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_11162795": {
"type": "attachments",
"id": "arts_11162795",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11162795",
"found": true
},
"parent": 11162682,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/ADELE.MAIN_-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/ADELE.MAIN_-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/ADELE.MAIN_.jpg",
"width": 800,
"height": 450
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/ADELE.MAIN_-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/ADELE.MAIN_-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/ADELE.MAIN_-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/ADELE.MAIN_-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/ADELE.MAIN_-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/ADELE.MAIN_-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/ADELE.MAIN_-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1450118321,
"modified": 1450118321,
"caption": null,
"description": null,
"title": "ADELE.MAIN",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11158341": {
"type": "attachments",
"id": "arts_11158341",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11158341",
"found": true
},
"parent": 11147327,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/TiffanyAustinMAIN-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/TiffanyAustinMAIN-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/TiffanyAustinMAIN-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/TiffanyAustinMAIN-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/TiffanyAustinMAIN.jpg",
"width": 1500,
"height": 844
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/TiffanyAustinMAIN-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/TiffanyAustinMAIN-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/TiffanyAustinMAIN-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/TiffanyAustinMAIN-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/TiffanyAustinMAIN-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/TiffanyAustinMAIN-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/TiffanyAustinMAIN-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/TiffanyAustinMAIN-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/TiffanyAustinMAIN-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1449973689,
"modified": 1449973734,
"caption": "Jazz singer Tiffany Austin's 'Nothing But Soul' was a highlight of Bay Area jazz in 2015.",
"description": "Jazz singer Tiffany Austin's 'Nothing But Soul' was a highlight of Bay Area jazz in 2015.",
"title": "TiffanyAustinMAIN",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"news_10791013": {
"type": "attachments",
"id": "news_10791013",
"meta": {
"index": "attachments_1716263798",
"site": "news",
"id": "10791013",
"found": true
},
"parent": 10780713,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/12/ZakirHussain-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/12/ZakirHussain-400x269.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 269
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/12/ZakirHussain-960x645.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 645
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/12/ZakirHussain-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/12/ZakirHussain.jpg",
"width": 1920,
"height": 1289
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/12/ZakirHussain-1440x967.jpg",
"width": 1440,
"mimeType": "image/jpeg",
"height": 967
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/12/ZakirHussain-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/12/ZakirHussain-800x537.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 537
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/12/ZakirHussain-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/12/ZakirHussain-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"jmtc-small-thumb": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/12/ZakirHussain-280x150.jpg",
"width": 280,
"mimeType": "image/jpeg",
"height": 150
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/12/ZakirHussain-1920x1289.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1289
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/12/ZakirHussain-1180x792.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 792
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/12/ZakirHussain-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/12/ZakirHussain-768x516.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 516
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/12/ZakirHussain-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1449871509,
"modified": 1449871553,
"caption": "Zakir Hussain, performing in 2012.",
"description": "Zakir Hussain, performing in 2012.",
"title": "ZakirHussain",
"credit": "Ridvan Yumlu/Flickr",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11155961": {
"type": "attachments",
"id": "arts_11155961",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11155961",
"found": true
},
"parent": 11155955,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/juliana-huxtable-own-art-1_wide-c9942631c2846ff43cb99eb75603ee8b07621560-s800-c85-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/juliana-huxtable-own-art-1_wide-c9942631c2846ff43cb99eb75603ee8b07621560-s800-c85-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/juliana-huxtable-own-art-1_wide-c9942631c2846ff43cb99eb75603ee8b07621560-s800-c85.jpg",
"width": 800,
"height": 449
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/juliana-huxtable-own-art-1_wide-c9942631c2846ff43cb99eb75603ee8b07621560-s800-c85-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/juliana-huxtable-own-art-1_wide-c9942631c2846ff43cb99eb75603ee8b07621560-s800-c85-800x449.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 449
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/juliana-huxtable-own-art-1_wide-c9942631c2846ff43cb99eb75603ee8b07621560-s800-c85-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/juliana-huxtable-own-art-1_wide-c9942631c2846ff43cb99eb75603ee8b07621560-s800-c85-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/juliana-huxtable-own-art-1_wide-c9942631c2846ff43cb99eb75603ee8b07621560-s800-c85-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/juliana-huxtable-own-art-1_wide-c9942631c2846ff43cb99eb75603ee8b07621560-s800-c85-768x431.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 431
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/juliana-huxtable-own-art-1_wide-c9942631c2846ff43cb99eb75603ee8b07621560-s800-c85-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1449899411,
"modified": 1449899450,
"caption": "\"Juliana Huxtable own art 1\": 'Untitled (Destroying Flesh)' from the \"UNIVERSAL CROP TOPS FOR ALL THE SELF CANONIZED SAINTS OF BECOMING\" series, 2015 ",
"description": "\"Juliana Huxtable own art 1\": 'Untitled (Destroying Flesh)' from the \"UNIVERSAL CROP TOPS FOR ALL THE SELF CANONIZED SAINTS OF BECOMING\" series, 2015 ",
"title": "juliana-huxtable-own-art-1_wide-c9942631c2846ff43cb99eb75603ee8b07621560-s800-c85",
"credit": "Benoit Pailley/Courtesy of the artist ",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11152436": {
"type": "attachments",
"id": "arts_11152436",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11152436",
"found": true
},
"parent": 11152194,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/Dianaposterframe-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/Dianaposterframe-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/Dianaposterframe-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/Dianaposterframe-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/Dianaposterframe.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/Dianaposterframe-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/Dianaposterframe-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/Dianaposterframe-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/Dianaposterframe-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/Dianaposterframe-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/Dianaposterframe-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/Dianaposterframe-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/Dianaposterframe-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/Dianaposterframe-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/Dianaposterframe-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1449790026,
"modified": 1449790026,
"caption": null,
"description": null,
"title": "Dianaposterframe",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11150585": {
"type": "attachments",
"id": "arts_11150585",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11150585",
"found": true
},
"parent": 11150584,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/DSCF0334-e1449773740578-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/DSCF0334-e1449773740578-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/DSCF0334-e1449773740578-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/DSCF0334-e1449773740578-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/DSCF0334-e1449773740578.jpg",
"width": 1080,
"height": 607
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/DSCF0334-e1449773740578-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/DSCF0334-e1449773740578-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/DSCF0334-e1449773740578-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/DSCF0334-e1449773740578-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/DSCF0334-e1449773740578-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/DSCF0334-e1449773740578-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1449738014,
"modified": 1449773709,
"caption": "On the Corner Music on Campbell Avenue",
"description": "On the Corner Music on Campbell Avenue",
"title": "On the Corner Music in Campbell",
"credit": "Photo: Cherri Lakey",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11148721": {
"type": "attachments",
"id": "arts_11148721",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11148721",
"found": true
},
"parent": 11148712,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/B5A3324-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/B5A3324-400x248.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 248
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/B5A3324-960x595.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 595
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/B5A3324-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/B5A3324.jpg",
"width": 3708,
"height": 2297
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/B5A3324-1180x731.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 731
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/B5A3324-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/B5A3324-800x496.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 496
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/B5A3324-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/B5A3324-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/B5A3324-1920x1189.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1189
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/B5A3324-1180x731.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 731
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/B5A3324-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/B5A3324-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1449684750,
"modified": 1449684946,
"caption": "Gordon Getty's Usher House at San Francisco Opera.",
"description": "Gordon Getty's Usher House.",
"title": "Usher House",
"credit": "Photo: Cory Weaver",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"pop_19374": {
"type": "attachments",
"id": "pop_19374",
"meta": {
"index": "attachments_1716263798",
"site": "pop",
"id": "19374",
"found": true
},
"parent": 19373,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2015/12/rs_1024x759-151210084935-1024.Michelle-Obama-College-Music-Video-KF.121015-1024x576.jpg",
"width": 1024,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2015/12/rs_1024x759-151210084935-1024.Michelle-Obama-College-Music-Video-KF.121015-e1449788790306-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2015/12/rs_1024x759-151210084935-1024.Michelle-Obama-College-Music-Video-KF.121015-e1449788790306-960x541.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 541
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2015/12/rs_1024x759-151210084935-1024.Michelle-Obama-College-Music-Video-KF.121015-e1449788790306-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2015/12/rs_1024x759-151210084935-1024.Michelle-Obama-College-Music-Video-KF.121015-e1449788790306.jpg",
"width": 1008,
"height": 568
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2015/12/rs_1024x759-151210084935-1024.Michelle-Obama-College-Music-Video-KF.121015-e1449788790306-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2015/12/rs_1024x759-151210084935-1024.Michelle-Obama-College-Music-Video-KF.121015-e1449788790306-800x451.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 451
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2015/12/rs_1024x759-151210084935-1024.Michelle-Obama-College-Music-Video-KF.121015-e1449788790306-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2015/12/rs_1024x759-151210084935-1024.Michelle-Obama-College-Music-Video-KF.121015-e1449788790306-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2015/12/rs_1024x759-151210084935-1024.Michelle-Obama-College-Music-Video-KF.121015-e1449788790306-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2015/12/rs_1024x759-151210084935-1024.Michelle-Obama-College-Music-Video-KF.121015-e1449788790306-768x433.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 433
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2015/12/rs_1024x759-151210084935-1024.Michelle-Obama-College-Music-Video-KF.121015-e1449788790306-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1449788743,
"modified": 1449788743,
"caption": null,
"description": null,
"title": "rs_1024x759-151210084935-1024.Michelle-Obama-College-Music-Video-KF.121015",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11149875": {
"type": "attachments",
"id": "arts_11149875",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11149875",
"found": true
},
"parent": 11149631,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/Prine.Sweet_-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/Prine.Sweet_-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/Prine.Sweet_-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/Prine.Sweet_.jpg",
"width": 1000,
"height": 562
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/Prine.Sweet_-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/Prine.Sweet_-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/Prine.Sweet_-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/Prine.Sweet_-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/Prine.Sweet_-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/Prine.Sweet_-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1449714555,
"modified": 1586331617,
"caption": "John Prine in the 1970s.",
"description": "John Prine in the 1970s.",
"title": "Prine.Sweet",
"credit": "Atlantic Records",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13807814": {
"type": "attachments",
"id": "arts_13807814",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13807814",
"found": true
},
"parent": 13807813,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/gettyimages-826439382_wide-1ccd8f48d278177b8b616e326beeb22a591c7d61-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/gettyimages-826439382_wide-1ccd8f48d278177b8b616e326beeb22a591c7d61-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/gettyimages-826439382_wide-1ccd8f48d278177b8b616e326beeb22a591c7d61-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/gettyimages-826439382_wide-1ccd8f48d278177b8b616e326beeb22a591c7d61-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/gettyimages-826439382_wide-1ccd8f48d278177b8b616e326beeb22a591c7d61-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/gettyimages-826439382_wide-1ccd8f48d278177b8b616e326beeb22a591c7d61-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/gettyimages-826439382_wide-1ccd8f48d278177b8b616e326beeb22a591c7d61.jpg",
"width": 1463,
"height": 823
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/gettyimages-826439382_wide-1ccd8f48d278177b8b616e326beeb22a591c7d61-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/gettyimages-826439382_wide-1ccd8f48d278177b8b616e326beeb22a591c7d61-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/gettyimages-826439382_wide-1ccd8f48d278177b8b616e326beeb22a591c7d61-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/gettyimages-826439382_wide-1ccd8f48d278177b8b616e326beeb22a591c7d61-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/gettyimages-826439382_wide-1ccd8f48d278177b8b616e326beeb22a591c7d61-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/gettyimages-826439382_wide-1ccd8f48d278177b8b616e326beeb22a591c7d61-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/gettyimages-826439382_wide-1ccd8f48d278177b8b616e326beeb22a591c7d61-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/gettyimages-826439382_wide-1ccd8f48d278177b8b616e326beeb22a591c7d61-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/gettyimages-826439382_wide-1ccd8f48d278177b8b616e326beeb22a591c7d61-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/gettyimages-826439382_wide-1ccd8f48d278177b8b616e326beeb22a591c7d61-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/gettyimages-826439382_wide-1ccd8f48d278177b8b616e326beeb22a591c7d61-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2017/09/gettyimages-826439382_wide-1ccd8f48d278177b8b616e326beeb22a591c7d61-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1504807761,
"modified": 1512161072,
"caption": "Martin Shkreli exits a Brooklyn courthouse after the jury issued a verdict in his case for securities fraud. Shkreli is selling a one-of-a-kind album from the Wu-Tang Clan he purchased in 2015",
"description": "Martin Shkreli exits a Brooklyn courthouse after the jury issued a verdict in his case for securities fraud. Shkreli is selling a one-of-a-kind album from the Wu-Tang Clan he purchased in 2015",
"title": "Martin Shkreli exits a Brooklyn courthouse after the jury issued a verdict in his case for securities fraud. Shkreli is selling a one-of-a-kind album from the Wu-Tang Clan he purchased in 2015.",
"credit": "Drew Angerer/Getty Images",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11148719": {
"type": "attachments",
"id": "arts_11148719",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11148719",
"found": true
},
"parent": 11148710,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/Trudell.Main1_-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/Trudell.Main1_-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/Trudell.Main1_-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/Trudell.Main1_-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/Trudell.Main1_.jpg",
"width": 1511,
"height": 850
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/Trudell.Main1_-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/Trudell.Main1_-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/Trudell.Main1_-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/Trudell.Main1_-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/Trudell.Main1_-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/Trudell.Main1_-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/Trudell.Main1_-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/Trudell.Main1_-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1449683813,
"modified": 1449683823,
"caption": "John Trudell.",
"description": "John Trudell.",
"title": "Trudell.Main1",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11146735": {
"type": "attachments",
"id": "arts_11146735",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11146735",
"found": true
},
"parent": 11146367,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/1609654_205647979640377_1114549796_n-960x576.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/1609654_205647979640377_1114549796_n-e1449620776168-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/1609654_205647979640377_1114549796_n-960x640.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 640
