" rel=\"noopener\">single-stringed đàn bầu\u003c/a> and a bamboo xylophone. Plus there are layers of electronics and even a version of the old blues song “House of the Rising Sun,” included because Võ remembers when the \u003ca href=\"https://www.youtube.com/watch?v=hRXb7K7k7bQ\" target=\"_blank\" rel=\"noopener\">1964 version by The Animals\u003c/a> became popular in Vietnam.\u003c/p>\n\u003cfigure id=\"attachment_11262402\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11262402\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/005-1180x730.jpg\" alt=\"Vân-Ánh Võ Quartet (The VA’V) with Alex Kelly, cello, Jimi Nakagawa, taiko, and percussions, and Dan Cantrell, accordion \" width=\"640\" height=\"396\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/005-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/005-400x247.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/005-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/005-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/005-1920x1188.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/005-960x594.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Vân-Ánh Võ Quartet (The VA’V) with Alex Kelly, cello, Jimi Nakagawa, taiko, and percussions, and Dan Cantrell, accordion \u003ccite>(Photo Credit: Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Võ did 60 interviews with boat people for her research, who she connected with through Santa Clara’s \u003ca href=\"http://aaci.org/\" target=\"_blank\" rel=\"noopener\">Asian Americans for Community Involvement (AACI)\u003c/a>, founded in 1979 to provide medical and psychiatric services for Vietnamese refugees.\u003c/p>\n\u003cp>“Many in our community,” said AACI’s Michele Lew, “we know they would never walk through our mental health counseling door because of the stigma.” But may find some therapeutic help by informing the artist and helping her get the story right.\u003c/p>\n\u003cfigure id=\"attachment_11260357\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11260357\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/013-e1453318159556-1180x676.jpg\" alt=\"Michelle Lew and Cam Vu of AACI\" width=\"640\" height=\"367\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/013-e1453318159556-1180x676.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/013-e1453318159556-400x229.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/013-e1453318159556-800x459.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/013-e1453318159556-768x440.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/013-e1453318159556-1920x1101.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/013-e1453318159556-960x550.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">President Michelle Lew and Development Director Cam Vu of AACI \u003ccite>(Photo Credit: Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mai Bui, a software engineer, shared her story with Võ. Bui lives in Milipitas, in a house where photos of her three daughters cover her mantle. She and her brother left their family behind in prison in 1979, and spent days on a crowded boat without food or water, until a Thai merchant ship towed them into Bangkok. They ran at night to avoid pirates.\u003c/p>\n\u003cp>“The ocean sound is really romantic,” Bui recalled, “but at that time, it’s scary, up to this point I cannot look at the Ocean or the sea at night. It still bring back my memory.”\u003c/p>\n\u003cfigure id=\"attachment_11262401\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11262401\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/002-1180x885.jpg\" alt=\"Mai Bui\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/002-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/002-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/002-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/002-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/002-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/002-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Mai Bui \u003ccite>(Photo Credit: Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Võ is having a busy new year. Besides performing her new suite, she’s also writing a \u003ca href=\"http://www.oaklandsymphony.org/event/notes-from-vietnam/\" target=\"_blank\" rel=\"noopener\">đàn tranh concerto for the Oakland Symphony,\u003c/a> which is set to premiere Feb. 12 at the Paramount Theater, and she’s performing Feb. 6 at SFJAZZ as part of the \u003ca href=\"http://www.kronosquartet.org/kronos-presents\" target=\"_blank\" rel=\"noopener\">Kronos Festival\u003c/a>. After that, she takes \u003cem>The Odyssey\u003c/em> to the Kennedy Center in Washington D.C., then to Houston and Orange County, which is home to many Vietnamese Americans.\u003c/p>\n\u003cp>Võ says there’s a higher message in her music: a plea for nations to take in refugees, and a protest of the wars that divide us.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“To let unheard voices, be voiced,” she said.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11260223/van-anh-vo-transforms-a-refugees-odyssey-into-a-musical-performance",
"authors": [
"32"
],
"categories": [
"arts_69",
"arts_235"
],
"tags": [
"arts_1037",
"arts_1118",
"arts_596"
],
"featImg": "arts_11260225",
"label": "arts"
},
"arts_11259734": {
"type": "posts",
"id": "arts_11259734",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11259734",
"score": null,
"sort": [
1453244424000
]
},
"guestAuthors": [],
"slug": "remembering-blowfly-black-musics-filthiest-legend",
"title": "Remembering Blowfly, Black Music's Filthiest Legend",
"publishDate": 1453244424,
"format": "standard",
"headTitle": "Remembering Blowfly, Black Music’s Filthiest Legend | KQED",