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/1609654_205647979640377_1114549796_n-e1449620776168-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/1609654_205647979640377_1114549796_n-e1449620776168.jpg",
"width": 955,
"height": 537
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/1609654_205647979640377_1114549796_n-e1449620776168-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/1609654_205647979640377_1114549796_n-e1449620776168-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/1609654_205647979640377_1114549796_n-e1449620776168-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/1609654_205647979640377_1114549796_n-e1449620776168-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/1609654_205647979640377_1114549796_n-e1449620776168-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/1609654_205647979640377_1114549796_n-e1449620776168-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1449620758,
"modified": 1449620799,
"caption": "The Awesome Orchestra plays Dec. 12 at American Steel studios in Oakland. ",
"description": null,
"title": "1609654_205647979640377_1114549796_n",
"credit": null,
"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_11155955": {
"type": "authors",
"id": "byline_arts_11155955",
"meta": {
"override": true
},
"slug": "byline_arts_11155955",
"name": "Andy Battaglia",
"isLoading": false
},
"byline_arts_11149505": {
"type": "authors",
"id": "byline_arts_11149505",
"meta": {
"override": true
},
"slug": "byline_arts_11149505",
"name": "Camila Domonoske",
"isLoading": false
},
"agilbert": {
"type": "authors",
"id": "86",
"meta": {
"index": "authors_1716337520",
"id": "86",
"found": true
},
"name": "Andrew Gilbert",
"firstName": "Andrew",
"lastName": "Gilbert",
"slug": "agilbert",
"email": "jazzscribe@aol.com",
"display_author_email": false,
"staff_mastheads": [],
"title": "KQED Contributor",
"bio": "A Los Angeles native based in the Berkeley area since 1996, Andrew Gilbert covers jazz, international music and dance for KQED's \u003ci>California Report, \u003c/i>the\u003ci> Mercury News\u003c/i>, \u003ci>San Francisco Chronicle\u003c/i>, \u003ci>Berkeleyside.com\u003c/i>, and other publications. He is available for weddings and bar and bat mitzvahs. #jazzscribe",
"avatar": "https://secure.gravatar.com/avatar/d7bcafdbefdd39e9a68f88724ca616eb4e7a5a6bff9cdfb62de652a1e1751471?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"Contributor",
"author"
]
},
{
"site": "news",
"roles": [
"author"
]
}
],
"headData": {
"title": "Andrew Gilbert | KQED",
"description": "KQED Contributor",
"ogImgSrc": "https://secure.gravatar.com/avatar/d7bcafdbefdd39e9a68f88724ca616eb4e7a5a6bff9cdfb62de652a1e1751471?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/d7bcafdbefdd39e9a68f88724ca616eb4e7a5a6bff9cdfb62de652a1e1751471?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/agilbert"
},
"gmeline": {
"type": "authors",
"id": "185",
"meta": {
"index": "authors_1716337520",
"id": "185",
"found": true
},
"name": "Gabe Meline",
"firstName": "Gabe",
"lastName": "Meline",
"slug": "gmeline",
"email": "gmeline@kqed.org",
"display_author_email": true,
"staff_mastheads": [
"arts"
],
"title": "Senior Editor, KQED Arts & Culture",
"bio": "Gabe Meline entered journalism at age 15 making photocopied zines, and has since earned awards from the Edward R. Murrow Awards, the Society for Professional Journalists, the Online Journalism Awards, the Association of Alternative Newsweeklies and the California Newspaper Publishers Association. Prior to KQED, he was the editor of the \u003cem>North Bay Bohemian\u003c/em> and a touring musician. He lives with his wife and daughter in his hometown of Santa Rosa, CA.",
"avatar": "https://secure.gravatar.com/avatar/5bebe57be0d8bc2dd318934feb47299e2d2d10cba28d09d8d7afb389a2ce2bdd?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "",
"roles": [
"editor"
]
},
{
"site": "arts",
"roles": [
"administrator"
]
},
{
"site": "artschool",
"roles": [
"editor"
]
},
{
"site": "news",
"roles": [
"author"
]
},
{
"site": "pop",
"roles": [
"editor"
]
},
{
"site": "bayareabites",
"roles": [
"editor"
]
},
{
"site": "food",
"roles": [
"editor"
]
},
{
"site": "liveblog",
"roles": [
"editor"
]
},
{
"site": "hiphop",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Gabe Meline | KQED",
"description": "Senior Editor, KQED Arts & Culture",
"ogImgSrc": "https://secure.gravatar.com/avatar/5bebe57be0d8bc2dd318934feb47299e2d2d10cba28d09d8d7afb389a2ce2bdd?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/5bebe57be0d8bc2dd318934feb47299e2d2d10cba28d09d8d7afb389a2ce2bdd?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/gmeline"
},
"clakey": {
"type": "authors",
"id": "191",
"meta": {
"index": "authors_1716337520",
"id": "191",
"found": true
},
"name": "Cherri Lakey",
"firstName": null,
"lastName": null,
"slug": "clakey",
"email": "cherri@galleryad.com",
"display_author_email": false,
"staff_mastheads": [],
"title": null,
"bio": "Co-owner/curator of urban contemporary art and culture gallery \u003ca href=\"http://www.galleryAD.com\">ANNO DOMINI\u003c/a> // the second coming of Art & Design and producer of a bunch of other cool projects with partner \u003ca href=\"http://ww2.kqed.org/arts/author/beder/\" target=\"_blank\">Brian Eder.\u003c/a> \u003ca class=\"twitter-follow-button\" href=\"https://twitter.com/astrogirl\" data-show-count=\"false\">Follow @astrogirl\u003c/a>\r\n\u003cscript>// \u003c![CDATA[\r\n!function(d,s,id){var js,fjs=d.getElementsByTagName(s)[0],p=/^http:/.test(d.location)?'http':'https';if(!d.getElementById(id)){js=d.createElement(s);js.id=id;js.src=p+'://platform.twitter.com/widgets.js';fjs.parentNode.insertBefore(js,fjs);}}(document, 'script', 'twitter-wjs');\r\n// ]]>\u003c/script>",
"avatar": "https://secure.gravatar.com/avatar/5a92919baa84da5ce8920beeaf078c67?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"contributor"
]
}
],
"headData": {
"title": "Cherri Lakey | KQED",
"description": null,
"ogImgSrc": "https://secure.gravatar.com/avatar/5a92919baa84da5ce8920beeaf078c67?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/5a92919baa84da5ce8920beeaf078c67?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/clakey"
},
"kwhalen": {
"type": "authors",
"id": "3248",
"meta": {
"index": "authors_1716337520",
"id": "3248",
"found": true
},
"name": "Kelly Whalen",
"firstName": "Kelly",
"lastName": "Whalen",
"slug": "kwhalen",
"email": "kwhalen@kqed.org",
"display_author_email": false,
"staff_mastheads": [],
"title": "Senior Video Producer",
"bio": "Kelly Whalen is a filmmaker and educator who directs and produces social justice documentaries and award-winning arts and culture web series. She is the creator of KQED Arts’ three-time Webby Award-winning YouTube series \u003cem>If Cities Could Dance\u003c/em>, featuring dancers across the country representing their cities’ signature moves, and the director of \u003cem>When the Waters Get Deep\u003c/em>, a documentary about Oakland-based artists SOL Development and their work toward healing their communities’ trauma from gun violence.",
"avatar": "https://secure.gravatar.com/avatar/1a2b57e8a13abdcfc3d4966d9c0e1512?s=600&d=blank&r=g",
"twitter": "kellyfilmmaker",
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"subscriber"
]
}
],
"headData": {
"title": "Kelly Whalen | KQED",
"description": "Senior Video Producer",
"ogImgSrc": "https://secure.gravatar.com/avatar/1a2b57e8a13abdcfc3d4966d9c0e1512?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/1a2b57e8a13abdcfc3d4966d9c0e1512?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/kwhalen"
},
"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"
},
"ctiee": {
"type": "authors",
"id": "8660",
"meta": {
"index": "authors_1716337520",
"id": "8660",
"found": true
},
"name": "Charlise Tiee",
"firstName": "Charlise",
"lastName": "Tiee",
"slug": "ctiee",
"email": "snailwing@gmail.com",
"display_author_email": false,
"staff_mastheads": [],
"title": null,
"bio": "Bay Area-based writer and painter. Reviews performances of classical music and audience behavior at \u003ca href=\"http://operatattler.com\" target=\"_blank\">The Opera Tattler\u003c/a>.",
"avatar": "https://secure.gravatar.com/avatar/f1a0befa08b57c5871e7b99521309901?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"contributor"
]
}
],
"headData": {
"title": "Charlise Tiee | KQED",
"description": null,
"ogImgSrc": "https://secure.gravatar.com/avatar/f1a0befa08b57c5871e7b99521309901?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/f1a0befa08b57c5871e7b99521309901?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/ctiee"
}
},
"pagesReducer": {
"arts_category_music": {
"type": "terms",
"id": "arts_69",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "69",
"score": 10.847937
},
"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": 313
},
"blocks": [
{
"blockName": "kqed/post-list",
"attrs": {
"layout": "cardArticle2",
"query": "posts/arts?category=music",
"seeMore": false,
"paginated": true,
"page": 313
}
},
{
"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_11162682": {
"type": "posts",
"id": "arts_11162682",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11162682",
"score": null,
"sort": [
1450118522000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1450118522,
"format": "standard",
"title": "Ticket Alert: Adele",
"headTitle": "Ticket Alert: Adele | KQED",
"content": "\u003cp>Adele, the biggest success story of 2015, has announced a North American tour with three Bay Area dates: July 30 and 31 at the SAP Center in San Jose, and Aug. 2 at the Oracle Arena in Oakland. Tickets go on sale to the general public this Thursday, Dec. 17th, at 10am \u003ca href=\"http://www.ticketmaster.com/Adele-tickets/artist/1159272\" target=\"_blank\" rel=\"noopener\">right here\u003c/a>. \u003c/p>\n\u003cp>Considering that Adele’s latest album \u003cem>25\u003c/em> has sold a monumental five million copies (\u003ca href=\"http://www.theguardian.com/music/2015/dec/11/adele-25-hits-5m-sales-mark-in-the-us\" target=\"_blank\" rel=\"noopener\">and counting\u003c/a>), tickets for the singer’s shows are sure to be in extremely high demand — with all the usual scalpers, resale sites and other soulless vultures preparing to buy up as many tickets as possible.\u003c/p>\n\u003cp>Here’s where things get interesting. Normally, a tour like this would have sponsors fighting tooth-and-nail to be part of a ticket presale. But Adele is nothing if not egalitarian: amazingly, there seem to be no sponsored presale offers at all — not from credit card companies (a usual suspect) or even the promoters’ own mobile apps. Everyone has the same shot at tickets on Thursday morning.\u003c/p>\n\u003cp>On Wednesday morning, however, there’s a fan club presale for those who’ve signed up on Adele.com. The hitch? Registration for her fan club has been closed until Dec. 18 to beat the fair-weather fans and last-minute scalpers.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/adele-800x278.jpg\" alt=\"adele\" width=\"800\" height=\"278\" class=\"aligncenter size-medium wp-image-11165747\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/adele-800x278.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/adele-400x139.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/adele-768x267.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/adele.jpg 803w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Furthermore, at least for some of her European dates, Adele is \u003ca href=\"http://www.billboard.com/articles/business/6784895/adele-tickets-security-stubhub-scalpers\" target=\"_blank\" rel=\"noopener\">requiring security to check IDs\u003c/a> at venue entrances to ensure the name on the ticket and the person holding it match up; also, tickets showing up on secondhand sites are \u003ca href=\"http://metro.co.uk/2015/12/07/adele-tickets-bought-from-touts-will-be-cancelled-5549399/\" target=\"_blank\" rel=\"noopener\">threatened with cancellation\u003c/a>. If these anti-scapling policies are extended to the U.S. leg of her tour, the impact could be \u003cem>huge\u003c/em>. Tactics to fight scalping can have their own set of problems, but for diehard fans, they’re much better than being forced to pay insanely inflated prices for tickets.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Out tip for Thursday? Open as many browsers as you can, and click “refresh” with crossed fingers.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 337,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 9
},
"modified": 1705045693,
"excerpt": "Tickets for Adele's shows in San Jose and Oakland go on sale this Thursday.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Tickets for Adele's shows in San Jose and Oakland go on sale this Thursday.",
"title": "Ticket Alert: Adele | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Ticket Alert: Adele",
"datePublished": "2015-12-14T10:42:02-08:00",
"dateModified": "2024-01-11T23:48:13-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "ticket-alert-adele",
"status": "publish",
"sticky": false,
"path": "/arts/11162682/ticket-alert-adele",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Adele, the biggest success story of 2015, has announced a North American tour with three Bay Area dates: July 30 and 31 at the SAP Center in San Jose, and Aug. 2 at the Oracle Arena in Oakland. Tickets go on sale to the general public this Thursday, Dec. 17th, at 10am \u003ca href=\"http://www.ticketmaster.com/Adele-tickets/artist/1159272\" target=\"_blank\" rel=\"noopener\">right here\u003c/a>. \u003c/p>\n\u003cp>Considering that Adele’s latest album \u003cem>25\u003c/em> has sold a monumental five million copies (\u003ca href=\"http://www.theguardian.com/music/2015/dec/11/adele-25-hits-5m-sales-mark-in-the-us\" target=\"_blank\" rel=\"noopener\">and counting\u003c/a>), tickets for the singer’s shows are sure to be in extremely high demand — with all the usual scalpers, resale sites and other soulless vultures preparing to buy up as many tickets as possible.\u003c/p>\n\u003cp>Here’s where things get interesting. Normally, a tour like this would have sponsors fighting tooth-and-nail to be part of a ticket presale. But Adele is nothing if not egalitarian: amazingly, there seem to be no sponsored presale offers at all — not from credit card companies (a usual suspect) or even the promoters’ own mobile apps. Everyone has the same shot at tickets on Thursday morning.\u003c/p>\n\u003cp>On Wednesday morning, however, there’s a fan club presale for those who’ve signed up on Adele.com. The hitch? Registration for her fan club has been closed until Dec. 18 to beat the fair-weather fans and last-minute scalpers.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/adele-800x278.jpg\" alt=\"adele\" width=\"800\" height=\"278\" class=\"aligncenter size-medium wp-image-11165747\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/adele-800x278.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/adele-400x139.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/adele-768x267.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/adele.jpg 803w\" sizes=\"(max-width: 800px) 100vw, 800px\">\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>Furthermore, at least for some of her European dates, Adele is \u003ca href=\"http://www.billboard.com/articles/business/6784895/adele-tickets-security-stubhub-scalpers\" target=\"_blank\" rel=\"noopener\">requiring security to check IDs\u003c/a> at venue entrances to ensure the name on the ticket and the person holding it match up; also, tickets showing up on secondhand sites are \u003ca href=\"http://metro.co.uk/2015/12/07/adele-tickets-bought-from-touts-will-be-cancelled-5549399/\" target=\"_blank\" rel=\"noopener\">threatened with cancellation\u003c/a>. If these anti-scapling policies are extended to the U.S. leg of her tour, the impact could be \u003cem>huge\u003c/em>. Tactics to fight scalping can have their own set of problems, but for diehard fans, they’re much better than being forced to pay insanely inflated prices for tickets.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Out tip for Thursday? Open as many browsers as you can, and click “refresh” with crossed fingers.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11162682/ticket-alert-adele",
"authors": [
"185"
],
"categories": [
"arts_69"
],
"tags": [
"arts_596",
"arts_700"
],
"featImg": "arts_11162795",
"label": "arts"
},
"arts_11147327": {
"type": "posts",
"id": "arts_11147327",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11147327",
"score": null,
"sort": [
1450022435000
]
},
"guestAuthors": [],
"slug": "the-top-10-bay-area-jazz-releases-of-2015",
"title": "The Top 10 Bay Area Jazz Releases of 2015",
"publishDate": 1450022435,
"format": "standard",
"headTitle": "The Top 10 Bay Area Jazz Releases of 2015 | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>Looking over the jazz albums I kept returning to in 2015 — a year in which Spotify, Pandora and other streaming services have further elevated standalone singles — I’m struck by the way each artist engages with the album format to make a larger musical statement. In almost every case, the releases capture a highly personal vision, woven through the entire project.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/series/art-nerd-holiday-guide-2015/\" target=\"_blank\" rel=\"attachment wp-att-11126413 noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px.png\" alt=\"Art_Nerd-HolidayGuide-2015-300px\" width=\"300\" height=\"300\" class=\"alignright size-full wp-image-11126413\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px.png 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-32x32.png 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-64x64.png 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-96x96.png 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-128x128.png 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-75x75.png 75w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>From Tiffany Austin’s funky and footloose old-wine-in-new-bottles take on Hoagy Carmichael to Ben Goldberg’s exquisite chamber-jazz-meets-art-song journey into the world of poet and philosopher Allen Grossman, these albums add up to more than the sum of their considerable parts. Another trend that stands out is that the Bay Area’s already-deep pool of vocal talent continues to grow apace.\u003c/p>\n\u003cp>Here are my 10 favorite jazz albums of 2015, in alphabetical order (with an additional slate of excellent local releases, any of which could have easily slid into the top 10).\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11155374\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Antonioli-400x356.jpg\" alt=\"Laurie Antonioli & Richie Beirach - 'Varuna'\" width=\"400\" height=\"356\" class=\"size-thumbnail wp-image-11155374\">\u003cfigcaption class=\"wp-caption-text\">Laurie Antonioli & Richie Beirach – ‘Varuna’\u003c/figcaption>\u003c/figure>\n\u003ch3>Laurie Antonioli & Richie Beirach – \u003cem>Varuna\u003c/em>\u003c/h3>\n\u003ch5>(Origin Records)\u003c/h5>\n\u003cp>A veteran jazz singer who leads one of the best working bands on the scene, Antonioli has also converged intermittently over the years with Beirach, a probing post-bop pianist with a strong feel for European classical music. The album features one striking passage after another, centering on the transporting “Resolution Suite,” a free improv epiphany in three brief movements.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11155375\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/TiffanyAustin-400x355.jpg\" alt=\"Tiffany Austin - 'Nothing But Soul'\" width=\"400\" height=\"355\" class=\"size-thumbnail wp-image-11155375\">\u003cfigcaption class=\"wp-caption-text\">Tiffany Austin – ‘Nothing But Soul’\u003c/figcaption>\u003c/figure>\n\u003ch3>Tiffany Austin – \u003cem>Nothing But Soul\u003c/em>\u003c/h3>\n\u003ch5>(Con Alma Music)\u003c/h5>\n\u003cp>Working with tenor saxophonist Howard Wiley, Austin this year delivered one of the most joyful and exuberant debut recordings in recent memory. Focusing on the songs of Hoagy Carmichael (with a few ringers) she puts her own stamp on tunes that have been around the block, including a sly version of “Baltimore Oriole” and her luscious reading of “Skylark.” (Read KQED review \u003ca href=\"http://ww2.kqed.org/news/2015/06/27/two-new-albums-are-latest-blooms-from-sfs-red-poppy-art-house\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.)\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11155376\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/AlexConde-400x416.jpg\" alt=\"Alex Conde - 'Descarga For Monk'\" width=\"400\" height=\"416\" class=\"size-thumbnail wp-image-11155376\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/AlexConde.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/AlexConde-32x32.jpg 32w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Alex Conde – ‘Descarga For Monk’\u003c/figcaption>\u003c/figure>\n\u003ch3>Alex Conde – \u003cem>Descarga For Monk\u003c/em>\u003c/h3>\n\u003ch5>(Zoho Music)\u003c/h5>\n\u003cp>Conde has been on the Bay Area scene for a while, but the Spanish-born pianist emerged as a major creative force with this album. Passionately reimagining a set of classic Thelonious Monk compositions through the lens of flamenco, the project uncovers previously unexpected rhythmic interplay in Monk’s music. He’s joined by an ideal cast of collaborators with percussion master John Santos, ace bassist Jeff Chambers, and the texturally resourceful drummer Jon Arkin. (Read KQED review \u003ca href=\"http://ww2.kqed.org/news/2015/03/29/two-bay-area-jazz-groups-make-monk-their-muse-on-new-releases\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.)\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11155377\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/KarinaDenike-400x400.jpg\" alt=\"Karina Deniké - 'Under Glass'\" width=\"400\" height=\"400\" class=\"size-thumbnail wp-image-11155377\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/KarinaDenike.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/KarinaDenike-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/KarinaDenike-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/KarinaDenike-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/KarinaDenike-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/KarinaDenike-75x75.jpg 75w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Karina Deniké – ‘Under Glass’\u003c/figcaption>\u003c/figure>\n\u003ch3>Karina Deniké – \u003cem>Under Glass\u003c/em>\u003c/h3>\n\u003cp>After more than two decades as an indispensable creative catalyst for a vast array of bands, recordings and projects, Deniké stepped out on her own with this captivating album. While she references at least a half dozen styles, she uses a core group of players for a consistent play of textures, whether she’s delivering winsome girl-group harmonies with Lily Taylor or taking a funhouse ride on the midway. There’s a dizzying quality to Deniké’s music — an uncanny, time-shifting feel where songs seem familiar until she adds an unexpected texture or arrestingly original image. (Read KQED review \u003ca href=\"http://ww2.kqed.org/news/2015/04/26/karina-denikes-long-road-to-under-glass\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.)\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11155382\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Goldberg-400x400.jpg\" alt=\"Ben Goldberg - 'Orphic Machine'\" width=\"400\" height=\"400\" class=\"size-thumbnail wp-image-11155382\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Goldberg.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Goldberg-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Goldberg-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Goldberg-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Goldberg-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Goldberg-75x75.jpg 75w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Ben Goldberg – ‘Orphic Machine’\u003c/figcaption>\u003c/figure>\n\u003ch3>Ben Goldberg – \u003cem>Orphic Machine\u003c/em>\u003c/h3>\n\u003ch5>(BAG Productions)\u003c/h5>\n\u003cp>A clarinetist and composer who combines rigorous intelligence with searching imagination and a gift for melodic invention, Goldberg this year assembled an all-star nine-piece ensemble featuring extravagantly vivid improvisers like guitarist Nels Cline, cornetist Ron Miles and pianist Myra Melford. \u003cem>Orphic Machine\u003c/em> distills their wild energy in a set of elliptical art songs composed for the self-conscious and emotionally acute vocals of violinist Carla Kihlstdet, who brings a feverish intensity to the koan-like epigrams of Allen Grossman. The result is an extraordinary recording that lingers in the mind and the ear.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11155379\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/monkwork-400x359.jpg\" alt=\"The Lost Trio - 'Monkwork'\" width=\"400\" height=\"359\" class=\"size-thumbnail wp-image-11155379\">\u003cfigcaption class=\"wp-caption-text\">The Lost Trio – ‘Monkwork’\u003c/figcaption>\u003c/figure>\n\u003ch3>The Lost Trio – \u003cem>Monkwork\u003c/em>\u003c/h3>\n\u003ch5>(Evander Music)\u003c/h5>\n\u003cp>A collective ensemble featuring saxophonist Phillip Greenlief, bassist Dan Seamans and drummer Tom Hassett, the Lost Trio has never strayed far from the knotty, endlessly engaging compositions of Thelonious Monk. My favorite tracks on this all-Monk session feature three-song medleys that create a revelatory inter-Monk dialogue, as when the insistently repetitive blues “Misterioso” segues into the sublime ballad “Ask Me Now.” The absence of a piano, Monk’s primary instrument, gives the music a transparent quality, offering an X-Ray view into Monk’s rhythmic and harmonic architecture. (Read KQED review \u003ca href=\"http://ww2.kqed.org/news/2015/03/29/two-bay-area-jazz-groups-make-monk-their-muse-on-new-releases\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.)\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11155380\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/MyraMelford-400x360.jpg\" alt=\"Myra Melford - 'Snowy Egret'\" width=\"400\" height=\"360\" class=\"size-thumbnail wp-image-11155380\">\u003cfigcaption class=\"wp-caption-text\">Myra Melford – ‘Snowy Egret’\u003c/figcaption>\u003c/figure>\n\u003ch3>Myra Melford – \u003cem>Snowy Egret\u003c/em>\u003c/h3>\n\u003ch5>(Enja)\u003c/h5>\n\u003cp>A pianist and composer with a gift for creating exploratory ensembles and wondrous musical galaxies, Melford is one of jazz’s most consistently enthralling artists. Her quintet Snowy Egret with cornetist Ron Miles, guitarist Liberty Ellman, bass guitarist Stomu Takeishi, and drummer extraordinaire Tyshawn Sorey brings coiled emotion, wit and boundless generosity to this set of roiling, elastically beatific compositions inspired by Eduardo Galeano’s \u003cem>Memory of Fire\u003c/em> trilogy.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11155378\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/KimNalley-400x400.jpg\" alt=\"Kim Nalley - 'Blues People'\" width=\"400\" height=\"400\" class=\"size-thumbnail wp-image-11155378\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/KimNalley.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/KimNalley-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/KimNalley-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/KimNalley-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/KimNalley-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/KimNalley-75x75.jpg 75w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Kim Nalley – ‘Blues People’\u003c/figcaption>\u003c/figure>\n\u003ch3>Kim Nalley – \u003cem>Blues People\u003c/em>\u003c/h3>\n\u003ch5>(Kim Nalley Jazz Productions)\u003c/h5>\n\u003cp>More than any of her previous albums, \u003cem>Blues People\u003c/em> reveals the full range of Nalley’s musical vision — and it’s no coincidence that the title echoes the seminal 1963 book of cultural criticism by LeRoi Jones. From her incisive originals and defiant reinvention of the Gershwins’ “Summertime” to her celebration of bawdy humor on “The Chair Song (If I Can’t Sell It)” and her gospel-steeped version of “Movin’ On Up” (the theme to 1970s sitcom \u003cem>The Jeffersons\u003c/em>), Nalley builds a seamless African-American aesthetic encompassing the sacred and profane, the spiritual and the sensual, high art and popular culture. Like the best parties, this album is a furious argument, a grinding slow dance, and a raging good time. (Read KQED review \u003ca href=\"http://ww2.kqed.org/news/2015/09/13/kim-nalley-brings-the-blues-home-with-new-cd-blues-people\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.)\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11155381\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/RobReich-400x356.jpg\" alt=\"Rob Reich - 'Shadowbox'\" width=\"400\" height=\"356\" class=\"size-thumbnail wp-image-11155381\">\u003cfigcaption class=\"wp-caption-text\">Rob Reich – ‘Shadowbox’\u003c/figcaption>\u003c/figure>\n\u003ch3>Rob Reich – \u003cem>Shadowbox\u003c/em>\u003c/h3>\n\u003ch5>(BAG Productions)\u003c/h5>\n\u003cp>Musicians playing Reich’s music seem to find themselves, or at least reveal aspects of their sound not always evident in other settings. Equally eloquent on the piano and accordion, Reich creates soundscapes brimming with half-buried feelings and memories just out of reach, and \u003cem>Shadowbox\u003c/em> contains his own particular alchemy of folk, jazz, and classical currents. With the subway rumble of Ben Goldberg’s contra alto clarinet, Todd Sickafoose’s elastic bass lines, Eric Garland’s subtle but assertive cymbal touch and guitarist Ila Cantor’s levitating guitar lines, the opening track “Night Heron” embodies much of what makes Reich’s music tantalizing and evocative. (Read KQED review \u003ca href=\"http://ww2.kqed.org/news/2015/06/27/two-new-albums-are-latest-blooms-from-sfs-red-poppy-art-house\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.)\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11155383\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/MaryStallings-400x400.jpg\" alt=\"Mary Stallings - 'Feelin' Good'\" width=\"400\" height=\"400\" class=\"size-thumbnail wp-image-11155383\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/MaryStallings.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/MaryStallings-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/MaryStallings-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/MaryStallings-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/MaryStallings-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/MaryStallings-75x75.jpg 75w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Mary Stallings – ‘Feelin’ Good’\u003c/figcaption>\u003c/figure>\n\u003ch3>Mary Stallings – \u003cem>Feelin’ Good\u003c/em>\u003c/h3>\n\u003ch5>(High Note)\u003c/h5>\n\u003cp>Stallings is the rightful queen of Bay Area jazz vocals, but she’s always been reluctant royalty — which is why she’s been “rediscovered” at least three times since she started recording in 1961. Working with a top-shelf cast of New York players led by veteran pianist/arranger Bruce Barth, she delivers a consistently smart set that pays tribute to four key bandleaders who championed her talent over the years: Cal Tjader, Dizzy Gillespie, Billy Eckstine and Count Basie. Her blues-tinged, dry-martini sound hasn’t lost any of its pleasing bite, and album highlights include two Neal Hefti gems (“Li’l Darling” and “Girl Talk”) and Mongo Santamaria’s “Afro Blue,” featuring her original lyrics.\n\u003c/p>\u003c/div>\n\u003cp>\u003cstrong>Alternate Takes\u003c/strong>\u003cbr>\n\u003cem>Other noteworthy local jazz releases from 2015\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>The Bad Plus and Joshua Redman\u003c/strong> – \u003cem>The Bad Plus Joshua Redman\u003c/em> (Nonesuch)\u003c/p>\n\u003cp>\u003cstrong>Bryan Bowman\u003c/strong> – \u003ci>Like Minds\u003c/i> (Bryan Bowman Music)\u003c/p>\n\u003cp>\u003cstrong>Electric Squeezebox Orchestra\u003c/strong> – \u003cem>Cheap Rent\u003c/em> (OA2 Records)\u003c/p>\n\u003cp>\u003cstrong>Zakir Hussain\u003c/strong> – \u003cem>Distant Kin\u003c/em> (Moment Records)\u003c/p>\n\u003cp>\u003cstrong>Karen Marguth\u003c/strong> – \u003cem>Just You, Just Me\u003c/em> (Way Fae Music)\u003c/p>\n\u003cp>\u003cstrong>Ochs-Robinson Duo\u003c/strong> – \u003cem>The Throne\u003c/em> (Not Two)\u003c/p>\n\u003cp>\u003cstrong>Fred Randoph\u003c/strong> – \u003cem>Song Without Singing\u003c/em> (Creative Spirit Records)\u003c/p>\n\u003cp>\u003cstrong>John Schott\u003c/strong> – \u003cem>Actual Trio\u003c/em> (Tzadik)\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>The VNote Ensemble\u003c/strong> – \u003cem>Urbano\u003c/em> (The VNote Ensemble)\u003cbr>\n\u003cstrong>\u003cbr>\nWayne Wallace Latin Jazz Quintet\u003c/strong> – \u003cem>Intercambio\u003c/em> (Patois Records)\u003c/p>\n\n",
"blocks": [],
"excerpt": "From accordions and clarinets to jazz vocal standards, Andrew Gilbert picks his top 10 jazz releases of 2015.",
"status": "publish",
"parent": 0,
"modified": 1726701893,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 26,
"wordCount": 1396
},
"headData": {
"title": "The Top 10 Bay Area Jazz Releases of 2015 | KQED",
"description": "From accordions and clarinets to jazz vocal standards, Andrew Gilbert picks his top 10 jazz releases of 2015.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "The Top 10 Bay Area Jazz Releases of 2015",
"datePublished": "2015-12-13T08:00:35-08:00",
"dateModified": "2024-09-18T16:24:53-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"path": "/arts/11147327/the-top-10-bay-area-jazz-releases-of-2015",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Looking over the jazz albums I kept returning to in 2015 — a year in which Spotify, Pandora and other streaming services have further elevated standalone singles — I’m struck by the way each artist engages with the album format to make a larger musical statement. In almost every case, the releases capture a highly personal vision, woven through the entire project.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/series/art-nerd-holiday-guide-2015/\" target=\"_blank\" rel=\"attachment wp-att-11126413 noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px.png\" alt=\"Art_Nerd-HolidayGuide-2015-300px\" width=\"300\" height=\"300\" class=\"alignright size-full wp-image-11126413\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px.png 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-32x32.png 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-64x64.png 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-96x96.png 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-128x128.png 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-75x75.png 75w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>From Tiffany Austin’s funky and footloose old-wine-in-new-bottles take on Hoagy Carmichael to Ben Goldberg’s exquisite chamber-jazz-meets-art-song journey into the world of poet and philosopher Allen Grossman, these albums add up to more than the sum of their considerable parts. Another trend that stands out is that the Bay Area’s already-deep pool of vocal talent continues to grow apace.\u003c/p>\n\u003cp>Here are my 10 favorite jazz albums of 2015, in alphabetical order (with an additional slate of excellent local releases, any of which could have easily slid into the top 10).\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11155374\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Antonioli-400x356.jpg\" alt=\"Laurie Antonioli & Richie Beirach - 'Varuna'\" width=\"400\" height=\"356\" class=\"size-thumbnail wp-image-11155374\">\u003cfigcaption class=\"wp-caption-text\">Laurie Antonioli & Richie Beirach – ‘Varuna’\u003c/figcaption>\u003c/figure>\n\u003ch3>Laurie Antonioli & Richie Beirach – \u003cem>Varuna\u003c/em>\u003c/h3>\n\u003ch5>(Origin Records)\u003c/h5>\n\u003cp>A veteran jazz singer who leads one of the best working bands on the scene, Antonioli has also converged intermittently over the years with Beirach, a probing post-bop pianist with a strong feel for European classical music. The album features one striking passage after another, centering on the transporting “Resolution Suite,” a free improv epiphany in three brief movements.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11155375\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/TiffanyAustin-400x355.jpg\" alt=\"Tiffany Austin - 'Nothing But Soul'\" width=\"400\" height=\"355\" class=\"size-thumbnail wp-image-11155375\">\u003cfigcaption class=\"wp-caption-text\">Tiffany Austin – ‘Nothing But Soul’\u003c/figcaption>\u003c/figure>\n\u003ch3>Tiffany Austin – \u003cem>Nothing But Soul\u003c/em>\u003c/h3>\n\u003ch5>(Con Alma Music)\u003c/h5>\n\u003cp>Working with tenor saxophonist Howard Wiley, Austin this year delivered one of the most joyful and exuberant debut recordings in recent memory. Focusing on the songs of Hoagy Carmichael (with a few ringers) she puts her own stamp on tunes that have been around the block, including a sly version of “Baltimore Oriole” and her luscious reading of “Skylark.” (Read KQED review \u003ca href=\"http://ww2.kqed.org/news/2015/06/27/two-new-albums-are-latest-blooms-from-sfs-red-poppy-art-house\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.)\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11155376\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/AlexConde-400x416.jpg\" alt=\"Alex Conde - 'Descarga For Monk'\" width=\"400\" height=\"416\" class=\"size-thumbnail wp-image-11155376\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/AlexConde.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/AlexConde-32x32.jpg 32w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Alex Conde – ‘Descarga For Monk’\u003c/figcaption>\u003c/figure>\n\u003ch3>Alex Conde – \u003cem>Descarga For Monk\u003c/em>\u003c/h3>\n\u003ch5>(Zoho Music)\u003c/h5>\n\u003cp>Conde has been on the Bay Area scene for a while, but the Spanish-born pianist emerged as a major creative force with this album. Passionately reimagining a set of classic Thelonious Monk compositions through the lens of flamenco, the project uncovers previously unexpected rhythmic interplay in Monk’s music. He’s joined by an ideal cast of collaborators with percussion master John Santos, ace bassist Jeff Chambers, and the texturally resourceful drummer Jon Arkin. (Read KQED review \u003ca href=\"http://ww2.kqed.org/news/2015/03/29/two-bay-area-jazz-groups-make-monk-their-muse-on-new-releases\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.)\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11155377\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/KarinaDenike-400x400.jpg\" alt=\"Karina Deniké - 'Under Glass'\" width=\"400\" height=\"400\" class=\"size-thumbnail wp-image-11155377\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/KarinaDenike.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/KarinaDenike-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/KarinaDenike-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/KarinaDenike-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/KarinaDenike-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/KarinaDenike-75x75.jpg 75w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Karina Deniké – ‘Under Glass’\u003c/figcaption>\u003c/figure>\n\u003ch3>Karina Deniké – \u003cem>Under Glass\u003c/em>\u003c/h3>\n\u003cp>After more than two decades as an indispensable creative catalyst for a vast array of bands, recordings and projects, Deniké stepped out on her own with this captivating album. While she references at least a half dozen styles, she uses a core group of players for a consistent play of textures, whether she’s delivering winsome girl-group harmonies with Lily Taylor or taking a funhouse ride on the midway. There’s a dizzying quality to Deniké’s music — an uncanny, time-shifting feel where songs seem familiar until she adds an unexpected texture or arrestingly original image. (Read KQED review \u003ca href=\"http://ww2.kqed.org/news/2015/04/26/karina-denikes-long-road-to-under-glass\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.)\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11155382\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Goldberg-400x400.jpg\" alt=\"Ben Goldberg - 'Orphic Machine'\" width=\"400\" height=\"400\" class=\"size-thumbnail wp-image-11155382\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Goldberg.