"labelTerm": {
"term": 137,
"site": "arts"
},
"content": "\u003cp>\u003cem>\u003cstrong>WARNING:\u003c/strong> This story contains language and music that could be considered inappropriate for children and the workplace.\u003c/em>\u003c/p>\n\u003cp>The last few weeks have seen a remarkable series of iconoclastic musician deaths. Although Clarence Reid, better known by his sometime stage-name, Blowfly, who died of liver cancer in a South Florida hospice facility on January 17th 2016 at the age of 76, may not seem as epochal as \u003ca href=\"http://www.npr.org/artists/15289962/david-bowie\">David Bowie\u003c/a>, composer/conductor \u003ca href=\"http://www.npr.org/artists/15289724/pierre-boulez\">Pierre Boulez\u003c/a>, jazz piano eminence \u003ca href=\"http://www.npr.org/artists/92366136/paul-bley\">Paul Bley\u003c/a> or \u003ca href=\"http://www.npr.org/sections/thetwo-way/2015/12/28/461327109/rock-icon-lemmy-of-mot-rhead-dies-at-age-70\">Lemmy Kilminster\u003c/a>, he was the dominant exponent of a uniquely American idiom. Blowfly was the \u003cem>ne plus ultra\u003c/em> of raunchy pop-music parodies, writing profane lyrics to existing songs, which he then re-recorded and performed live. Many compared him to \u003ca href=\"http://www.npr.org/artists/15291400/-weird-al-yankovic\">“Weird Al” Yankovic\u003c/a>, but his records are the shadowy id to the platinum-selling accordionist’s super ego. Speaking to the German magazine \u003cem>Exberliner\u003c/em> in 2008, Reid was clear: “Weird Al has said ‘Blowfly is an X-rated Weird Al.’ Wrong. I was writing parodies when Weird Al was in diapers. He’s a goody-goody version of Blowfly.”\u003c/p>\n\u003cp>Vinyl crate-diggers knew Clarence Reid as an often-thoughtful songwriter, producer and a major figure in Miami’s soul and R&B independent music business. And the hours following Reid’s death saw encomia from \u003ca href=\"https://twitter.com/FINALLEVEL/status/688832230752423936?ref_src=twsrc%5Etfw\" target=\"_blank\" rel=\"noopener\">Ice-T\u003c/a>, Snoop Dogg and the Red Hot Chili Peppers’ \u003ca href=\"https://twitter.com/flea333/status/688815108865175553?ref_src=twsrc%5Etfw\" target=\"_blank\" rel=\"noopener\">Flea\u003c/a>, each paying tribute to not only his foul-mouthed versions of R&B classics, but also the late-’70s/early-’80s hip-hop he transitioned towards. Blowfly’s works presage the gleeful filth of fellow Miami residents \u003ca href=\"http://www.npr.org/2015/08/02/427850689/luther-campbell-of-2-live-crew-on-fame-obscenity-and-community\">2 Live Crew\u003c/a>, with only country singer David Allan Coe’s semi-legitimate, contemporaneous lewd (and racist) recordings and Millie Jackson’s similarly ribald R&B looming as large in the pantheons of dirty music. And if Blowfly took a cue or two from ’50s frat-R&B smut peddlers Doug Clark and His Hot Nuts, the overwhelming majority of current hip-hop and R&B artists owe Blowfly for their frank representations of unadulterated carnality and drug use. Needless to say, radio wouldn’t go anywhere near him.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=TzHurQoBMM0\u003c/p>\n\u003cp>The recorded legacy of Blowfly is replete with often sly, inventive references to every known sexual and scatological practice, featuring slurs regarding ethnicity, body type and sexual preference, delivered with the glee of a fifth grader —or perhaps of individuals willing to access a fifth grader’s mindset. And yet it worked. For you see, Blowfly is really really funny. The shock of defiling soul standards with nasty talk is powerful; fans of original, bighearted songs like Brook Benton’s “\u003ca href=\"https://www.youtube.com/watch?v=bDRbF80NKDU\" target=\"_blank\" rel=\"noopener\">Rainy Night In Georgia\u003c/a>” may resent the effrontery of “\u003ca href=\"https://www.youtube.com/watch?v=b-FFqLAJEBI\" target=\"_blank\" rel=\"noopener\">Spermy Night In Georgia\u003c/a>,” but go with it and see where it takes you. As he told the \u003ca href=\"mailto:http://www.miaminewtimes.com/news/blowfly-unmasked-6365163?subject=Miami%20New%20Times\">\u003cem>Miami New Times\u003c/em> in 1991\u003c/a>, “When Frank Sinatra sings, ‘When you love somebody / It’s no good unless he loves you / All the way,’ what’s he really saying? It’s about sex.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Reid was born on February 14, 1939 in rural Cochran, Ga.; his family was poor and he had little in the way of a formal education, supposedly never learning to write and evidently memorizing the thousands of lyrics he composed. “‘Blowfly was invented when I was seven years old in the fields in Georgia,” he told the \u003cem>Exberliner\u003c/em>. “I had to quit school to work the farms. I was a mean little f*****, so I turned hillbilly songs like ‘Walkin’ the Floor Over You’ to ‘J*****’ My Dick Over You.’ The white people loved it and gave me money when I’d sing the songs to them. My grandmamma thought I stole the money, and when I told her how I earned it, she said I was a disgrace to the black race and no better than an old Blowfly. But a little white girl told me blowflies lay eggs on dead things and that without them, the world would be consumed by germs.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=8Ut9XQBAol0\u003c/p>\n\u003cp>He made his way to South Florida in the early ’60s and cut a number of soul singles for regional labels with the original, self-pressed 1964 version of “Blowfly’s Rapp” laying credible claim as the first rap record, Reid having claimed that his delivery therein was influenced by the patter of southern DJs. That recording remains rare.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=vh-2_kdVcyA\u003c/p>\n\u003cp>Reid eventually met Miami record impresario Henry Stone, and began writing songs for artists on his many labels, including \u003ca href=\"http://www.npr.org/2011/11/13/142240590/betty-wright-soul-singer-legacy-protector\">Betty Wright\u003c/a>. Her huge 1972 hit “Clean Up Woman” is one of the many songs of empowerment that Reid wrote (and produced) for women. (Wright’s “\u003ca href=\"https://www.youtube.com/watch?v=vZtkVj3JPaw\" target=\"_blank\" rel=\"noopener\">Girls Can’t Do What The Guys Do\u003c/a>,” which would be sampled for Beyonce’s “\u003ca href=\"https://www.youtube.com/watch?v=6nr8hPnZfMU\" target=\"_blank\" rel=\"noopener\">Upgrade U\u003c/a>,” is another.) They are striking for the level of empathy Reid deployed with respect to the romantic and professional travails that women have endured since antiquity — and in light of the recordings his alter ego would soon be notorious for. Reid became a bedrock of Stone’s TK Records, a key Miami label behind George McCrae’s oddly wistful early disco benchmark “Rock Your Baby,” working with artists such as Gwen McRae and Timmy Thomas, among many others, and making key contributions to the early, defining hits by KC and the Sunshine Band.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=laynlS8ngmM\u003c/p>\n\u003cp>All the while, Reid entertained fellow musicians and friends with dirty versions of the R&B hits of the late ’60s and ’70s\u003cdel>,\u003c/del> — “S***ing On The Dock of the Bay\u003cdel>.\u003c/del>” was an early standout. Stone encouraged him to record these and then released and marketed them in the guise of underground “party records” from “Blowfly.” His first album as such, 1973’s \u003cem>Weird World Of Blowfly\u003c/em>, is presented as a live show (crowd noise was edited in), comprised of repurposed soul gems. When that record and subsequent efforts such as \u003cdel> \u003c/del>1977’s \u003cem>Blowfly’s Disco\u003c/em> gathered steam, \u003cdel> \u003c/del>Reid became concerned that their reputation would besmirch his standing as a songwriter, so he took to donning a sequined hood and top and a pair of ill-advised booty shorts for album covers and appearances. He even recorded “\u003ca href=\"https://www.youtube.com/watch?v=Bq25vxTKFs0\" target=\"_blank\" rel=\"noopener\">Nobody’s Butt But Yours Babe\u003c/a>,” reworking Clarence Reid’s semi-hit “Nobody But You Babe.” His adoption of an alter ego did not stop Stanley Adams, the president of ASCAP at the time, from suing Reid for befouling his composition “What A Difference A Day Makes” as “\u003ca href=\"https://www.youtube.com/watch?v=laynlS8ngmM\" target=\"_blank\" rel=\"noopener\">What A Difference A Lay Makes\u003c/a>.” His marriage of the time produced two children, including 1998 WNBA Rookie of the Year, Tracy Reid.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=7KlnU2ZVNpU\u003c/p>\n\u003cp>Once hip-hop emerged, in 1980 Reid recut “Blowfly’s Rapp,” the first of a series of tall tales delivered via the nascent form. Dipping a toe into the period’s CB radio craze (the market-conscious Blowfly consistently responded to technological and cultural trends), the new “Rapp” spun the tale of a \u003cem>Deliverance\u003c/em>-style encounter with Ku Klux Klan-accredited truck drivers to light funk backing; “\u003ca href=\"https://www.youtube.com/watch?v=fPj6BWCH6co\" target=\"_blank\" rel=\"noopener\">The Incredible Fulk\u003c/a>” found our hero undergoing an experiment that makes his manhood so big that it ascends into the sky and “planes had to re-route themselves” while 1981’s “\u003ca href=\"https://www.youtube.com/watch?v=E5JaQEXszJk\" target=\"_blank\" rel=\"noopener\">Convoy\u003c/a>” again found him behind the wheel (and also included an “argument” between “Blowfly” and “Reid”). He adopted what would now be understood as a tag: almost every song from this era features a sinister bellowing laugh, redolent of a twirly mustached villain: “NEEE-AH-AH-AH-AH-AH-AH!!!!” At Blowfly’s creative height, he was as agile and resourceful a singer as any he mocked, occasionally ascending into a keening falsetto few could achieve.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=8K1iTW1szfw\u003c/p>\n\u003cp>After TK Records collapsed in 1980, he recorded for Bo Crane’s Pandisc, a label that would become a cornerstone of the Miami Bass sound. Released in 1984, “Electronic P**** Sucker” drew on the emerging synthetic “electro” movement by sampling Cybotron’s “\u003ca href=\"https://www.youtube.com/watch?v=fGqiBFqWCTU\" target=\"_blank\" rel=\"noopener\">Clear\u003c/a>,” and is one of the genre’s cult classics (its narrative finds Blowfly encountering a rogue horny robot at a computer store, with Reid voicing the robot via a sinister vocoder treatment). That election year also saw the release of “First Black President,” with Blowfly becoming POTUS and the song running over with sex, drugs and racially stereotypical imagery. His cuts, either very popular or obscure, would be sampled by the likes of Warren G., Jurassic Five, DJ Quik, the Avalanches, and the Ol Dirty Bastard.