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Goldberg-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Goldberg-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Goldberg-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Goldberg-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Goldberg-75x75.jpg 75w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Ben Goldberg – ‘Orphic Machine’\u003c/figcaption>\u003c/figure>\n\u003ch3>Ben Goldberg – \u003cem>Orphic Machine\u003c/em>\u003c/h3>\n\u003ch5>(BAG Productions)\u003c/h5>\n\u003cp>A clarinetist and composer who combines rigorous intelligence with searching imagination and a gift for melodic invention, Goldberg this year assembled an all-star nine-piece ensemble featuring extravagantly vivid improvisers like guitarist Nels Cline, cornetist Ron Miles and pianist Myra Melford. \u003cem>Orphic Machine\u003c/em> distills their wild energy in a set of elliptical art songs composed for the self-conscious and emotionally acute vocals of violinist Carla Kihlstdet, who brings a feverish intensity to the koan-like epigrams of Allen Grossman. The result is an extraordinary recording that lingers in the mind and the ear.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11155379\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/monkwork-400x359.jpg\" alt=\"The Lost Trio - 'Monkwork'\" width=\"400\" height=\"359\" class=\"size-thumbnail wp-image-11155379\">\u003cfigcaption class=\"wp-caption-text\">The Lost Trio – ‘Monkwork’\u003c/figcaption>\u003c/figure>\n\u003ch3>The Lost Trio – \u003cem>Monkwork\u003c/em>\u003c/h3>\n\u003ch5>(Evander Music)\u003c/h5>\n\u003cp>A collective ensemble featuring saxophonist Phillip Greenlief, bassist Dan Seamans and drummer Tom Hassett, the Lost Trio has never strayed far from the knotty, endlessly engaging compositions of Thelonious Monk. My favorite tracks on this all-Monk session feature three-song medleys that create a revelatory inter-Monk dialogue, as when the insistently repetitive blues “Misterioso” segues into the sublime ballad “Ask Me Now.” The absence of a piano, Monk’s primary instrument, gives the music a transparent quality, offering an X-Ray view into Monk’s rhythmic and harmonic architecture. (Read KQED review \u003ca href=\"http://ww2.kqed.org/news/2015/03/29/two-bay-area-jazz-groups-make-monk-their-muse-on-new-releases\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.)\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11155380\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/MyraMelford-400x360.jpg\" alt=\"Myra Melford - 'Snowy Egret'\" width=\"400\" height=\"360\" class=\"size-thumbnail wp-image-11155380\">\u003cfigcaption class=\"wp-caption-text\">Myra Melford – ‘Snowy Egret’\u003c/figcaption>\u003c/figure>\n\u003ch3>Myra Melford – \u003cem>Snowy Egret\u003c/em>\u003c/h3>\n\u003ch5>(Enja)\u003c/h5>\n\u003cp>A pianist and composer with a gift for creating exploratory ensembles and wondrous musical galaxies, Melford is one of jazz’s most consistently enthralling artists. Her quintet Snowy Egret with cornetist Ron Miles, guitarist Liberty Ellman, bass guitarist Stomu Takeishi, and drummer extraordinaire Tyshawn Sorey brings coiled emotion, wit and boundless generosity to this set of roiling, elastically beatific compositions inspired by Eduardo Galeano’s \u003cem>Memory of Fire\u003c/em> trilogy.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11155378\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/KimNalley-400x400.jpg\" alt=\"Kim Nalley - 'Blues People'\" width=\"400\" height=\"400\" class=\"size-thumbnail wp-image-11155378\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/KimNalley.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/KimNalley-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/KimNalley-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/KimNalley-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/KimNalley-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/KimNalley-75x75.jpg 75w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Kim Nalley – ‘Blues People’\u003c/figcaption>\u003c/figure>\n\u003ch3>Kim Nalley – \u003cem>Blues People\u003c/em>\u003c/h3>\n\u003ch5>(Kim Nalley Jazz Productions)\u003c/h5>\n\u003cp>More than any of her previous albums, \u003cem>Blues People\u003c/em> reveals the full range of Nalley’s musical vision — and it’s no coincidence that the title echoes the seminal 1963 book of cultural criticism by LeRoi Jones. From her incisive originals and defiant reinvention of the Gershwins’ “Summertime” to her celebration of bawdy humor on “The Chair Song (If I Can’t Sell It)” and her gospel-steeped version of “Movin’ On Up” (the theme to 1970s sitcom \u003cem>The Jeffersons\u003c/em>), Nalley builds a seamless African-American aesthetic encompassing the sacred and profane, the spiritual and the sensual, high art and popular culture. Like the best parties, this album is a furious argument, a grinding slow dance, and a raging good time. (Read KQED review \u003ca href=\"http://ww2.kqed.org/news/2015/09/13/kim-nalley-brings-the-blues-home-with-new-cd-blues-people\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.)\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11155381\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/RobReich-400x356.jpg\" alt=\"Rob Reich - 'Shadowbox'\" width=\"400\" height=\"356\" class=\"size-thumbnail wp-image-11155381\">\u003cfigcaption class=\"wp-caption-text\">Rob Reich – ‘Shadowbox’\u003c/figcaption>\u003c/figure>\n\u003ch3>Rob Reich – \u003cem>Shadowbox\u003c/em>\u003c/h3>\n\u003ch5>(BAG Productions)\u003c/h5>\n\u003cp>Musicians playing Reich’s music seem to find themselves, or at least reveal aspects of their sound not always evident in other settings. Equally eloquent on the piano and accordion, Reich creates soundscapes brimming with half-buried feelings and memories just out of reach, and \u003cem>Shadowbox\u003c/em> contains his own particular alchemy of folk, jazz, and classical currents. With the subway rumble of Ben Goldberg’s contra alto clarinet, Todd Sickafoose’s elastic bass lines, Eric Garland’s subtle but assertive cymbal touch and guitarist Ila Cantor’s levitating guitar lines, the opening track “Night Heron” embodies much of what makes Reich’s music tantalizing and evocative. (Read KQED review \u003ca href=\"http://ww2.kqed.org/news/2015/06/27/two-new-albums-are-latest-blooms-from-sfs-red-poppy-art-house\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.)\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11155383\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/MaryStallings-400x400.jpg\" alt=\"Mary Stallings - 'Feelin' Good'\" width=\"400\" height=\"400\" class=\"size-thumbnail wp-image-11155383\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/MaryStallings.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/MaryStallings-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/MaryStallings-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/MaryStallings-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/MaryStallings-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/MaryStallings-75x75.jpg 75w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Mary Stallings – ‘Feelin’ Good’\u003c/figcaption>\u003c/figure>\n\u003ch3>Mary Stallings – \u003cem>Feelin’ Good\u003c/em>\u003c/h3>\n\u003ch5>(High Note)\u003c/h5>\n\u003cp>Stallings is the rightful queen of Bay Area jazz vocals, but she’s always been reluctant royalty — which is why she’s been “rediscovered” at least three times since she started recording in 1961. Working with a top-shelf cast of New York players led by veteran pianist/arranger Bruce Barth, she delivers a consistently smart set that pays tribute to four key bandleaders who championed her talent over the years: Cal Tjader, Dizzy Gillespie, Billy Eckstine and Count Basie. Her blues-tinged, dry-martini sound hasn’t lost any of its pleasing bite, and album highlights include two Neal Hefti gems (“Li’l Darling” and “Girl Talk”) and Mongo Santamaria’s “Afro Blue,” featuring her original lyrics.\n\u003c/p>\u003c/div>\n\u003cp>\u003cstrong>Alternate Takes\u003c/strong>\u003cbr>\n\u003cem>Other noteworthy local jazz releases from 2015\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>The Bad Plus and Joshua Redman\u003c/strong> – \u003cem>The Bad Plus Joshua Redman\u003c/em> (Nonesuch)\u003c/p>\n\u003cp>\u003cstrong>Bryan Bowman\u003c/strong> – \u003ci>Like Minds\u003c/i> (Bryan Bowman Music)\u003c/p>\n\u003cp>\u003cstrong>Electric Squeezebox Orchestra\u003c/strong> – \u003cem>Cheap Rent\u003c/em> (OA2 Records)\u003c/p>\n\u003cp>\u003cstrong>Zakir Hussain\u003c/strong> – \u003cem>Distant Kin\u003c/em> (Moment Records)\u003c/p>\n\u003cp>\u003cstrong>Karen Marguth\u003c/strong> – \u003cem>Just You, Just Me\u003c/em> (Way Fae Music)\u003c/p>\n\u003cp>\u003cstrong>Ochs-Robinson Duo\u003c/strong> – \u003cem>The Throne\u003c/em> (Not Two)\u003c/p>\n\u003cp>\u003cstrong>Fred Randoph\u003c/strong> – \u003cem>Song Without Singing\u003c/em> (Creative Spirit Records)\u003c/p>\n\u003cp>\u003cstrong>John Schott\u003c/strong> – \u003cem>Actual Trio\u003c/em> (Tzadik)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>The VNote Ensemble\u003c/strong> – \u003cem>Urbano\u003c/em> (The VNote Ensemble)\u003cbr>\n\u003cstrong>\u003cbr>\nWayne Wallace Latin Jazz Quintet\u003c/strong> – \u003cem>Intercambio\u003c/em> (Patois Records)\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11147327/the-top-10-bay-area-jazz-releases-of-2015",
"authors": [
"86"
],
"categories": [
"arts_69"
],
"tags": [
"arts_1118",
"arts_1006",
"arts_596",
"arts_769"
],
"featImg": "arts_11158341",
"label": "arts"
},
"news_10780713": {
"type": "posts",
"id": "news_10780713",
"meta": {
"index": "posts_1716263798",
"site": "news",
"id": "10780713",
"score": null,
"sort": [
1450015207000
]
},
"parent": 0,
"labelTerm": {
"site": "news",
"term": 72
},
"blocks": [],
"publishDate": 1450015207,
"format": "standard",
"disqusTitle": "Zakir Hussain's 'Distant Kin' Brings Together Indian, Celtic Traditions",
"title": "Zakir Hussain's 'Distant Kin' Brings Together Indian, Celtic Traditions",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>Zakir Hussain belongs to one of Northern India’s most distinguished musical dynasties, and ever since he landed in the Bay Area in the early 1970s he’s sought out opportunities to collaborate with musicians far afield from the Hindustani classical tradition in which he was raised.\u003c/p>\n\u003cp>At first glance the swirling jigs and reels and sumptuous ballads of traditional Celtic music might seem like a particularly long stretch for Hussain. But the United Kingdom and India are tied together by a great deal of history, a colonial legacy on which the sun has yet to set. Consider: Hussain’s father, tabla legend Alla Rakha, spent the first three decades of his life as a British subject, and Great Britain’s centuries-long rule of the subcontinent led to countless informal East-meets-West musical encounters.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/237171024\" 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>That history is one of several paths that led Hussain, the world’s foremost tabla virtuoso, to his latest cross-cultural exploration, \"Distant Kin\" (Moment Records). It’s a nine-piece project that brings together a new generation of classically trained Indian masters with a prodigious cast of players from across the Celtic world.\u003c/p>\n\u003cp>“This does go back a couple of hundred years,” Hussain told me in an interview earlier this year. “Indian musicians were drafted into the British army’s marching bands, and pipers and big bass drums were a lot like the shehnai and Punjabi dhol. I grew up hearing processions and wedding bands with the pipes and a bodhrán-like frame drum played in a procession. Those sounds stuck with me.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/12/DistantKin.jpg\" alt='The \"Distant Kin\" album cover' width=\"1500\" height=\"1355\" class=\"alignright size-full wp-image-10791011\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/12/DistantKin.jpg 1500w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/DistantKin-400x361.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/DistantKin-800x723.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/DistantKin-768x694.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/DistantKin-1440x1301.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/DistantKin-1180x1066.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/DistantKin-960x867.jpg 960w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003c/p>\n\u003cp>When he’s not playing classical recitals or writing film scores, Hussain has dedicated himself to building musical bridges. The longtime Marin resident was a founding member of the seminal Indo-jazz ensemble Shakti. He’s collaborated widely with Yo-Yo Ma, and he earned the first Grammy Award for a world music album with Grateful Dead drummer Mickey Hart’s \"Planet Drum.\"\u003c/p>\n\u003cp>The Indo-Celtic concept first got a test drive a few years ago when a Glasgow festival invited Hussain to participate in a concert series called Celtic Connections. He expanded the framework for this project\u003cem>, \u003c/em>which was recorded last spring in San Francisco at the SFJAZZ Center (where Hussain is in the midst of a stint as a resident artistic director). The concert concluded a North American tour, and the music feels utterly organic and lived in. Hussain often borrows the Celtic habit of weaving tunes together as medleys, seamlessly moving from one tradition to another, like on the sinuously swaying “Trinkamp/Tajir.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=zHFro4tRy3g\u003c/p>\n\u003cp>Part of what makes the album so consistently enthralling is that Hussain constructed the ensemble by twinning instruments to highlight the way the traditions draw on similar tonalities. His tablas work in tandem with John Joe Kelly’s Irish frame drum bodhrán. \u003c/p>\n\u003cp>Scottish fiddlers Charlie McKerron and Patsy Reid (who co-founded the acclaimed band Breabach) trade lines with Indian violinist Ganesh Rajagopalan. And on “Michael’s Matches/Rakesh’s Bansuri” Brittany’s Jean-Michel Veillon, a wooden flute player, is paired with bamboo flute Rakesh Chaurasia (yes, he’s the nephew and disciple of his legendary uncle, Hariprasad Chaurasia).\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=c-fUxP_Bezc\u003c/p>\n\u003cp>Dublin guitarist Tony Byrne, a rhythmic dynamo, deserves a fair amount of credit for the way the ensemble locks together so effectively. In an interview earlier this year he told me that he grew up listening to Shakti and reveres the group’s guitarist, jazz great John McLaughlin.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>McLaughlin’s dedication to classical Indian music was another path that led to \"Distant Kin,\" as Hussain decided he wanted to reciprocate his friend’s passion by collaborating with traditional Scottish players (the ancestry of the Yorkshire-born McLaughlin). While this music flows from a history of colonial rule, \"Distant Kin\" embodies a far more powerful dynamic, as these musicians find a common language without sacrificing a bit of their identity.\u003c/p>\n\n",
"disqusIdentifier": "10780713 http://ww2.kqed.org/news/?p=10780713",
"disqusUrl": "https://ww2.kqed.org/news/2015/12/13/zakir-hussains-distant-kin-brings-together-indian-celtic-traditions/",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 727,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 14
},
"modified": 1449883715,
"excerpt": "Nine-piece project brings together new generation of classically trained Indian masters with prodigious cast of players from across the Celtic world.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Nine-piece project brings together new generation of classically trained Indian masters with prodigious cast of players from across the Celtic world.",
"title": "Zakir Hussain's 'Distant Kin' Brings Together Indian, Celtic Traditions | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "NewsArticle",
"headline": "Zakir Hussain's 'Distant Kin' Brings Together Indian, Celtic Traditions",
"datePublished": "2015-12-13T06:00:07-08:00",
"dateModified": "2015-12-11T17:28:35-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png",
"isAccessibleForFree": "True",
"publisher": {
"@type": "NewsMediaOrganization",
"@id": "https://www.kqed.org/#organization",
"name": "KQED",
"logo": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png",
"url": "https://www.kqed.org",
"sameAs": [
"https://www.facebook.com/KQED",
"https://twitter.com/KQED",
"https://www.instagram.com/kqed/",
"https://www.tiktok.com/@kqedofficial",
"https://www.linkedin.com/company/kqed",
"https://www.youtube.com/channel/UCeC0IOo7i1P_61zVUWbJ4nw"
]
}
}
},
"guestAuthors": [],
"slug": "zakir-hussains-distant-kin-brings-together-indian-celtic-traditions",
"status": "publish",
"path": "/news/10780713/zakir-hussains-distant-kin-brings-together-indian-celtic-traditions",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Zakir Hussain belongs to one of Northern India’s most distinguished musical dynasties, and ever since he landed in the Bay Area in the early 1970s he’s sought out opportunities to collaborate with musicians far afield from the Hindustani classical tradition in which he was raised.\u003c/p>\n\u003cp>At first glance the swirling jigs and reels and sumptuous ballads of traditional Celtic music might seem like a particularly long stretch for Hussain. But the United Kingdom and India are tied together by a great deal of history, a colonial legacy on which the sun has yet to set. Consider: Hussain’s father, tabla legend Alla Rakha, spent the first three decades of his life as a British subject, and Great Britain’s centuries-long rule of the subcontinent led to countless informal East-meets-West musical encounters.\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/237171024&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/237171024'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>That history is one of several paths that led Hussain, the world’s foremost tabla virtuoso, to his latest cross-cultural exploration, \"Distant Kin\" (Moment Records). It’s a nine-piece project that brings together a new generation of classically trained Indian masters with a prodigious cast of players from across the Celtic world.\u003c/p>\n\u003cp>“This does go back a couple of hundred years,” Hussain told me in an interview earlier this year. “Indian musicians were drafted into the British army’s marching bands, and pipers and big bass drums were a lot like the shehnai and Punjabi dhol. I grew up hearing processions and wedding bands with the pipes and a bodhrán-like frame drum played in a procession. Those sounds stuck with me.”\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>\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/12/DistantKin.jpg\" alt='The \"Distant Kin\" album cover' width=\"1500\" height=\"1355\" class=\"alignright size-full wp-image-10791011\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/12/DistantKin.jpg 1500w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/DistantKin-400x361.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/DistantKin-800x723.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/DistantKin-768x694.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/DistantKin-1440x1301.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/DistantKin-1180x1066.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/DistantKin-960x867.jpg 960w\" sizes=\"(max-width: 1500px) 100vw, 1500px\">\u003c/p>\n\u003cp>When he’s not playing classical recitals or writing film scores, Hussain has dedicated himself to building musical bridges. The longtime Marin resident was a founding member of the seminal Indo-jazz ensemble Shakti. He’s collaborated widely with Yo-Yo Ma, and he earned the first Grammy Award for a world music album with Grateful Dead drummer Mickey Hart’s \"Planet Drum.\"\u003c/p>\n\u003cp>The Indo-Celtic concept first got a test drive a few years ago when a Glasgow festival invited Hussain to participate in a concert series called Celtic Connections. He expanded the framework for this project\u003cem>, \u003c/em>which was recorded last spring in San Francisco at the SFJAZZ Center (where Hussain is in the midst of a stint as a resident artistic director). The concert concluded a North American tour, and the music feels utterly organic and lived in. Hussain often borrows the Celtic habit of weaving tunes together as medleys, seamlessly moving from one tradition to another, like on the sinuously swaying “Trinkamp/Tajir.”\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/zHFro4tRy3g'\n title='//www.youtube.com/embed/zHFro4tRy3g'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Part of what makes the album so consistently enthralling is that Hussain constructed the ensemble by twinning instruments to highlight the way the traditions draw on similar tonalities. His tablas work in tandem with John Joe Kelly’s Irish frame drum bodhrán. \u003c/p>\n\u003cp>Scottish fiddlers Charlie McKerron and Patsy Reid (who co-founded the acclaimed band Breabach) trade lines with Indian violinist Ganesh Rajagopalan. And on “Michael’s Matches/Rakesh’s Bansuri” Brittany’s Jean-Michel Veillon, a wooden flute player, is paired with bamboo flute Rakesh Chaurasia (yes, he’s the nephew and disciple of his legendary uncle, Hariprasad Chaurasia).\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/c-fUxP_Bezc'\n title='//www.youtube.com/embed/c-fUxP_Bezc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Dublin guitarist Tony Byrne, a rhythmic dynamo, deserves a fair amount of credit for the way the ensemble locks together so effectively. In an interview earlier this year he told me that he grew up listening to Shakti and reveres the group’s guitarist, jazz great John McLaughlin.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>McLaughlin’s dedication to classical Indian music was another path that led to \"Distant Kin,\" as Hussain decided he wanted to reciprocate his friend’s passion by collaborating with traditional Scottish players (the ancestry of the Yorkshire-born McLaughlin). While this music flows from a history of colonial rule, \"Distant Kin\" embodies a far more powerful dynamic, as these musicians find a common language without sacrificing a bit of their identity.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/news/10780713/zakir-hussains-distant-kin-brings-together-indian-celtic-traditions",
"authors": [
"86"
],
"programs": [
"news_72"
],
"categories": [
"news_223"
],
"tags": [
"news_18436",
"news_1425",
"news_17051",
"news_17286"
],
"featImg": "news_10791013",
"label": "news_72"
},
"arts_11155955": {
"type": "posts",
"id": "arts_11155955",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11155955",
"score": null,
"sort": [
1449936056000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1449936056,
"format": "standard",
"title": "Heavenly Bodies: How Electronic Music Transgressed Gender And Genre In 2015",
"headTitle": "Heavenly Bodies: How Electronic Music Transgressed Gender And Genre In 2015 | KQED",
"content": "\u003cp>It’s odd to have a body. Limbs, joints, cartilage, veins, nerves, cells—the looming presence of such inescapable parts can make for confounding states of existential estrangement. Move on to other parts that signify conventions of gender and the notion can be enough to turn a mind inside-out.\u003c/p>\n\u003cp>Electronic music in 2015 seemed to strive toward such scrambled states. Certain strains of it, anyway: Far from the arena-rattling idols of EDM, a cast of progressive experimentalists turned to matters of gender as a subject ripe for survey in both danceable and non-danceable electronic milieus. In a genre that has long privileged elusiveness and anonymity—think of the archetypal faceless DJ with seven confusing aliases spinning in a darkened club—the question of identity came in for new and imaginatively expansive focus.\u003c/p>\n\u003cp>Signs of gender morphing and moving through unprecedented stages of understanding and acceptance have been evident all throughout the culture, from the pop-scale heights of Caitlyn Jenner, Laverne Cox and the TV series \u003cem>Transparent\u003c/em> to \u003ca href=\"http://www.nytimes.com/2015/12/03/insider/mx-did-the-times-adopt-a-new-transgender-courtesy-title.html\">articles in major newspapers contemplating the use of Mx.\u003c/a> as a gender-neutral honorific in place of Mr. or Ms. Even if the language lags, recognition of grey areas between too-tidy notions of binary black and white has been on the rise, to be sure.\u003c/p>\n\u003cp>The dynamic in electronic music draws in part from movements established in art, fashion, and other realms with which music in general has begun to blur. To make music that aspires toward progressivism now is also to direct videos, dabble in design, and negotiate options for the presentation of different personae across all kinds of media. In the present era, a musician of a certain age (read: young) is rarely just a musician in the end.\u003c/p>\n\u003cfigure id=\"attachment_11155957\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/arca_2-photocredit_arca01self_sq-fb36438a830360842d7308338431a2cf3bab3c37-600x600.jpg\" alt=\"Arca.\" width=\"600\" height=\"600\" class=\"size-medium wp-image-11155957\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/arca_2-photocredit_arca01self_sq-fb36438a830360842d7308338431a2cf3bab3c37-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/arca_2-photocredit_arca01self_sq-fb36438a830360842d7308338431a2cf3bab3c37-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/arca_2-photocredit_arca01self_sq-fb36438a830360842d7308338431a2cf3bab3c37-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/arca_2-photocredit_arca01self_sq-fb36438a830360842d7308338431a2cf3bab3c37-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/arca_2-photocredit_arca01self_sq-fb36438a830360842d7308338431a2cf3bab3c37-1920x1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/arca_2-photocredit_arca01self_sq-fb36438a830360842d7308338431a2cf3bab3c37-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/arca_2-photocredit_arca01self_sq-fb36438a830360842d7308338431a2cf3bab3c37-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/arca_2-photocredit_arca01self_sq-fb36438a830360842d7308338431a2cf3bab3c37-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/arca_2-photocredit_arca01self_sq-fb36438a830360842d7308338431a2cf3bab3c37-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/arca_2-photocredit_arca01self_sq-fb36438a830360842d7308338431a2cf3bab3c37-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/arca_2-photocredit_arca01self_sq-fb36438a830360842d7308338431a2cf3bab3c37-75x75.jpg 75w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Arca. \u003ccite>(Courtesy the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Of most note in terms of reach, Arca—the artist and producer who collaborated with Björk on her stirring album \u003cem>Vulnicura\u003c/em>—stretched and contorted matters of the flesh this year to intriguing extremes. Following his 2014 debut album \u003cem>Xen\u003c/em> (named after an alter-ego addressed with feminine pronouns but said to be neither female nor male), Arca hit bigger with \u003cem>Mutant\u003c/em>, a bracing album full of crashing, creaking rhythms and all manner of noise and aural corrosion fitted between. Certain songs came accompanied with videos in which bodies are contemplated from a vantage that could be the result of liberated lust or eerie leering—or, most likely, both. The effect in any case is spellbinding, with Arca himself presented as a sort of mutating abstract wraith \u003ca href=\"https://www.youtube.com/watch?v=Wtn7mNNqvqA\">writhing in yellow thigh-high boots\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?time_continue=261&v=0SYMoTBYT04\">shimmering strangely underwater in stockings\u003c/a> with a garter-belt in place.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Sexuality is central to the aesthetic but in a more than typically revealing and signal-scrambling way. Talking about his approach to sound and seemingly much else, Arca said, in an interview with Philip Sherburne at \u003cem>Pitchfork\u003c/em>, “You become more animalistic when you don’t know what’s coming next—you have to be on guard, but at the same time you’re also more receptive. Something I keep coming back to is the tension between two extremes: healing and chaos, hope and anxiety—these big themes are inside us, flickering, all day.”\u003c/p>\n\u003cp>On the subject of his sexuality, he continued: “For me, it’s not about living my life as a boy or a girl—but I’m also not trans—it’s just that one day you wake up feeling masculine, and one day you wake up feeling feminine. The flickering in between those two states is what’s most fertile for me.\u003c/p>\n\u003cp>The flickering projects internally as well as externally, he said: “It yields ways for me to relate to people that are different from myself and opportunities for me to turn shame into something healing. It’s very human to try to put things into boxes, and it’s hard for us to reconcile with grey areas, and yet somehow that’s the area I find the most poetic, the juiciest.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=mYEyHb8x6AY\u003c/p>\n\u003cp>Many of Arca’s revelations, he has said, owe to experiences at GHE20G0TH1K, a storied dance party and proudly freaky fashion confab started in New York and traveled around the globe. In 2015, the party was paid tribute with a big event in its honor as part of the Red Bull Music Academy, with antic, epochally style-smashing DJ sets by Venus X, Mike Q, and Total Freedom. The sounds were very circa now—a manic and spastic collision of house music, hip-hop, freestyle, and frenetic breakbeat miscellany. The fashion, both directly and indirectly, was inspired by Hood By Air, a \u003ca href=\"https://www.hoodbyair.com/\">vaunted designer enterprise\u003c/a> that treats no one gender conception as superior to any other nor seems especially interested in gender distinctions of any kind anyway. The clothes are often flowing, dysmorphic, and abstractly draped, fit for bodies of all conceivable human (and even alien) kinds. The music flits between dark, gothic moodscapes à la Arca and giddy, fizzy, high-energy styles that soundtrack dance battles in the “ballroom” scene, where the roots of the ’80s/’90s drag circuit still grow wild and free.\u003c/p>\n\u003cp>Another breakout from that world this year is Juliana Huxtable, whose boundary-crossing forays from the DJ booth and the performance stage to the white walls of museums and galleries made her a force in the art world. At the New Museum Triennial in New York, a survey of young and emerging artists from all over, Huxtable was represented twice: with an installation of work of her own, including otherworldly self-portraits and poetry, and as the subject of a life-size 3-D sculpture by another artist, Frank Benson, of her naked body sprawled across a pedestal in a pose that invites gawking while freezing a gaze dead in its tracks. At an exhibition in which matters of identity took on crucial importance, the image of a transgender model splayed out for all to see proved emblematic: proud, defiant, steely, shy, shifty in its play with notions of surface and unseeable inner-workings.\u003c/p>\n\u003cp>In an interview in the exhibition catalog, Huxtable said, “I used to feel a bit powerless, and it was actually through playing with my body as an image file that could be manipulated, distorted, rendered, decorated, and placed in new contexts that I came to accept and feel at home in my body as it is currently, but also to imagine how it might move into the future.”\u003c/p>\n\u003cfigure id=\"attachment_11155958\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/juliana-huxtable-by-frank-benson-1_benoit-pailley_7558_wide-f2b8b018bd8b733c22e0a1e9cb6774e3f87cf06a-800x450.jpg\" alt=\"Frank Benson, 'Juliana,' 2015.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-11155958\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/juliana-huxtable-by-frank-benson-1_benoit-pailley_7558_wide-f2b8b018bd8b733c22e0a1e9cb6774e3f87cf06a-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/juliana-huxtable-by-frank-benson-1_benoit-pailley_7558_wide-f2b8b018bd8b733c22e0a1e9cb6774e3f87cf06a-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/juliana-huxtable-by-frank-benson-1_benoit-pailley_7558_wide-f2b8b018bd8b733c22e0a1e9cb6774e3f87cf06a-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/juliana-huxtable-by-frank-benson-1_benoit-pailley_7558_wide-f2b8b018bd8b733c22e0a1e9cb6774e3f87cf06a-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/juliana-huxtable-by-frank-benson-1_benoit-pailley_7558_wide-f2b8b018bd8b733c22e0a1e9cb6774e3f87cf06a-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/juliana-huxtable-by-frank-benson-1_benoit-pailley_7558_wide-f2b8b018bd8b733c22e0a1e9cb6774e3f87cf06a-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Frank Benson, ‘Juliana,’ 2015. \u003ccite>(Benoit Pailley/Courtesy of the artist )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The nightlife and party/pageant scene around electronic music was formative for Huxtable as well as numerous other artists in the show, including Ashland Mines, who DJs prolifically (and stylistically promiscuously) as Total Freedom. To Lauren Cornell, co-curator of the Triennial (alongside the mind-warping, gender-bending artist Ryan Trecartin), the “disorienting, experimental” nature of so much contemporary electronic music proved significant in more than just musical terms. “A lot of the young artists that we worked with carry over a feeling of the club as a transgressive space in their art,” she told me.\u003c/p>\n\u003cp>The legacy of the club as a space suited for regeneration and reinvention goes back to disco and follows through countless movements rooted in the politics of gender, sexuality, race, and identity markers of all kinds. ANOHNI, the newly minted moniker for the artist formerly known as Antony of Antony & the Johnsons, made a gesture decidedly in that direction with the release of \u003ca href=\"https://www.youtube.com/watch?v=Fi0q0O4V5Qs\" target=\"_blank\" rel=\"noopener\">“4 Degrees,”\u003c/a> a dramatic, fractious post-club track made with electronic-music-makers Hudson Mohawke and Oneohtrix Point Never. It was the first taste of a forthcoming album-length collaboration between the three, and the first full-scale public use of what ANOHNI called a “spirit name” more in line with her transgender identification.\u003c/p>\n\u003cp>The same spirit wandered out into certain strains of (more than usually) electronically inclined hip-hop as practiced by Mykki Blanco, whose 2015 label compilation \u003cem>C-ORE\u003c/em> features her \u003ca href=\"https://www.youtube.com/watch?v=_RCritSjK-I\" target=\"_blank\" rel=\"noopener\">sassily rapping\u003c/a> about her haters—”they don’t want to see a man in a dress”—before serving up a nice zigzag line of allegiance: “I’m a big boy, like Serena.” Le1f, an enigmatic rapper who rises up and down among collaborators like House of LaDosha on his striking album \u003cem>Riot Boi\u003c/em>, plays games in an intro track titled \u003ca href=\"https://www.youtube.com/watch?v=KPSjmbhAB1g\" target=\"_blank\" rel=\"noopener\">“Hi.”\u003c/a> “Check my whole aura winking at you,” he raps, while mulling both unity and individuality: “International youth gang, we liberal / But I’ma do me is all I can do.”\u003c/p>\n\u003cp>The darker and noisier realms of electronic music came laced with queer politics this year by way of Rabit and Lotic, both of whom offered up gritty, grotty-sounding releases on the au courant label Tri Angle. In an interview with \u003cem>The Quietus\u003c/em>, Rabit, the creator of the album \u003cem>Communion\u003c/em>, said, “I found the idea of masculine and feminine energy…interesting and so my production is often a way of feeling around that. Nothing was ever made with the thought process of ‘I’m gonna sit down now and make a song about being queer’ or in some hyper-masculine mold. Gender perceptions are very divisive and can stifle progression.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=uoJOQyIHEYE\u003c/p>\n\u003cp>He sees now reason for sounds themselves to be gendered, either: “It’s definitely a stereotype that if you do some kind of angelic melody it’s seen as feminine and if you do something that’s abrasive and industrial, it’s described as super masculine. I like to play with that, though, and I think somebody like Lotic is a good example of messing with that too, because he can make very abrasive sounds and place them alongside completely opposite sounds that people traditionally term as feminine.” On the title track of his own EP \u003cem>Heterocetera\u003c/em>, the likeminded Lotic made a powerful move by working with “The Ha Dance” by Masters at Work, a vintage anthem from the voguing ballroom scene, and \u003ca href=\"https://www.youtube.com/watch?v=Z0aKhBqjCi0\" target=\"_blank\" rel=\"noopener\">twisting it into something warped\u003c/a> of his own peculiar making.\u003c/p>\n\u003cp>Among the most peculiar of all electronic releases this year was \u003cem>American Drift\u003c/em> by Elysia Crampton, an artist with roots in Bolivia, Mexico, California, and rural Virginia. All figure into the dense and cryptic mythology at play in an album that mixes drifting synths with lashing laser sounds, rumbling drums, \u003ca href=\"https://www.youtube.com/watch?v=NDudnJFgras\" target=\"_blank\" rel=\"noopener\">snarling crunk samples\u003c/a>, and spoken word that binds the personal with the geographical. The impressionistic swirl of it all is singular, to be sure, but Crampton shares allegiances with much else in her milieu. She works closely with Juliana Huxtable—she made the music for a recent performance of Huxtable’s at the estimable Museum of Modern Art—and she professes adulation of Total Freedom/Ashland Mines, who she sees as an envoy for so much going on in club culture now.\u003c/p>\n\u003cfigure id=\"attachment_11155959\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/elysia-crampton-1_sq-677c9a31650c2dc6d64cd5d792c1e1a634ec40f7-600x600.jpe\" alt=\"Elysia Crampton\" width=\"600\" height=\"600\" class=\"size-medium wp-image-11155959\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/elysia-crampton-1_sq-677c9a31650c2dc6d64cd5d792c1e1a634ec40f7-600x600.jpe 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/elysia-crampton-1_sq-677c9a31650c2dc6d64cd5d792c1e1a634ec40f7-400x400.jpe 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/elysia-crampton-1_sq-677c9a31650c2dc6d64cd5d792c1e1a634ec40f7-768x768.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/elysia-crampton-1_sq-677c9a31650c2dc6d64cd5d792c1e1a634ec40f7-1180x1180.jpe 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/elysia-crampton-1_sq-677c9a31650c2dc6d64cd5d792c1e1a634ec40f7-960x960.jpe 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/elysia-crampton-1_sq-677c9a31650c2dc6d64cd5d792c1e1a634ec40f7-32x32.jpe 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/elysia-crampton-1_sq-677c9a31650c2dc6d64cd5d792c1e1a634ec40f7-64x64.jpe 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/elysia-crampton-1_sq-677c9a31650c2dc6d64cd5d792c1e1a634ec40f7-96x96.jpe 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/elysia-crampton-1_sq-677c9a31650c2dc6d64cd5d792c1e1a634ec40f7-128x128.jpe 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/elysia-crampton-1_sq-677c9a31650c2dc6d64cd5d792c1e1a634ec40f7-75x75.jpe 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/elysia-crampton-1_sq-677c9a31650c2dc6d64cd5d792c1e1a634ec40f7.jpe 1800w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Elysia Crampton. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For Crampton, matters related to her transgender identity are mystical as much as material. “I can’t confront and explore my own trans-ness without touching on a bigger trans-ness: trans-humanity, trans-thing, trans-subject, trans-etc.,” she told me. “It’s a kind of education. Terms float as taglines and become embedded. But it’s neat how algorithms push you together with other artists too.”\u003c/p>\n\u003cp>Music, for her, allows and even creates space in which different states of being and becoming can be as accepted as any other. “In this language, a person can’t come to be because the language is so binary,” Crampton said. “Or maybe they can but it makes it that much harder. In music, you make a dimensional space where certain identities and certain ideas can be born and perhaps thrive. Music has always been that for me. When it plays, you can feel your chemistry changing. If it’s something you really like, it’s like gene methylation—you can feel a genetic change.”\u003c/p>\n\u003cp>The motion and progress implied in music of whatever kind—electronic music especially—makes a good analog for transition as she conceives of it too.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“Trans is becoming. Trans is the difference between the universe being frozen and the universe moving forward,” she said. “Do we still have the ability to imagine alternate futures for ourselves? Or have we all just become apocalyptic?” \u003c/p>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 2150,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 23