\u003c/p>\n\u003cp>From the ’90s onwards, Reid was chiefly championed by \u003cdel> \u003c/del>the bearded and tattooed set. His records had long since stopped selling via traditional channels, and mounting debt and unpaid bills saw him sell the rights to his catalog in 2003; he ceded all future royalties for a nominal sum and had to scramble for the rest of his life, according to the 2010 documentary, \u003cem>\u003ca href=\"http://www.blowflyfilm.com/\" target=\"_blank\" rel=\"noopener\">The Weird World Of Blowfly\u003c/a>\u003c/em>. For the past decade, he has worked on the punk rock circuit with his drummer/right hand man “Uncle” Tom Bowker. \u003cem>Blowfly’s Punk Rock \u003cdel> \u003c/del>Party\u003c/em> was released in 2006 on Jello Biafra’s Alternative Tentacles: the Dead Kennedys takeoff “\u003ca href=\"https://www.youtube.com/watch?v=vWLK-JEH4vU\" target=\"_blank\" rel=\"noopener\">R. Kelly In Cambodia\u003c/a>” not only reflects his intended audience’s interests, but also indicates his own alienation towards black audiences. The \u003cem>Weird World\u003c/em> documentary, which is largely concerned with the drudgery of his touring life in the late 2000s, saw Reid expressing contempt for other African\u003cdel> \u003c/del>Americans in terms similar to the extreme respectability politics diatribes of black conservatives like Shelby Steele.\u003c/p>\n\u003cp>Yet Reid was consistently less interested in the “respectable” long view of 50 years of nasty song parodies. “Blowfly has never ‘developed,'” he told the \u003cem>Exberliner\u003c/em>. “Blowfly is still the same mean, perverted little bastard he was back in Georgia in the ’40s. That’s why I still eat pizza and honey like a little kid and watch cartoons every day. I live in my own Weird World.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Additional reporting by D. Strauss.\u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Remembering+Blowfly%2C+Black+Music%27s+Filthiest+Legend&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"blocks": [],
"excerpt": "Clarence Reid was a successful Miami singer-songwriter and producer, but his raunchy alter ego influenced rappers, gave Weird Al purpose and created a unique (and uniquely profane) musical legacy.",
"status": "publish",
"parent": 0,
"modified": 1726710565,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 15,
"wordCount": 1824
},
"headData": {
"title": "Remembering Blowfly, Black Music's Filthiest Legend | KQED",
"description": "Clarence Reid was a successful Miami singer-songwriter and producer, but his raunchy alter ego influenced rappers, gave Weird Al purpose and created a unique (and uniquely profane) musical legacy.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Remembering Blowfly, Black Music's Filthiest Legend",
"datePublished": "2016-01-19T15:00:24-08:00",
"dateModified": "2024-09-18T18:49:25-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprImageCredit": "John Sevigny",
"nprByline": "Rob Kemp",
"nprImageAgency": "courtesy of the artist",
"nprStoryId": "463569514",
"nprApiLink": "http://api.npr.org/query?id=463569514&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprHtmlLink": "http://www.npr.org/sections/therecord/2016/01/19/463569514/remembering-blowfly-black-music-s-filthiest-legend?ft=nprml&f=463569514",
"nprRetrievedStory": "1",
"nprPubDate": "Tue, 19 Jan 2016 15:47:00 -0500",
"nprStoryDate": "Tue, 19 Jan 2016 15:45:00 -0500",
"nprLastModifiedDate": "Tue, 19 Jan 2016 15:47:15 -0500",
"path": "/arts/11259734/remembering-blowfly-black-musics-filthiest-legend",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>WARNING:\u003c/strong> This story contains language and music that could be considered inappropriate for children and the workplace.\u003c/em>\u003c/p>\n\u003cp>The last few weeks have seen a remarkable series of iconoclastic musician deaths. Although Clarence Reid, better known by his sometime stage-name, Blowfly, who died of liver cancer in a South Florida hospice facility on January 17th 2016 at the age of 76, may not seem as epochal as \u003ca href=\"http://www.npr.org/artists/15289962/david-bowie\">David Bowie\u003c/a>, composer/conductor \u003ca href=\"http://www.npr.org/artists/15289724/pierre-boulez\">Pierre Boulez\u003c/a>, jazz piano eminence \u003ca href=\"http://www.npr.org/artists/92366136/paul-bley\">Paul Bley\u003c/a> or \u003ca href=\"http://www.npr.org/sections/thetwo-way/2015/12/28/461327109/rock-icon-lemmy-of-mot-rhead-dies-at-age-70\">Lemmy Kilminster\u003c/a>, he was the dominant exponent of a uniquely American idiom. Blowfly was the \u003cem>ne plus ultra\u003c/em> of raunchy pop-music parodies, writing profane lyrics to existing songs, which he then re-recorded and performed live. Many compared him to \u003ca href=\"http://www.npr.org/artists/15291400/-weird-al-yankovic\">“Weird Al” Yankovic\u003c/a>, but his records are the shadowy id to the platinum-selling accordionist’s super ego. Speaking to the German magazine \u003cem>Exberliner\u003c/em> in 2008, Reid was clear: “Weird Al has said ‘Blowfly is an X-rated Weird Al.’ Wrong. I was writing parodies when Weird Al was in diapers. He’s a goody-goody version of Blowfly.”\u003c/p>\n\u003cp>Vinyl crate-diggers knew Clarence Reid as an often-thoughtful songwriter, producer and a major figure in Miami’s soul and R&B independent music business. And the hours following Reid’s death saw encomia from \u003ca href=\"https://twitter.com/FINALLEVEL/status/688832230752423936?ref_src=twsrc%5Etfw\" target=\"_blank\" rel=\"noopener\">Ice-T\u003c/a>, Snoop Dogg and the Red Hot Chili Peppers’ \u003ca href=\"https://twitter.com/flea333/status/688815108865175553?ref_src=twsrc%5Etfw\" target=\"_blank\" rel=\"noopener\">Flea\u003c/a>, each paying tribute to not only his foul-mouthed versions of R&B classics, but also the late-’70s/early-’80s hip-hop he transitioned towards. Blowfly’s works presage the gleeful filth of fellow Miami residents \u003ca href=\"http://www.npr.org/2015/08/02/427850689/luther-campbell-of-2-live-crew-on-fame-obscenity-and-community\">2 Live Crew\u003c/a>, with only country singer David Allan Coe’s semi-legitimate, contemporaneous lewd (and racist) recordings and Millie Jackson’s similarly ribald R&B looming as large in the pantheons of dirty music. And if Blowfly took a cue or two from ’50s frat-R&B smut peddlers Doug Clark and His Hot Nuts, the overwhelming majority of current hip-hop and R&B artists owe Blowfly for their frank representations of unadulterated carnality and drug use. Needless to say, radio wouldn’t go anywhere near him.