},
"modified": 1705045707,
"excerpt": "This year, a cast of progressive experimentalists, such as Arca, Juliana Huxtable and Elysia Crampton, among others, tackled matters of identity with an imaginative and expansive focus.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "This year, a cast of progressive experimentalists, such as Arca, Juliana Huxtable and Elysia Crampton, among others, tackled matters of identity with an imaginative and expansive focus.",
"title": "Heavenly Bodies: How Electronic Music Transgressed Gender And Genre In 2015 | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Heavenly Bodies: How Electronic Music Transgressed Gender And Genre In 2015",
"datePublished": "2015-12-12T08:00:56-08:00",
"dateModified": "2024-01-11T23:48:27-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "heavenly-bodies-how-electronic-music-transgressed-gender-and-genre-in-2015",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=459252324&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Andy Battaglia",
"nprStoryDate": "Fri, 11 Dec 2015 07:34:00 -0500",
"nprLastModifiedDate": "Fri, 11 Dec 2015 08:10:52 -0500",
"sticky": false,
"nprHtmlLink": "http://www.npr.org/sections/therecord/2015/12/11/459252324/heavenly-bodies?ft=nprml&f=459252324",
"nprImageAgency": "Courtesy of the artist",
"nprImageCredit": "Benoit Pailley",
"nprStoryId": "459252324",
"nprRetrievedStory": "1",
"nprPubDate": "Fri, 11 Dec 2015 08:10:00 -0500",
"path": "/arts/11155955/heavenly-bodies-how-electronic-music-transgressed-gender-and-genre-in-2015",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s odd to have a body. Limbs, joints, cartilage, veins, nerves, cells—the looming presence of such inescapable parts can make for confounding states of existential estrangement. Move on to other parts that signify conventions of gender and the notion can be enough to turn a mind inside-out.\u003c/p>\n\u003cp>Electronic music in 2015 seemed to strive toward such scrambled states. Certain strains of it, anyway: Far from the arena-rattling idols of EDM, a cast of progressive experimentalists turned to matters of gender as a subject ripe for survey in both danceable and non-danceable electronic milieus. In a genre that has long privileged elusiveness and anonymity—think of the archetypal faceless DJ with seven confusing aliases spinning in a darkened club—the question of identity came in for new and imaginatively expansive focus.\u003c/p>\n\u003cp>Signs of gender morphing and moving through unprecedented stages of understanding and acceptance have been evident all throughout the culture, from the pop-scale heights of Caitlyn Jenner, Laverne Cox and the TV series \u003cem>Transparent\u003c/em> to \u003ca href=\"http://www.nytimes.com/2015/12/03/insider/mx-did-the-times-adopt-a-new-transgender-courtesy-title.html\">articles in major newspapers contemplating the use of Mx.\u003c/a> as a gender-neutral honorific in place of Mr. or Ms. Even if the language lags, recognition of grey areas between too-tidy notions of binary black and white has been on the rise, to be sure.\u003c/p>\n\u003cp>The dynamic in electronic music draws in part from movements established in art, fashion, and other realms with which music in general has begun to blur. To make music that aspires toward progressivism now is also to direct videos, dabble in design, and negotiate options for the presentation of different personae across all kinds of media. In the present era, a musician of a certain age (read: young) is rarely just a musician in the end.\u003c/p>\n\u003cfigure id=\"attachment_11155957\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/arca_2-photocredit_arca01self_sq-fb36438a830360842d7308338431a2cf3bab3c37-600x600.jpg\" alt=\"Arca.\" width=\"600\" height=\"600\" class=\"size-medium wp-image-11155957\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/arca_2-photocredit_arca01self_sq-fb36438a830360842d7308338431a2cf3bab3c37-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/arca_2-photocredit_arca01self_sq-fb36438a830360842d7308338431a2cf3bab3c37-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/arca_2-photocredit_arca01self_sq-fb36438a830360842d7308338431a2cf3bab3c37-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/arca_2-photocredit_arca01self_sq-fb36438a830360842d7308338431a2cf3bab3c37-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/arca_2-photocredit_arca01self_sq-fb36438a830360842d7308338431a2cf3bab3c37-1920x1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/arca_2-photocredit_arca01self_sq-fb36438a830360842d7308338431a2cf3bab3c37-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/arca_2-photocredit_arca01self_sq-fb36438a830360842d7308338431a2cf3bab3c37-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/arca_2-photocredit_arca01self_sq-fb36438a830360842d7308338431a2cf3bab3c37-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/arca_2-photocredit_arca01self_sq-fb36438a830360842d7308338431a2cf3bab3c37-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/arca_2-photocredit_arca01self_sq-fb36438a830360842d7308338431a2cf3bab3c37-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/arca_2-photocredit_arca01self_sq-fb36438a830360842d7308338431a2cf3bab3c37-75x75.jpg 75w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Arca. \u003ccite>(Courtesy the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Of most note in terms of reach, Arca—the artist and producer who collaborated with Björk on her stirring album \u003cem>Vulnicura\u003c/em>—stretched and contorted matters of the flesh this year to intriguing extremes. Following his 2014 debut album \u003cem>Xen\u003c/em> (named after an alter-ego addressed with feminine pronouns but said to be neither female nor male), Arca hit bigger with \u003cem>Mutant\u003c/em>, a bracing album full of crashing, creaking rhythms and all manner of noise and aural corrosion fitted between. Certain songs came accompanied with videos in which bodies are contemplated from a vantage that could be the result of liberated lust or eerie leering—or, most likely, both. The effect in any case is spellbinding, with Arca himself presented as a sort of mutating abstract wraith \u003ca href=\"https://www.youtube.com/watch?v=Wtn7mNNqvqA\">writhing in yellow thigh-high boots\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?time_continue=261&v=0SYMoTBYT04\">shimmering strangely underwater in stockings\u003c/a> with a garter-belt in place.\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>Sexuality is central to the aesthetic but in a more than typically revealing and signal-scrambling way. Talking about his approach to sound and seemingly much else, Arca said, in an interview with Philip Sherburne at \u003cem>Pitchfork\u003c/em>, “You become more animalistic when you don’t know what’s coming next—you have to be on guard, but at the same time you’re also more receptive. Something I keep coming back to is the tension between two extremes: healing and chaos, hope and anxiety—these big themes are inside us, flickering, all day.”\u003c/p>\n\u003cp>On the subject of his sexuality, he continued: “For me, it’s not about living my life as a boy or a girl—but I’m also not trans—it’s just that one day you wake up feeling masculine, and one day you wake up feeling feminine. The flickering in between those two states is what’s most fertile for me.\u003c/p>\n\u003cp>The flickering projects internally as well as externally, he said: “It yields ways for me to relate to people that are different from myself and opportunities for me to turn shame into something healing. It’s very human to try to put things into boxes, and it’s hard for us to reconcile with grey areas, and yet somehow that’s the area I find the most poetic, the juiciest.”\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/mYEyHb8x6AY'\n title='//www.youtube.com/embed/mYEyHb8x6AY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Many of Arca’s revelations, he has said, owe to experiences at GHE20G0TH1K, a storied dance party and proudly freaky fashion confab started in New York and traveled around the globe. In 2015, the party was paid tribute with a big event in its honor as part of the Red Bull Music Academy, with antic, epochally style-smashing DJ sets by Venus X, Mike Q, and Total Freedom. The sounds were very circa now—a manic and spastic collision of house music, hip-hop, freestyle, and frenetic breakbeat miscellany. The fashion, both directly and indirectly, was inspired by Hood By Air, a \u003ca href=\"https://www.hoodbyair.com/\">vaunted designer enterprise\u003c/a> that treats no one gender conception as superior to any other nor seems especially interested in gender distinctions of any kind anyway. The clothes are often flowing, dysmorphic, and abstractly draped, fit for bodies of all conceivable human (and even alien) kinds. The music flits between dark, gothic moodscapes à la Arca and giddy, fizzy, high-energy styles that soundtrack dance battles in the “ballroom” scene, where the roots of the ’80s/’90s drag circuit still grow wild and free.\u003c/p>\n\u003cp>Another breakout from that world this year is Juliana Huxtable, whose boundary-crossing forays from the DJ booth and the performance stage to the white walls of museums and galleries made her a force in the art world. At the New Museum Triennial in New York, a survey of young and emerging artists from all over, Huxtable was represented twice: with an installation of work of her own, including otherworldly self-portraits and poetry, and as the subject of a life-size 3-D sculpture by another artist, Frank Benson, of her naked body sprawled across a pedestal in a pose that invites gawking while freezing a gaze dead in its tracks. At an exhibition in which matters of identity took on crucial importance, the image of a transgender model splayed out for all to see proved emblematic: proud, defiant, steely, shy, shifty in its play with notions of surface and unseeable inner-workings.\u003c/p>\n\u003cp>In an interview in the exhibition catalog, Huxtable said, “I used to feel a bit powerless, and it was actually through playing with my body as an image file that could be manipulated, distorted, rendered, decorated, and placed in new contexts that I came to accept and feel at home in my body as it is currently, but also to imagine how it might move into the future.”\u003c/p>\n\u003cfigure id=\"attachment_11155958\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/juliana-huxtable-by-frank-benson-1_benoit-pailley_7558_wide-f2b8b018bd8b733c22e0a1e9cb6774e3f87cf06a-800x450.jpg\" alt=\"Frank Benson, 'Juliana,' 2015.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-11155958\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/juliana-huxtable-by-frank-benson-1_benoit-pailley_7558_wide-f2b8b018bd8b733c22e0a1e9cb6774e3f87cf06a-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/juliana-huxtable-by-frank-benson-1_benoit-pailley_7558_wide-f2b8b018bd8b733c22e0a1e9cb6774e3f87cf06a-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/juliana-huxtable-by-frank-benson-1_benoit-pailley_7558_wide-f2b8b018bd8b733c22e0a1e9cb6774e3f87cf06a-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/juliana-huxtable-by-frank-benson-1_benoit-pailley_7558_wide-f2b8b018bd8b733c22e0a1e9cb6774e3f87cf06a-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/juliana-huxtable-by-frank-benson-1_benoit-pailley_7558_wide-f2b8b018bd8b733c22e0a1e9cb6774e3f87cf06a-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/juliana-huxtable-by-frank-benson-1_benoit-pailley_7558_wide-f2b8b018bd8b733c22e0a1e9cb6774e3f87cf06a-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Frank Benson, ‘Juliana,’ 2015. \u003ccite>(Benoit Pailley/Courtesy of the artist )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The nightlife and party/pageant scene around electronic music was formative for Huxtable as well as numerous other artists in the show, including Ashland Mines, who DJs prolifically (and stylistically promiscuously) as Total Freedom. To Lauren Cornell, co-curator of the Triennial (alongside the mind-warping, gender-bending artist Ryan Trecartin), the “disorienting, experimental” nature of so much contemporary electronic music proved significant in more than just musical terms. “A lot of the young artists that we worked with carry over a feeling of the club as a transgressive space in their art,” she told me.\u003c/p>\n\u003cp>The legacy of the club as a space suited for regeneration and reinvention goes back to disco and follows through countless movements rooted in the politics of gender, sexuality, race, and identity markers of all kinds. ANOHNI, the newly minted moniker for the artist formerly known as Antony of Antony & the Johnsons, made a gesture decidedly in that direction with the release of \u003ca href=\"https://www.youtube.com/watch?v=Fi0q0O4V5Qs\" target=\"_blank\" rel=\"noopener\">“4 Degrees,”\u003c/a> a dramatic, fractious post-club track made with electronic-music-makers Hudson Mohawke and Oneohtrix Point Never. It was the first taste of a forthcoming album-length collaboration between the three, and the first full-scale public use of what ANOHNI called a “spirit name” more in line with her transgender identification.\u003c/p>\n\u003cp>The same spirit wandered out into certain strains of (more than usually) electronically inclined hip-hop as practiced by Mykki Blanco, whose 2015 label compilation \u003cem>C-ORE\u003c/em> features her \u003ca href=\"https://www.youtube.com/watch?v=_RCritSjK-I\" target=\"_blank\" rel=\"noopener\">sassily rapping\u003c/a> about her haters—”they don’t want to see a man in a dress”—before serving up a nice zigzag line of allegiance: “I’m a big boy, like Serena.” Le1f, an enigmatic rapper who rises up and down among collaborators like House of LaDosha on his striking album \u003cem>Riot Boi\u003c/em>, plays games in an intro track titled \u003ca href=\"https://www.youtube.com/watch?v=KPSjmbhAB1g\" target=\"_blank\" rel=\"noopener\">“Hi.”\u003c/a> “Check my whole aura winking at you,” he raps, while mulling both unity and individuality: “International youth gang, we liberal / But I’ma do me is all I can do.”\u003c/p>\n\u003cp>The darker and noisier realms of electronic music came laced with queer politics this year by way of Rabit and Lotic, both of whom offered up gritty, grotty-sounding releases on the au courant label Tri Angle. In an interview with \u003cem>The Quietus\u003c/em>, Rabit, the creator of the album \u003cem>Communion\u003c/em>, said, “I found the idea of masculine and feminine energy…interesting and so my production is often a way of feeling around that. Nothing was ever made with the thought process of ‘I’m gonna sit down now and make a song about being queer’ or in some hyper-masculine mold. Gender perceptions are very divisive and can stifle progression.\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/uoJOQyIHEYE'\n title='//www.youtube.com/embed/uoJOQyIHEYE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>He sees now reason for sounds themselves to be gendered, either: “It’s definitely a stereotype that if you do some kind of angelic melody it’s seen as feminine and if you do something that’s abrasive and industrial, it’s described as super masculine. I like to play with that, though, and I think somebody like Lotic is a good example of messing with that too, because he can make very abrasive sounds and place them alongside completely opposite sounds that people traditionally term as feminine.” On the title track of his own EP \u003cem>Heterocetera\u003c/em>, the likeminded Lotic made a powerful move by working with “The Ha Dance” by Masters at Work, a vintage anthem from the voguing ballroom scene, and \u003ca href=\"https://www.youtube.com/watch?v=Z0aKhBqjCi0\" target=\"_blank\" rel=\"noopener\">twisting it into something warped\u003c/a> of his own peculiar making.\u003c/p>\n\u003cp>Among the most peculiar of all electronic releases this year was \u003cem>American Drift\u003c/em> by Elysia Crampton, an artist with roots in Bolivia, Mexico, California, and rural Virginia. All figure into the dense and cryptic mythology at play in an album that mixes drifting synths with lashing laser sounds, rumbling drums, \u003ca href=\"https://www.youtube.com/watch?v=NDudnJFgras\" target=\"_blank\" rel=\"noopener\">snarling crunk samples\u003c/a>, and spoken word that binds the personal with the geographical. The impressionistic swirl of it all is singular, to be sure, but Crampton shares allegiances with much else in her milieu. She works closely with Juliana Huxtable—she made the music for a recent performance of Huxtable’s at the estimable Museum of Modern Art—and she professes adulation of Total Freedom/Ashland Mines, who she sees as an envoy for so much going on in club culture now.\u003c/p>\n\u003cfigure id=\"attachment_11155959\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/elysia-crampton-1_sq-677c9a31650c2dc6d64cd5d792c1e1a634ec40f7-600x600.jpe\" alt=\"Elysia Crampton\" width=\"600\" height=\"600\" class=\"size-medium wp-image-11155959\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/elysia-crampton-1_sq-677c9a31650c2dc6d64cd5d792c1e1a634ec40f7-600x600.jpe 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/elysia-crampton-1_sq-677c9a31650c2dc6d64cd5d792c1e1a634ec40f7-400x400.jpe 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/elysia-crampton-1_sq-677c9a31650c2dc6d64cd5d792c1e1a634ec40f7-768x768.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/elysia-crampton-1_sq-677c9a31650c2dc6d64cd5d792c1e1a634ec40f7-1180x1180.jpe 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/elysia-crampton-1_sq-677c9a31650c2dc6d64cd5d792c1e1a634ec40f7-960x960.jpe 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/elysia-crampton-1_sq-677c9a31650c2dc6d64cd5d792c1e1a634ec40f7-32x32.jpe 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/elysia-crampton-1_sq-677c9a31650c2dc6d64cd5d792c1e1a634ec40f7-64x64.jpe 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/elysia-crampton-1_sq-677c9a31650c2dc6d64cd5d792c1e1a634ec40f7-96x96.jpe 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/elysia-crampton-1_sq-677c9a31650c2dc6d64cd5d792c1e1a634ec40f7-128x128.jpe 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/elysia-crampton-1_sq-677c9a31650c2dc6d64cd5d792c1e1a634ec40f7-75x75.jpe 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/elysia-crampton-1_sq-677c9a31650c2dc6d64cd5d792c1e1a634ec40f7.jpe 1800w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Elysia Crampton. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For Crampton, matters related to her transgender identity are mystical as much as material. “I can’t confront and explore my own trans-ness without touching on a bigger trans-ness: trans-humanity, trans-thing, trans-subject, trans-etc.,” she told me. “It’s a kind of education. Terms float as taglines and become embedded. But it’s neat how algorithms push you together with other artists too.”\u003c/p>\n\u003cp>Music, for her, allows and even creates space in which different states of being and becoming can be as accepted as any other. “In this language, a person can’t come to be because the language is so binary,” Crampton said. “Or maybe they can but it makes it that much harder. In music, you make a dimensional space where certain identities and certain ideas can be born and perhaps thrive. Music has always been that for me. When it plays, you can feel your chemistry changing. If it’s something you really like, it’s like gene methylation—you can feel a genetic change.”\u003c/p>\n\u003cp>The motion and progress implied in music of whatever kind—electronic music especially—makes a good analog for transition as she conceives of it too.\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>“Trans is becoming. Trans is the difference between the universe being frozen and the universe moving forward,” she said. “Do we still have the ability to imagine alternate futures for ourselves? Or have we all just become apocalyptic?” \u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11155955/heavenly-bodies-how-electronic-music-transgressed-gender-and-genre-in-2015",
"authors": [
"byline_arts_11155955"
],
"categories": [
"arts_69"
],
"tags": [
"arts_1118",
"arts_596"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_11155961",
"label": "arts_137"
},
"arts_11152194": {
"type": "posts",
"id": "arts_11152194",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11152194",
"score": null,
"sort": [
1449790479000
]
},
"guestAuthors": [],
"slug": "diana-gameros-sings-the-immigrants-love-and-loss",
"title": "Diana Gameros Sings the Immigrant's Love and Loss",
"publishDate": 1449790479,
"format": "video",
"headTitle": "Diana Gameros Sings the Immigrant’s Love and Loss | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>For Mexican-born singer-songwriter \u003ca href=\"http://dianagameros.com\" target=\"_blank\" rel=\"noopener\">Diana Gameros\u003c/a>, music has always been a deeply personal endeavor, acting as both a lifeline and a retreat from the world’s complications. Her soulful, emotionally-charged music, recorded on her debut album \u003cem>\u003ca href=\"https://dianagameros.bandcamp.com\" target=\"_blank\" rel=\"noopener\">Eterno Retorno\u003c/a>\u003c/em>, tells a journey of love, loss, and hope, rooted in her own coming-of-age story as an undocumented immigrant in America. “Music for me has always been an outlet,” Gameros tells KQED Arts, “a way to be on my own and be okay.”\u003c/p>\n\u003cp>Born in Ciudad Juárez, Gameros spent most of her childhood in the border city, where over the last decade, the forces of globalization, cartel violence and government corruption have turned it into one most dangerous places on the planet. The realities of her birth city – where Gameros’ family still lives – inspire many of her songs, including her powerful, gut-wrenching “En Juarez,” captured by KQED Arts’ cameras at a recent performance at \u003ca href=\"http://maclaarte.org\" target=\"_blank\" rel=\"noopener\">MACLA \u003c/a>in San Jose.\u003c/p>\n\u003cp>But Gameros’ American story has an innocence, involving a Michigan boy she fell in love with and wide-eyed dreams of becoming a professional musician. “That gave me all the drive to do whatever I had to do to be here,” says Gameros, who moved to Michigan and studied music for four years at Grand Rapids Community College.\u003c/p>\n\u003cp>When Gameros came to the Bay Area in 2008, she gave herself one month to land a steady gig, and found a weekend stage at Roosevelt Tamale Parlor on 24th Street in San Francisco’s Mission district. (The restaurant closed this week after being a fixture in the neighborhood for nearly a century.) For years, to help pay the rent, Gameros sang Mexican ballads and other Latin classics for diners, all the while finding and developing her own voice wherever she could, whether at the \u003ca href=\"http://redpoppyarthouse.org\" target=\"_blank\" rel=\"noopener\">Red Poppy Art House\u003c/a>, the annual \u003ca href=\"http://www.mappsf.com\" target=\"_blank\" rel=\"noopener\">Mission Arts Performance Project\u003c/a> festival, or on street corners.\u003c/p>\n\u003cp>Today, the Berkeley-based Gameros has become a go-to opening act for Latin superstars with tour dates in the Bay Area, including Brazilian bossa nova singer Bebel Gilberto, Mexican pop singer Ximena Sariñana and Los Angeles-based La Santa Cecilia band. And Gameros’ exposure is only growing, having collaborated with an eclectic list of Bay Area musical institutions, including the Awesöme Orchestra Collective, the Oakland East Bay Symphony, Magik*Magik Orchestra, and the Chamber Music Society of San Francisco. She’s currently working on her second album, produced by Mexican pop star and three-time Latin Grammy Award-winner Natalia Lafourcade.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Gameros, now 33, credits her growing success to an “I’ve-got-nothing-to-lose” attitude, nonstop performing (she’s rarely said no to a gig), and a deep gratitude for the opportunities she’s found in the U.S., despite a challenging 13-year-struggle for legal immigration status. For years, Gameros has been unable to travel freely and visit family in Mexico, lest she risk never being able to return to the U.S. Last year, she at last received an immigration visa, putting her on the path to American citizenship.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Despite the hardships, Gameros says she wouldn’t have had it any other way. “It has allowed me to be more honest with my music, and to connect to others more deeply,” she says. “As people connect to my music, I feel a responsibility to keep writing songs that mean something.”\u003c/p>\n\n",
"blocks": [],
"excerpt": "Born in Ciudad Juárez, Diana Gameros has gone from singing on Bay Area street corners and tamale parlors to opening for some of the biggest names in Latin music.",
"status": "publish",
"parent": 0,
"modified": 1726788300,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 9,
"wordCount": 600
},
"headData": {
"title": "Diana Gameros Sings the Immigrant's Love and Loss | KQED",
"description": "Born in Ciudad Juárez, Diana Gameros has gone from singing on Bay Area street corners and tamale parlors to opening for some of the biggest names in Latin music.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Diana Gameros Sings the Immigrant's Love and Loss",
"datePublished": "2015-12-10T15:34:39-08:00",
"dateModified": "2024-09-19T16:25:00-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"videoEmbed": "https://www.youtube.com/watch?v=kyura13YMLg",
"sticky": false,
"path": "/arts/11152194/diana-gameros-sings-the-immigrants-love-and-loss",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For Mexican-born singer-songwriter \u003ca href=\"http://dianagameros.com\" target=\"_blank\" rel=\"noopener\">Diana Gameros\u003c/a>, music has always been a deeply personal endeavor, acting as both a lifeline and a retreat from the world’s complications. Her soulful, emotionally-charged music, recorded on her debut album \u003cem>\u003ca href=\"https://dianagameros.bandcamp.com\" target=\"_blank\" rel=\"noopener\">Eterno Retorno\u003c/a>\u003c/em>, tells a journey of love, loss, and hope, rooted in her own coming-of-age story as an undocumented immigrant in America. “Music for me has always been an outlet,” Gameros tells KQED Arts, “a way to be on my own and be okay.”\u003c/p>\n\u003cp>Born in Ciudad Juárez, Gameros spent most of her childhood in the border city, where over the last decade, the forces of globalization, cartel violence and government corruption have turned it into one most dangerous places on the planet. The realities of her birth city – where Gameros’ family still lives – inspire many of her songs, including her powerful, gut-wrenching “En Juarez,” captured by KQED Arts’ cameras at a recent performance at \u003ca href=\"http://maclaarte.org\" target=\"_blank\" rel=\"noopener\">MACLA \u003c/a>in San Jose.\u003c/p>\n\u003cp>But Gameros’ American story has an innocence, involving a Michigan boy she fell in love with and wide-eyed dreams of becoming a professional musician. “That gave me all the drive to do whatever I had to do to be here,” says Gameros, who moved to Michigan and studied music for four years at Grand Rapids Community College.\u003c/p>\n\u003cp>When Gameros came to the Bay Area in 2008, she gave herself one month to land a steady gig, and found a weekend stage at Roosevelt Tamale Parlor on 24th Street in San Francisco’s Mission district. (The restaurant closed this week after being a fixture in the neighborhood for nearly a century.) For years, to help pay the rent, Gameros sang Mexican ballads and other Latin classics for diners, all the while finding and developing her own voice wherever she could, whether at the \u003ca href=\"http://redpoppyarthouse.org\" target=\"_blank\" rel=\"noopener\">Red Poppy Art House\u003c/a>, the annual \u003ca href=\"http://www.mappsf.com\" target=\"_blank\" rel=\"noopener\">Mission Arts Performance Project\u003c/a> festival, or on street corners.\u003c/p>\n\u003cp>Today, the Berkeley-based Gameros has become a go-to opening act for Latin superstars with tour dates in the Bay Area, including Brazilian bossa nova singer Bebel Gilberto, Mexican pop singer Ximena Sariñana and Los Angeles-based La Santa Cecilia band. And Gameros’ exposure is only growing, having collaborated with an eclectic list of Bay Area musical institutions, including the Awesöme Orchestra Collective, the Oakland East Bay Symphony, Magik*Magik Orchestra, and the Chamber Music Society of San Francisco. She’s currently working on her second album, produced by Mexican pop star and three-time Latin Grammy Award-winner Natalia Lafourcade.\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>Gameros, now 33, credits her growing success to an “I’ve-got-nothing-to-lose” attitude, nonstop performing (she’s rarely said no to a gig), and a deep gratitude for the opportunities she’s found in the U.S., despite a challenging 13-year-struggle for legal immigration status. For years, Gameros has been unable to travel freely and visit family in Mexico, lest she risk never being able to return to the U.S. Last year, she at last received an immigration visa, putting her on the path to American citizenship.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Despite the hardships, Gameros says she wouldn’t have had it any other way. “It has allowed me to be more honest with my music, and to connect to others more deeply,” she says. “As people connect to my music, I feel a responsibility to keep writing songs that mean something.”\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11152194/diana-gameros-sings-the-immigrants-love-and-loss",
"authors": [
"3248"
],
"categories": [
"arts_69"
],
"tags": [
"arts_1118",
"arts_596",
"arts_1007"
],
"featImg": "arts_11152436",
"label": "arts"
},
"arts_11150584": {
"type": "posts",
"id": "arts_11150584",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11150584",
"score": null,
"sort": [
1449777657000
]
},
"guestAuthors": [],
"slug": "hidden-teasures-the-indie-guide-to-holiday-shopping-in-san-jose",
"title": "Hidden Treasures: The Indie Guide to Holiday Shopping in San Jose",
"publishDate": 1449777657,
"format": "standard",
"headTitle": "Hidden Treasures: The Indie Guide to Holiday Shopping in San Jose | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>Though everyone starts out with thoughtful gift ideas for our friends and loved ones, a lot of the times our plans don’t work out and we end up picking up last-minute finds, like gift cards from the rack near the cashier at the grocery store. This guide is for those who find themselves often in San Jose, wanting to make the most of their budget and time while also getting unique holiday gifts worthy of the people receiving them. The added benefit is that you’ll also get to know some of San Jose’s best independent retailers — those welcoming spaces that we incorporate into a network that fosters individuality and help us South Bay residents love living here a little more than we already do.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px.png\" alt=\"Art_Nerd-HolidayGuide-2015-300px\" width=\"300\" height=\"300\" class=\"alignright size-full wp-image-11126413\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px.png 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-32x32.png 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-64x64.png 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-96x96.png 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-128x128.png 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-75x75.png 75w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/p>\n\u003cp>The shops highlighted below have been chosen for their unique offerings, affordability and value for the products or services they sell, as well as their proximity to other cool destinations — most are within walking distance of each other — because what money spent in San Jose stays here (mostly) and supports our hyper-local creative community. (Studies have consistently shown that independent retailers return more than three times as much money per dollar of sales than big box/chain stores; \u003ca href=\"http://www.amiba.net/resources/multiplier-effect/\" target=\"_blank\" rel=\"noopener\">current results\u003c/a> show $45 vs. $14 per $100 spent.)\u003c/p>\n\u003cfigure id=\"attachment_11150717\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/DSCF0234-800x533.jpg\" alt=\"KALEID Gallery in downtown San Jose\" width=\"800\" height=\"533\" class=\"size-medium wp-image-11150717\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSCF0234-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSCF0234-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSCF0234-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSCF0234.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">KALEID Gallery in downtown San Jose \u003ccite>(Photo: Cherri Lakey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Downtown San Jose\u003c/h3>\n\u003cp>It may not be the bustling retail center you’d expect to find in most major cities, but that can be an advantage when it comes to the challenges of holiday shopping. Parking isn’t so bad, the shops are calm and the staff (often the owners themselves) are attentive and helpful. After your shopping is done, you can visit \u003ca href=\"http://christmasinthepark.com/\" target=\"_blank\" rel=\"noopener\">Christmas in the Park\u003c/a> for some replenishing of holiday cheer.\u003c/p>\n\u003cp>\u003ca href=\"http://www.kaleidgallery.com/\" target=\"_blank\" rel=\"noopener\">\u003cstrong>KALEID Gallery\u003c/strong>\u003c/a>\u003cbr>\n88 So. 4th St.\u003cbr>\nKALEID Gallery is a good place to start for one of a kind gifts created by incredibly talented artists. In addition to 90 resident artists peppered throughout the large space, the gallery is currently hosting its annual “HARK!” holiday show & sale, which consists of hundreds of affordable art works. Paintings dominate the walls from every genre imaginable but there’s also eye-catching jewelry, ceramics and glass, as well as small, functional items like ornaments and buttons.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Close by:\u003c/strong>\u003cbr>\n\u003ca href=\"http://circlea.com/\" target=\"_blank\" rel=\"noopener\">Circle A Skate\u003c/a> has everything needed for a new skateboard as well as clothing & shoes to go with it. \u003ca href=\"http://www.techshop.ws/ts_sanjose.html\" target=\"_blank\" rel=\"noopener\">TechShop SJ\u003c/a> offers memberships and gift cards for the chronic do-it-yourselfer. And classes at \u003ca href=\"https://touchstoneclimbing.com/the-studio/\" target=\"_blank\" rel=\"noopener\">The Studio Rock Climbing Gym \u003c/a> or \u003ca href=\"http://downtownyogashala.com/\" target=\"_blank\" rel=\"noopener\">Downtown Yoga Shala\u003c/a> will be meaningful to those that are health and fitness conscious. Finally, if you plan to visit on a weekend, stop by \u003ca href=\"http://www.sanpedrosquaremarket.com/\" target=\"_blank\" rel=\"noopener\">San Pedro Square Market\u003c/a> for the \u003ca href=\"http://www.sanjosemade.com/\" target=\"_blank\" rel=\"noopener\">SJMade\u003c/a> holiday pop-up event featuring a dozen local vendors tabling their wares.\u003c/p>\n\u003cfigure id=\"attachment_11150588\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/DSCF0352-800x520.jpg\" alt=\"Art Boutiki on the Alameda\" width=\"800\" height=\"520\" class=\"size-medium wp-image-11150588\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSCF0352-800x520.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSCF0352-400x260.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSCF0352-960x624.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSCF0352.jpg 1108w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Art Boutiki on the Alameda \u003ccite>(Photo: Cherri Lakey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>The Alameda\u003c/h3>\n\u003cp>Not that long ago The Alameda was a quiet stretch of retailers and restaurants mainly serving the neighborhoods to its north and south. With the arrival of Whole Foods Market last year, it’s become a busy destination driving more attention and foot traffic to the area which is a great boost to some very deserving spots in the area.\u003c/p>\n\u003cp>\u003ca href=\"http://www.artboutiki.com/\" target=\"_blank\" rel=\"noopener\">\u003cstrong>Art Boutiki & Gallery\u003c/strong>\u003c/a>\u003cbr>\n44 Race St.\u003cbr>\nArt Boutiki is an unusual hybrid space with a comic book store in the front and live music venue in the back. Although it’s not a huge inventory of comics, it is a rigorously curated selection and easy to wade through (must haves like \u003cem>Johnny the Homicidal Maniac\u003c/em> by Jhonen Vasquez & \u003cem>Sandman\u003c/em> by Neil Gaiman are featured prominently.) The big gift idea here though is their digital direct-to-garment printing: imagine your face or latest drawing on t-shirts specially made just for your family or your closest friends. And these t-shirts, though affordable, aren’t chintzy — the full-color print will last the life of the tee.\u003c/p>\n\u003cp>\u003cstrong>Close by:\u003c/strong>\u003cbr>\n\u003ca href=\"//www.thearsenalsj.com/\" target=\"_blank\" rel=\"noopener\">The Arsenal\u003c/a> Art Store carries all the essential drawing, painting and spray painting materials needed for the budding or serious artist. \u003ca href=\"http://www.recyclebookstore.com\" target=\"_blank\" rel=\"noopener\">Recycle Books\u003c/a> is here with their headquarters location and has all their rare and hard to find inventory at this location. \u003ca href=\"http://shopblackandbrown.com\" target=\"_blank\" rel=\"noopener\">Black & Brown Clothing\u003c/a> should be your last quick stop before leaving the area. A used clothing store, Black & Brown carries both vintage and contemporary wear for all genders, all in gently-worn condition, while also providing a great selection of shoes, belts and handbags.\u003c/p>\n\u003cfigure id=\"attachment_11150589\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/DSCF0401_2-800x519.jpg\" alt=\"Zonkey Toys in Japantown\" width=\"800\" height=\"519\" class=\"size-medium wp-image-11150589\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSCF0401_2-800x519.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSCF0401_2-400x259.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSCF0401_2-960x623.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSCF0401_2.jpg 1110w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Zonkey Toys in Japantown \u003ccite>(Photo: Cherri Lakey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Japantown\u003c/h3>\n\u003cp>Japantown is the destination for authentic Japanese culture past and present. Shops providing kimonos, bonsai and ukuleles exist in perfect harmony with edgy art galleries, tattoo parlors and streetwear clothing stores.\u003c/p>\n\u003cp>\u003ca href=\"http://zonkeytoys.com/\" target=\"_blank\" rel=\"noopener\">\u003cstrong>Zonkey Toys\u003c/strong>\u003c/a>\u003cbr>\n621 N. 6th St.\u003cbr>\nZonkey is a small storefront jam packed with limited edition collectibles. They pride themselves on their inventory and knowledge of “sofubi” toys (short for the Japanese “sofuto bineeru” meaning soft vinyl). These are labor intensive works of art and this shop aims to make sure its customers will be ahead of the next wave of the vinyl toy movement, which has gone underground (again).\u003c/p>\n\u003cp>\u003cstrong>Close by:\u003c/strong>\u003cbr>\nJust around the corner from Zonkey is \u003ca href=\"http://koguraco.com/\" target=\"_blank\" rel=\"noopener\">Kogura Company\u003c/a> purveyors of specialty gift and household items directly from Japan, including tea pots, ceramic dishes, mugs and rice cookers. Next door is \u003ca href=\"http://cukui.com/\" target=\"_blank\" rel=\"noopener\">Cukui\u003c/a>, a gallery/clothing store sporting custom graphics inspired by a mashup of Chicano and South Pacific Islander cultures, as well as graffiti influences. And a few paces down is \u003ca href=\"http://www.petitegalleria.com\" target=\"_blank\" rel=\"noopener\">Petite Galleria\u003c/a> with hundreds of beautiful artisanal products, from clever earrings to elaborate, limited-edition art pieces.\u003c/p>\n\u003cfigure id=\"attachment_11150590\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/DSCF0158-800x579.jpg\" alt=\"Whatnots and Dodads in Willow Glen\" width=\"800\" height=\"579\" class=\"size-medium wp-image-11150590\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSCF0158-800x579.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSCF0158-400x290.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSCF0158-960x695.