\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/TzHurQoBMM0'\n title='//www.youtube.com/embed/TzHurQoBMM0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The recorded legacy of Blowfly is replete with often sly, inventive references to every known sexual and scatological practice, featuring slurs regarding ethnicity, body type and sexual preference, delivered with the glee of a fifth grader —or perhaps of individuals willing to access a fifth grader’s mindset. And yet it worked. For you see, Blowfly is really really funny. The shock of defiling soul standards with nasty talk is powerful; fans of original, bighearted songs like Brook Benton’s “\u003ca href=\"https://www.youtube.com/watch?v=bDRbF80NKDU\" target=\"_blank\" rel=\"noopener\">Rainy Night In Georgia\u003c/a>” may resent the effrontery of “\u003ca href=\"https://www.youtube.com/watch?v=b-FFqLAJEBI\" target=\"_blank\" rel=\"noopener\">Spermy Night In Georgia\u003c/a>,” but go with it and see where it takes you. As he told the \u003ca href=\"mailto:http://www.miaminewtimes.com/news/blowfly-unmasked-6365163?subject=Miami%20New%20Times\">\u003cem>Miami New Times\u003c/em> in 1991\u003c/a>, “When Frank Sinatra sings, ‘When you love somebody / It’s no good unless he loves you / All the way,’ what’s he really saying? It’s about sex.”\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>Reid was born on February 14, 1939 in rural Cochran, Ga.; his family was poor and he had little in the way of a formal education, supposedly never learning to write and evidently memorizing the thousands of lyrics he composed. “‘Blowfly was invented when I was seven years old in the fields in Georgia,” he told the \u003cem>Exberliner\u003c/em>. “I had to quit school to work the farms. I was a mean little f*****, so I turned hillbilly songs like ‘Walkin’ the Floor Over You’ to ‘J*****’ My Dick Over You.’ The white people loved it and gave me money when I’d sing the songs to them. My grandmamma thought I stole the money, and when I told her how I earned it, she said I was a disgrace to the black race and no better than an old Blowfly. But a little white girl told me blowflies lay eggs on dead things and that without them, the world would be consumed by germs.”\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/8Ut9XQBAol0'\n title='//www.youtube.com/embed/8Ut9XQBAol0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>He made his way to South Florida in the early ’60s and cut a number of soul singles for regional labels with the original, self-pressed 1964 version of “Blowfly’s Rapp” laying credible claim as the first rap record, Reid having claimed that his delivery therein was influenced by the patter of southern DJs. That recording remains rare.\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/vh-2_kdVcyA'\n title='//www.youtube.com/embed/vh-2_kdVcyA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Reid eventually met Miami record impresario Henry Stone, and began writing songs for artists on his many labels, including \u003ca href=\"http://www.npr.org/2011/11/13/142240590/betty-wright-soul-singer-legacy-protector\">Betty Wright\u003c/a>. Her huge 1972 hit “Clean Up Woman” is one of the many songs of empowerment that Reid wrote (and produced) for women. (Wright’s “\u003ca href=\"https://www.youtube.com/watch?v=vZtkVj3JPaw\" target=\"_blank\" rel=\"noopener\">Girls Can’t Do What The Guys Do\u003c/a>,” which would be sampled for Beyonce’s “\u003ca href=\"https://www.youtube.com/watch?v=6nr8hPnZfMU\" target=\"_blank\" rel=\"noopener\">Upgrade U\u003c/a>,” is another.) They are striking for the level of empathy Reid deployed with respect to the romantic and professional travails that women have endured since antiquity — and in light of the recordings his alter ego would soon be notorious for. Reid became a bedrock of Stone’s TK Records, a key Miami label behind George McCrae’s oddly wistful early disco benchmark “Rock Your Baby,” working with artists such as Gwen McRae and Timmy Thomas, among many others, and making key contributions to the early, defining hits by KC and the Sunshine Band.\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/laynlS8ngmM'\n title='//www.youtube.com/embed/laynlS8ngmM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>All the while, Reid entertained fellow musicians and friends with dirty versions of the R&B hits of the late ’60s and ’70s\u003cdel>,\u003c/del> — “S***ing On The Dock of the Bay\u003cdel>.\u003c/del>” was an early standout. Stone encouraged him to record these and then released and marketed them in the guise of underground “party records” from “Blowfly.” His first album as such, 1973’s \u003cem>Weird World Of Blowfly\u003c/em>, is presented as a live show (crowd noise was edited in), comprised of repurposed soul gems. When that record and subsequent efforts such as \u003cdel> \u003c/del>1977’s \u003cem>Blowfly’s Disco\u003c/em> gathered steam, \u003cdel> \u003c/del>Reid became concerned that their reputation would besmirch his standing as a songwriter, so he took to donning a sequined hood and top and a pair of ill-advised booty shorts for album covers and appearances. He even recorded “\u003ca href=\"https://www.youtube.com/watch?v=Bq25vxTKFs0\" target=\"_blank\" rel=\"noopener\">Nobody’s Butt But Yours Babe\u003c/a>,” reworking Clarence Reid’s semi-hit “Nobody But You Babe.” His adoption of an alter ego did not stop Stanley Adams, the president of ASCAP at the time, from suing Reid for befouling his composition “What A Difference A Day Makes” as “\u003ca href=\"https://www.youtube.com/watch?v=laynlS8ngmM\" target=\"_blank\" rel=\"noopener\">What A Difference A Lay Makes\u003c/a>.” His marriage of the time produced two children, including 1998 WNBA Rookie of the Year, Tracy Reid.\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/7KlnU2ZVNpU'\n title='//www.youtube.com/embed/7KlnU2ZVNpU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Once hip-hop emerged, in 1980 Reid recut “Blowfly’s Rapp,” the first of a series of tall tales delivered via the nascent form. Dipping a toe into the period’s CB radio craze (the market-conscious Blowfly consistently responded to technological and cultural trends), the new “Rapp” spun the tale of a \u003cem>Deliverance\u003c/em>-style encounter with Ku Klux Klan-accredited truck drivers to light funk backing; “\u003ca href=\"https://www.youtube.com/watch?v=fPj6BWCH6co\" target=\"_blank\" rel=\"noopener\">The Incredible Fulk\u003c/a>” found our hero undergoing an experiment that makes his manhood so big that it ascends into the sky and “planes had to re-route themselves” while 1981’s “\u003ca href=\"https://www.youtube.com/watch?v=E5JaQEXszJk\" target=\"_blank\" rel=\"noopener\">Convoy\u003c/a>” again found him behind the wheel (and also included an “argument” between “Blowfly” and “Reid”). He adopted what would now be understood as a tag: almost every song from this era features a sinister bellowing laugh, redolent of a twirly mustached villain: “NEEE-AH-AH-AH-AH-AH-AH!!!!” At Blowfly’s creative height, he was as agile and resourceful a singer as any he mocked, occasionally ascending into a keening falsetto few could achieve.\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/8K1iTW1szfw'\n title='//www.youtube.com/embed/8K1iTW1szfw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>After TK Records collapsed in 1980, he recorded for Bo Crane’s Pandisc, a label that would become a cornerstone of the Miami Bass sound. Released in 1984, “Electronic P**** Sucker” drew on the emerging synthetic “electro” movement by sampling Cybotron’s “\u003ca href=\"https://www.youtube.com/watch?v=fGqiBFqWCTU\" target=\"_blank\" rel=\"noopener\">Clear\u003c/a>,” and is one of the genre’s cult classics (its narrative finds Blowfly encountering a rogue horny robot at a computer store, with Reid voicing the robot via a sinister vocoder treatment). That election year also saw the release of “First Black President,” with Blowfly becoming POTUS and the song running over with sex, drugs and racially stereotypical imagery. His cuts, either very popular or obscure, would be sampled by the likes of Warren G., Jurassic Five, DJ Quik, the Avalanches, and the Ol Dirty Bastard.\u003c/p>\n\u003cp>From the ’90s onwards, Reid was chiefly championed by \u003cdel> \u003c/del>the bearded and tattooed set. His records had long since stopped selling via traditional channels, and mounting debt and unpaid bills saw him sell the rights to his catalog in 2003; he ceded all future royalties for a nominal sum and had to scramble for the rest of his life, according to the 2010 documentary, \u003cem>\u003ca href=\"http://www.blowflyfilm.com/\" target=\"_blank\" rel=\"noopener\">The Weird World Of Blowfly\u003c/a>\u003c/em>. For the past decade, he has worked on the punk rock circuit with his drummer/right hand man “Uncle” Tom Bowker. \u003cem>Blowfly’s Punk Rock \u003cdel> \u003c/del>Party\u003c/em> was released in 2006 on Jello Biafra’s Alternative Tentacles: the Dead Kennedys takeoff “\u003ca href=\"https://www.youtube.com/watch?v=vWLK-JEH4vU\" target=\"_blank\" rel=\"noopener\">R. Kelly In Cambodia\u003c/a>” not only reflects his intended audience’s interests, but also indicates his own alienation towards black audiences. The \u003cem>Weird World\u003c/em> documentary, which is largely concerned with the drudgery of his touring life in the late 2000s, saw Reid expressing contempt for other African\u003cdel> \u003c/del>Americans in terms similar to the extreme respectability politics diatribes of black conservatives like Shelby Steele.\u003c/p>\n\u003cp>Yet Reid was consistently less interested in the “respectable” long view of 50 years of nasty song parodies. “Blowfly has never ‘developed,'” he told the \u003cem>Exberliner\u003c/em>. “Blowfly is still the same mean, perverted little bastard he was back in Georgia in the ’40s. That’s why I still eat pizza and honey like a little kid and watch cartoons every day. I live in my own Weird World.”\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>Additional reporting by D. Strauss.\u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Remembering+Blowfly%2C+Black+Music%27s+Filthiest+Legend&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11259734/remembering-blowfly-black-musics-filthiest-legend",
"authors": [
"byline_arts_11259734"
],
"categories": [
"arts_69",
"arts_235"
],
"tags": [
"arts_1118",
"arts_596",
"arts_1091"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_11259735",
"label": "arts_137"
}
},
"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": 3696,
"size": 12
},
"vitalsOnly": false,
"totalRequested": 12,
"isLoading": false,
"isLoadingMore": true,
"total": {
"value": 4930,
"relation": "eq"
},
"items": [
"arts_11277568",
"pop_20045",
"pop_20033",
"arts_11265621",
"arts_11267864",
"arts_11260092",
"arts_11265386",
"arts_11263131",
"pop_19987",
"arts_11262767",
"arts_11260223",
"arts_11259734"
],
"complete": true
}
},
"recallGuideReducer": {
"intros": {},
"policy": {},
"candidates": {}
},
"savedArticleReducer": {
"articles": [],
"status": {}
},
"newslettersReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"newsletters": {},
"isSubscribing": false,
"isUnsubscribing": false,
"subscribedNewsletters": {}
},
"termsReducer": {
"about": {
"name": "About",
"type": "terms",
"id": "about",
"slug": "about",
"link": "/about",
"taxonomy": "site"
},
"arts": {
"name": "Arts & Culture",
"grouping": [
"arts",
"pop",
"trulyca"
],
"description": "KQED Arts provides daily in-depth coverage of the Bay Area's music, art, film, performing arts, literature and arts news, as well as cultural commentary and criticism.",
"type": "terms",
"id": "arts",
"slug": "arts",
"link": "/arts",
"taxonomy": "site"
},
"artschool": {
"name": "Art School",
"parent": "arts",
"type": "terms",
"id": "artschool",
"slug": "artschool",
"link": "/artschool",
"taxonomy": "site"
},
"bayareabites": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"parent": "food",
"type": "terms",
"id": "bayareabites",
"slug": "bayareabites",
"link": "/food",
"taxonomy": "site"
},
"bayareahiphop": {
"name": "Bay Area Hiphop",
"type": "terms",
"id": "bayareahiphop",
"slug": "bayareahiphop",
"link": "/bayareahiphop",
"taxonomy": "site"
},
"campaign21": {
"name": "Campaign 21",
"type": "terms",
"id": "campaign21",
"slug": "campaign21",
"link": "/campaign21",
"taxonomy": "site"
},
"careers": {
"name": "Careers",
"type": "terms",
"id": "careers",
"slug": "careers",
"link": "/careers",
"taxonomy": "site"
},
"checkplease": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"parent": "food",
"type": "terms",
"id": "checkplease",
"slug": "checkplease",
"link": "/food",
"taxonomy": "site"
},
"education": {
"name": "Education",
"grouping": [
"education"
],
"type": "terms",
"id": "education",
"slug": "education",
"link": "/education",
"taxonomy": "site"
},
"elections": {
"name": "Elections",
"type": "terms",
"id": "elections",
"slug": "elections",
"link": "/elections",
"taxonomy": "site"
},
"events": {
"name": "Events",
"type": "terms",
"id": "events",
"slug": "events",
"link": "/events",
"taxonomy": "site"
},
"event": {
"name": "Event",
"alias": "events",
"type": "terms",
"id": "event",
"slug": "event",
"link": "/event",
"taxonomy": "site"
},
"filmschoolshorts": {
"name": "Film School Shorts",
"type": "terms",
"id": "filmschoolshorts",
"slug": "filmschoolshorts",
"link": "/filmschoolshorts",
"taxonomy": "site"
},
"food": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"type": "terms",
"id": "food",
"slug": "food",
"link": "/food",
"taxonomy": "site"
},
"forum": {
"name": "Forum",
"relatedContentQuery": "posts/forum?",
"parent": "news",
"type": "terms",
"id": "forum",
"slug": "forum",
"link": "/forum",
"taxonomy": "site"
},
"futureofyou": {
"name": "Future of You",
"grouping": [
"science",
"futureofyou"
],
"parent": "science",
"type": "terms",
"id": "futureofyou",
"slug": "futureofyou",
"link": "/futureofyou",
"taxonomy": "site"
},
"jpepinheart": {
"name": "KQED food",
"relatedContentQuery": "posts/food,bayareabites,checkplease",
"parent": "food",
"type": "terms",
"id": "jpepinheart",
"slug": "jpepinheart",
"link": "/food",
"taxonomy": "site"
},
"liveblog": {
"name": "Live Blog",
"type": "terms",
"id": "liveblog",
"slug": "liveblog",
"link": "/liveblog",
"taxonomy": "site"
},
"livetv": {
"name": "Live TV",
"parent": "tv",
"type": "terms",
"id": "livetv",
"slug": "livetv",
"link": "/livetv",
"taxonomy": "site"
},
"lowdown": {
"name": "The Lowdown",
"relatedContentQuery": "posts/lowdown?",
"parent": "news",
"type": "terms",
"id": "lowdown",
"slug": "lowdown",
"link": "/lowdown",
"taxonomy": "site"
},
"mindshift": {
"name": "Mindshift",
"parent": "news",
"description": "MindShift explores the future of education by highlighting the innovative – and sometimes counterintuitive – ways educators and parents are helping all children succeed.",
"type": "terms",
"id": "mindshift",
"slug": "mindshift",
"link": "/mindshift",
"taxonomy": "site"
},
"news": {
"name": "News",
"grouping": [
"news",
"forum"
],
"type": "terms",
"id": "news",
"slug": "news",
"link": "/news",
"taxonomy": "site"
},
"newsletters": {
"name": "newsletters",
"type": "terms",
"id": "newsletters",
"slug": "newsletters",
"link": "/newsletters",
"taxonomy": "site"
},
"perspectives": {
"name": "Perspectives",
"parent": "radio",
"type": "terms",
"id": "perspectives",
"slug": "perspectives",
"link": "/perspectives",
"taxonomy": "site"
},
"podcasts": {
"name": "Podcasts",
"type": "terms",
"id": "podcasts",
"slug": "podcasts",
"link": "/podcasts",
"taxonomy": "site"
},
"pop": {
"name": "Pop",
"parent": "arts",
"type": "terms",
"id": "pop",
"slug": "pop",
"link": "/pop",
"taxonomy": "site"
},
"pressroom": {
"name": "Pressroom",
"type": "terms",
"id": "pressroom",
"slug": "pressroom",
"link": "/pressroom",
"taxonomy": "site"
},
"quest": {
"name": "Quest",
"parent": "science",
"type": "terms",
"id": "quest",
"slug": "quest",
"link": "/quest",
"taxonomy": "site"
},
"radio": {
"name": "Radio",
"grouping": [
"forum",
"perspectives"
],
"description": "Listen to KQED Public Radio – home of Forum and The California Report – on 88.5 FM in San Francisco, 89.3 FM in Sacramento, 88.3 FM in Santa Rosa and 88.1 FM in Martinez.",
"type": "terms",
"id": "radio",
"slug": "radio",
"link": "/radio",
"taxonomy": "site"
},
"root": {
"name": "KQED",
"image": "https://ww2.kqed.org/app/uploads/2020/02/KQED-OG-Image@1x.png",
"imageWidth": 1200,
"imageHeight": 630,
"headData": {
"title": "KQED | News, Radio, Podcasts, TV | Public Media for Northern California",
"description": "KQED provides public radio, television, and independent reporting on issues that matter to the Bay Area. We’re the NPR and PBS member station for Northern California."
},
"type": "terms",
"id": "root",
"slug": "root",
"link": "/root",
"taxonomy": "site"
},
"science": {
"name": "Science",
"grouping": [
"science",
"futureofyou"
],
"description": "KQED Science brings you award-winning science and environment coverage from the Bay Area and beyond.",
"type": "terms",
"id": "science",
"slug": "science",
"link": "/science",
"taxonomy": "site"
},
"stateofhealth": {
"name": "State of Health",
"parent": "science",
"type": "terms",
"id": "stateofhealth",
"slug": "stateofhealth",
"link": "/stateofhealth",
"taxonomy": "site"
},
"support": {
"name": "Support",
"type": "terms",
"id": "support",
"slug": "support",
"link": "/support",
"taxonomy": "site"
},
"thedolist": {
"name": "The Do List",
"parent": "arts",
"type": "terms",
"id": "thedolist",
"slug": "thedolist",
"link": "/thedolist",
"taxonomy": "site"
},
"trulyca": {
"name": "Truly CA",
"grouping": [
"arts",
"pop",
"trulyca"
],
"parent": "arts",
"type": "terms",
"id": "trulyca",
"slug": "trulyca",
"link": "/trulyca",
"taxonomy": "site"
},
"tv": {
"name": "TV",
"type": "terms",
"id": "tv",
"slug": "tv",
"link": "/tv",
"taxonomy": "site"
},
"voterguide": {
"name": "Voter Guide",
"parent": "elections",
"alias": "elections",
"type": "terms",
"id": "voterguide",
"slug": "voterguide",
"link": "/voterguide",
"taxonomy": "site"
},
"guiaelectoral": {
"name": "Guia Electoral",
"parent": "elections",
"alias": "elections",
"type": "terms",
"id": "guiaelectoral",
"slug": "guiaelectoral",
"link": "/guiaelectoral",
"taxonomy": "site"
},
"arts_category_music": {
"isLoading": true
},
"arts_69": {
"type": "terms",
"id": "arts_69",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "69",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Music",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Music Archives | KQED Arts",
"ogDescription": null
},
"ttid": 70,
"slug": "music",
"isLoading": false,
"link": "/arts/category/music"
},
"arts_235": {
"type": "terms",
"id": "arts_235",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "235",
"found": true
},
"relationships": {},
"featImg": null,
"name": "News",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "News Archives | KQED Arts",
"ogDescription": null
},
"ttid": 236,
"slug": "news",
"isLoading": false,
"link": "/arts/category/news"
},
"arts_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_746": {
"type": "terms",
"id": "arts_746",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "746",
"found": true
},
"relationships": {},
"featImg": null,
"name": "news",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "news Archives | KQED Arts",
"ogDescription": null
},
"ttid": 764,
"slug": "news-2",
"isLoading": false,
"link": "/arts/tag/news-2"
},
"arts_596": {
"type": "terms",
"id": "arts_596",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "596",
"found": true
},
"relationships": {},
"featImg": null,
"name": "ntv",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "ntv Archives | KQED Arts",
"ogDescription": null
},
"ttid": 602,
"slug": "ntv",
"isLoading": false,
"link": "/arts/tag/ntv"
},
"pop_4": {
"type": "terms",
"id": "pop_4",
"meta": {
"index": "terms_1716263798",
"site": "pop",
"id": "4",
"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": 4,
"slug": "music",
"isLoading": false,
"link": "/pop/category/music"
},
"pop_2707": {
"type": "terms",
"id": "pop_2707",
"meta": {
"index": "terms_1716263798",
"site": "pop",
"id": "2707",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Barack Obama",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Barack Obama Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2713,
"slug": "barack-obama",
"isLoading": false,
"link": "/pop/tag/barack-obama"
},
"pop_605": {
"type": "terms",
"id": "pop_605",
"meta": {
"index": "terms_1716263798",
"site": "pop",
"id": "605",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Justin Bieber",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Justin Bieber Archives | KQED Arts",
"ogDescription": null
},
"ttid": 606,
"slug": "justin-bieber",
"isLoading": false,
"link": "/pop/tag/justin-bieber"
},
"pop_1536": {
"type": "terms",
"id": "pop_1536",
"meta": {
"index": "terms_1716263798",
"site": "pop",
"id": "1536",
"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": 1539,
"slug": "news-2",
"isLoading": false,
"link": "/pop/category/news-2"
},
"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_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_968": {
"type": "terms",
"id": "arts_968",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "968",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Comedy",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Comedy Archives | KQED Arts",
"ogDescription": null
},
"ttid": 986,
"slug": "comedy",
"isLoading": false,
"link": "/arts/category/comedy"
},
"arts_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_1006": {
"type": "terms",
"id": "arts_1006",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1006",
"found": true
},
"relationships": {},
"featImg": null,
"name": "guide",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "guide Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1023,
"slug": "guide",
"isLoading": false,
"link": "/arts/tag/guide"
},
"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_1425": {
"type": "terms",
"id": "arts_1425",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1425",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Janis",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Janis Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1437,
"slug": "janis",
"isLoading": false,
"link": "/arts/tag/janis"
},
"arts_989": {
"type": "terms",
"id": "arts_989",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "989",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Q&A",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Q&A Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1007,
"slug": "qa",
"isLoading": false,
"link": "/arts/tag/qa"
},
"pop_1041": {
"type": "terms",
"id": "pop_1041",
"meta": {
"index": "terms_1716263798",
"site": "pop",
"id": "1041",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Zeitgeist",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Zeitgeist Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1042,
"slug": "zeitgeist",
"isLoading": false,
"link": "/pop/category/zeitgeist"
},
"arts_1037": {
"type": "terms",
"id": "arts_1037",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1037",
"found": true
},
"relationships": {},
"featImg": null,
"name": "audio",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "audio Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1054,
"slug": "audio",
"isLoading": false,
"link": "/arts/tag/audio"
},
"arts_1091": {
"type": "terms",
"id": "arts_1091",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1091",
"found": true
},
"relationships": {},
"featImg": null,
"name": "obit",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "obit Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1108,
"slug": "obit",
"isLoading": false,
"link": "/arts/tag/obit"
},
"arts_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"
}
},
"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": []
}
}