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSCF0158.jpg 994w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Whatnots and Dodads in Willow Glen \u003ccite>(Photo: Cherri Lakey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Willow Glen\u003c/h3>\n\u003cp>Sundays are a great day to grab a cappuccino at the Italian coffee shop \u003ca href=\"http://dolcettocafeandmarket.com\" target=\"_blank\" rel=\"noopener\">Dolcetto Café\u003c/a> and whittle down your Christmas list on Lincoln Ave. popping in and out of a great deal of vintage, clothing and creative novelty shops.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/WhatnotsandDodads/\" target=\"_blank\" rel=\"noopener\">\u003cstrong>Whatnots & Dodads \u003c/strong>\u003c/a>\u003cbr>\n1330 Lincoln Ave.\u003cbr>\nWhatnots & Dodads will instantly put you in the Christmas spirit with their elaborate holiday trees decked out in antique ornaments and lights. They have 23 vendor niches focusing on well-vetted items including, but not limited to: figurines, classic cameras, western memorabilia, beautiful scarves and jewelry.\u003c/p>\n\u003cp>\u003cstrong>Close by:\u003c/strong>\u003cbr>\nOther vintage stores include the quirky \u003ca href=\"http://www.parkplacevintage.com/\" target=\"_blank\" rel=\"noopener\">Park Place Vintage\u003c/a> and the quaint \u003ca href=\"http://www.threesisterswillowglen.com/\" target=\"_blank\" rel=\"noopener\">Three Sisters\u003c/a>, which also carries excellent local honey. And you’ll find great bargains at the \u003ca href=\"http://www.thriftbox.org/\" target=\"_blank\" rel=\"noopener\">Thrift Box\u003c/a> which benefits the Lucille Packard Children’s Hospital. Stop into \u003ca href=\"https://www.facebook.com/UNDERGROUNDwg/\" target=\"_blank\" rel=\"noopener\">Underground Clothing\u003c/a> for chic clothing for men & women. It’s also worth mentioning that \u003ca href=\"http://www.goodkarmabikes.org/\" target=\"_blank\" rel=\"noopener\">Good Karma Bikes\u003c/a> has moved into the area — just a few blocks north on Lincoln Ave. They sell hundreds of “rehabilitated” bicycles, and all proceeds from sales go towards programs for foster kids and disadvantaged youth. They also grant bikes to low income residents.\u003c/p>\n\u003cfigure id=\"attachment_11150591\" class=\"wp-caption aligncenter\" style=\"max-width: 480px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/DSCF0325.jpg\" alt=\"On the Corner Music in Campbell\" width=\"480\" height=\"720\" class=\"size-full wp-image-11150591\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSCF0325.jpg 480w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSCF0325-400x600.jpg 400w\" sizes=\"(max-width: 480px) 100vw, 480px\">\u003cfigcaption class=\"wp-caption-text\">On the Corner Music in Campbell \u003ccite>(Photo: Cherri Lakey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Campbell\u003c/h3>\n\u003cp>For a bit of “Hometown, USA” nostalgia, main street Campbell is just the place to stroll if you don’t know exactly what you’re looking for but hope you’ll find that perfect something.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/pages/On-The-Corner-Music/117238371673344\" target=\"_blank\" rel=\"noopener\">\u003cstrong>On the Corner Music \u003c/strong>\u003c/a>\u003cbr>\n530 E. Campbell Ave.\u003cbr>\nAt On the Corner Music, they know that great music stands the test of time, and that there’s nothing better than listening to it on vinyl. They have thousands of albums packed into well-organized bins, ranging from classic rock, alternative, and jazz, and their prices start at a mere $1. There are also two turntables so you can listen to your selections before purchasing them, to make sure your gift is as awesome as you remembered it in high school.\u003c/p>\n\u003cp>\u003cstrong>Close by:\u003c/strong>\u003cbr>\nMake your way north down the main strip and stop into \u003ca href=\"http://www.moonfyre.net/%20store\" target=\"_blank\" rel=\"noopener\">Moon Fyre Metaphysical\u003c/a> store for divine smelling oils to wear and incense to burn. \u003ca href=\"http://www.kaleidolamps.com/\" target=\"_blank\" rel=\"noopener\">Kaleido Lamps \u003c/a>is the place for far out lamps and fun night lights. And \u003ca href=\"http://www.recyclebookstore.com/\" target=\"_blank\" rel=\"noopener\">Recycle Bookstore West\u003c/a> has a huge variety of used books; this location is especially good for cookbooks and children’s books.\u003c/p>\n\u003cfigure id=\"attachment_11150718\" class=\"wp-caption aligncenter\" style=\"max-width: 507px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/8751563271_4725447457_2-507x600.jpg\" alt=\"Performances make a great gift.\" width=\"507\" height=\"600\" class=\"size-medium wp-image-11150718\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/8751563271_4725447457_2-507x600.jpg 507w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/8751563271_4725447457_2-400x474.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/8751563271_4725447457_2.jpg 517w\" sizes=\"(max-width: 507px) 100vw, 507px\">\u003cfigcaption class=\"wp-caption-text\">Performances make a great gift. \u003ccite>(Photo: Cherri Lakey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>My last suggestion for a great gift idea is the gift of a performance. It could be a professional touring musical, an avant garde dance company or an unusual performance art happening. It’s the kind of gift that many people won’t typically purchase for themselves, but will be immensely enjoyed once they get there. This works well too for recipients that live out of town (just search online for “live performance” & their location). They’ll be impressed that you took the time to find something great at their local venue that they probably didn’t even know about. Shipping is easy too since most tickets can easily be printed out at home and put into a holiday card.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>I hope you discover some new favorite shops, are reminded of some old friends, and find that perfect gift for those you care about. \u003cem>Have a wonderful holiday season!\u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "This guide is for those in who find themselves often in San Jose, wanting to make the most of their budget and time while also getting unique holiday gifts worthy of the people receiving them. ",
"status": "publish",
"parent": 0,
"modified": 1726701905,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 22,
"wordCount": 1549
},
"headData": {
"title": "Hidden Treasures: The Indie Guide to Holiday Shopping in San Jose | KQED",
"description": "This guide is for those in who find themselves often in San Jose, wanting to make the most of their budget and time while also getting unique holiday gifts worthy of the people receiving them. ",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Hidden Treasures: The Indie Guide to Holiday Shopping in San Jose",
"datePublished": "2015-12-10T12:00:57-08:00",
"dateModified": "2024-09-18T16:25:05-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"path": "/arts/11150584/hidden-teasures-the-indie-guide-to-holiday-shopping-in-san-jose",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Though everyone starts out with thoughtful gift ideas for our friends and loved ones, a lot of the times our plans don’t work out and we end up picking up last-minute finds, like gift cards from the rack near the cashier at the grocery store. This guide is for those who find themselves often in San Jose, wanting to make the most of their budget and time while also getting unique holiday gifts worthy of the people receiving them. The added benefit is that you’ll also get to know some of San Jose’s best independent retailers — those welcoming spaces that we incorporate into a network that fosters individuality and help us South Bay residents love living here a little more than we already do.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px.png\" alt=\"Art_Nerd-HolidayGuide-2015-300px\" width=\"300\" height=\"300\" class=\"alignright size-full wp-image-11126413\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px.png 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-32x32.png 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-64x64.png 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-96x96.png 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-128x128.png 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Art_Nerd-HolidayGuide-2015-300px-75x75.png 75w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/p>\n\u003cp>The shops highlighted below have been chosen for their unique offerings, affordability and value for the products or services they sell, as well as their proximity to other cool destinations — most are within walking distance of each other — because what money spent in San Jose stays here (mostly) and supports our hyper-local creative community. (Studies have consistently shown that independent retailers return more than three times as much money per dollar of sales than big box/chain stores; \u003ca href=\"http://www.amiba.net/resources/multiplier-effect/\" target=\"_blank\" rel=\"noopener\">current results\u003c/a> show $45 vs. $14 per $100 spent.)\u003c/p>\n\u003cfigure id=\"attachment_11150717\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/DSCF0234-800x533.jpg\" alt=\"KALEID Gallery in downtown San Jose\" width=\"800\" height=\"533\" class=\"size-medium wp-image-11150717\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSCF0234-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSCF0234-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSCF0234-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSCF0234.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">KALEID Gallery in downtown San Jose \u003ccite>(Photo: Cherri Lakey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Downtown San Jose\u003c/h3>\n\u003cp>It may not be the bustling retail center you’d expect to find in most major cities, but that can be an advantage when it comes to the challenges of holiday shopping. Parking isn’t so bad, the shops are calm and the staff (often the owners themselves) are attentive and helpful. After your shopping is done, you can visit \u003ca href=\"http://christmasinthepark.com/\" target=\"_blank\" rel=\"noopener\">Christmas in the Park\u003c/a> for some replenishing of holiday cheer.\u003c/p>\n\u003cp>\u003ca href=\"http://www.kaleidgallery.com/\" target=\"_blank\" rel=\"noopener\">\u003cstrong>KALEID Gallery\u003c/strong>\u003c/a>\u003cbr>\n88 So. 4th St.\u003cbr>\nKALEID Gallery is a good place to start for one of a kind gifts created by incredibly talented artists. In addition to 90 resident artists peppered throughout the large space, the gallery is currently hosting its annual “HARK!” holiday show & sale, which consists of hundreds of affordable art works. Paintings dominate the walls from every genre imaginable but there’s also eye-catching jewelry, ceramics and glass, as well as small, functional items like ornaments and buttons.\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>Close by:\u003c/strong>\u003cbr>\n\u003ca href=\"http://circlea.com/\" target=\"_blank\" rel=\"noopener\">Circle A Skate\u003c/a> has everything needed for a new skateboard as well as clothing & shoes to go with it. \u003ca href=\"http://www.techshop.ws/ts_sanjose.html\" target=\"_blank\" rel=\"noopener\">TechShop SJ\u003c/a> offers memberships and gift cards for the chronic do-it-yourselfer. And classes at \u003ca href=\"https://touchstoneclimbing.com/the-studio/\" target=\"_blank\" rel=\"noopener\">The Studio Rock Climbing Gym \u003c/a> or \u003ca href=\"http://downtownyogashala.com/\" target=\"_blank\" rel=\"noopener\">Downtown Yoga Shala\u003c/a> will be meaningful to those that are health and fitness conscious. Finally, if you plan to visit on a weekend, stop by \u003ca href=\"http://www.sanpedrosquaremarket.com/\" target=\"_blank\" rel=\"noopener\">San Pedro Square Market\u003c/a> for the \u003ca href=\"http://www.sanjosemade.com/\" target=\"_blank\" rel=\"noopener\">SJMade\u003c/a> holiday pop-up event featuring a dozen local vendors tabling their wares.\u003c/p>\n\u003cfigure id=\"attachment_11150588\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/DSCF0352-800x520.jpg\" alt=\"Art Boutiki on the Alameda\" width=\"800\" height=\"520\" class=\"size-medium wp-image-11150588\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSCF0352-800x520.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSCF0352-400x260.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSCF0352-960x624.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSCF0352.jpg 1108w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Art Boutiki on the Alameda \u003ccite>(Photo: Cherri Lakey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>The Alameda\u003c/h3>\n\u003cp>Not that long ago The Alameda was a quiet stretch of retailers and restaurants mainly serving the neighborhoods to its north and south. With the arrival of Whole Foods Market last year, it’s become a busy destination driving more attention and foot traffic to the area which is a great boost to some very deserving spots in the area.\u003c/p>\n\u003cp>\u003ca href=\"http://www.artboutiki.com/\" target=\"_blank\" rel=\"noopener\">\u003cstrong>Art Boutiki & Gallery\u003c/strong>\u003c/a>\u003cbr>\n44 Race St.\u003cbr>\nArt Boutiki is an unusual hybrid space with a comic book store in the front and live music venue in the back. Although it’s not a huge inventory of comics, it is a rigorously curated selection and easy to wade through (must haves like \u003cem>Johnny the Homicidal Maniac\u003c/em> by Jhonen Vasquez & \u003cem>Sandman\u003c/em> by Neil Gaiman are featured prominently.) The big gift idea here though is their digital direct-to-garment printing: imagine your face or latest drawing on t-shirts specially made just for your family or your closest friends. And these t-shirts, though affordable, aren’t chintzy — the full-color print will last the life of the tee.\u003c/p>\n\u003cp>\u003cstrong>Close by:\u003c/strong>\u003cbr>\n\u003ca href=\"//www.thearsenalsj.com/\" target=\"_blank\" rel=\"noopener\">The Arsenal\u003c/a> Art Store carries all the essential drawing, painting and spray painting materials needed for the budding or serious artist. \u003ca href=\"http://www.recyclebookstore.com\" target=\"_blank\" rel=\"noopener\">Recycle Books\u003c/a> is here with their headquarters location and has all their rare and hard to find inventory at this location. \u003ca href=\"http://shopblackandbrown.com\" target=\"_blank\" rel=\"noopener\">Black & Brown Clothing\u003c/a> should be your last quick stop before leaving the area. A used clothing store, Black & Brown carries both vintage and contemporary wear for all genders, all in gently-worn condition, while also providing a great selection of shoes, belts and handbags.\u003c/p>\n\u003cfigure id=\"attachment_11150589\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/DSCF0401_2-800x519.jpg\" alt=\"Zonkey Toys in Japantown\" width=\"800\" height=\"519\" class=\"size-medium wp-image-11150589\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSCF0401_2-800x519.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSCF0401_2-400x259.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSCF0401_2-960x623.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSCF0401_2.jpg 1110w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Zonkey Toys in Japantown \u003ccite>(Photo: Cherri Lakey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Japantown\u003c/h3>\n\u003cp>Japantown is the destination for authentic Japanese culture past and present. Shops providing kimonos, bonsai and ukuleles exist in perfect harmony with edgy art galleries, tattoo parlors and streetwear clothing stores.\u003c/p>\n\u003cp>\u003ca href=\"http://zonkeytoys.com/\" target=\"_blank\" rel=\"noopener\">\u003cstrong>Zonkey Toys\u003c/strong>\u003c/a>\u003cbr>\n621 N. 6th St.\u003cbr>\nZonkey is a small storefront jam packed with limited edition collectibles. They pride themselves on their inventory and knowledge of “sofubi” toys (short for the Japanese “sofuto bineeru” meaning soft vinyl). These are labor intensive works of art and this shop aims to make sure its customers will be ahead of the next wave of the vinyl toy movement, which has gone underground (again).\u003c/p>\n\u003cp>\u003cstrong>Close by:\u003c/strong>\u003cbr>\nJust around the corner from Zonkey is \u003ca href=\"http://koguraco.com/\" target=\"_blank\" rel=\"noopener\">Kogura Company\u003c/a> purveyors of specialty gift and household items directly from Japan, including tea pots, ceramic dishes, mugs and rice cookers. Next door is \u003ca href=\"http://cukui.com/\" target=\"_blank\" rel=\"noopener\">Cukui\u003c/a>, a gallery/clothing store sporting custom graphics inspired by a mashup of Chicano and South Pacific Islander cultures, as well as graffiti influences. And a few paces down is \u003ca href=\"http://www.petitegalleria.com\" target=\"_blank\" rel=\"noopener\">Petite Galleria\u003c/a> with hundreds of beautiful artisanal products, from clever earrings to elaborate, limited-edition art pieces.\u003c/p>\n\u003cfigure id=\"attachment_11150590\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/DSCF0158-800x579.jpg\" alt=\"Whatnots and Dodads in Willow Glen\" width=\"800\" height=\"579\" class=\"size-medium wp-image-11150590\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSCF0158-800x579.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSCF0158-400x290.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSCF0158-960x695.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSCF0158.jpg 994w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Whatnots and Dodads in Willow Glen \u003ccite>(Photo: Cherri Lakey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Willow Glen\u003c/h3>\n\u003cp>Sundays are a great day to grab a cappuccino at the Italian coffee shop \u003ca href=\"http://dolcettocafeandmarket.com\" target=\"_blank\" rel=\"noopener\">Dolcetto Café\u003c/a> and whittle down your Christmas list on Lincoln Ave. popping in and out of a great deal of vintage, clothing and creative novelty shops.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/WhatnotsandDodads/\" target=\"_blank\" rel=\"noopener\">\u003cstrong>Whatnots & Dodads \u003c/strong>\u003c/a>\u003cbr>\n1330 Lincoln Ave.\u003cbr>\nWhatnots & Dodads will instantly put you in the Christmas spirit with their elaborate holiday trees decked out in antique ornaments and lights. They have 23 vendor niches focusing on well-vetted items including, but not limited to: figurines, classic cameras, western memorabilia, beautiful scarves and jewelry.\u003c/p>\n\u003cp>\u003cstrong>Close by:\u003c/strong>\u003cbr>\nOther vintage stores include the quirky \u003ca href=\"http://www.parkplacevintage.com/\" target=\"_blank\" rel=\"noopener\">Park Place Vintage\u003c/a> and the quaint \u003ca href=\"http://www.threesisterswillowglen.com/\" target=\"_blank\" rel=\"noopener\">Three Sisters\u003c/a>, which also carries excellent local honey. And you’ll find great bargains at the \u003ca href=\"http://www.thriftbox.org/\" target=\"_blank\" rel=\"noopener\">Thrift Box\u003c/a> which benefits the Lucille Packard Children’s Hospital. Stop into \u003ca href=\"https://www.facebook.com/UNDERGROUNDwg/\" target=\"_blank\" rel=\"noopener\">Underground Clothing\u003c/a> for chic clothing for men & women. It’s also worth mentioning that \u003ca href=\"http://www.goodkarmabikes.org/\" target=\"_blank\" rel=\"noopener\">Good Karma Bikes\u003c/a> has moved into the area — just a few blocks north on Lincoln Ave. They sell hundreds of “rehabilitated” bicycles, and all proceeds from sales go towards programs for foster kids and disadvantaged youth. They also grant bikes to low income residents.\u003c/p>\n\u003cfigure id=\"attachment_11150591\" class=\"wp-caption aligncenter\" style=\"max-width: 480px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/DSCF0325.jpg\" alt=\"On the Corner Music in Campbell\" width=\"480\" height=\"720\" class=\"size-full wp-image-11150591\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSCF0325.jpg 480w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/DSCF0325-400x600.jpg 400w\" sizes=\"(max-width: 480px) 100vw, 480px\">\u003cfigcaption class=\"wp-caption-text\">On the Corner Music in Campbell \u003ccite>(Photo: Cherri Lakey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Campbell\u003c/h3>\n\u003cp>For a bit of “Hometown, USA” nostalgia, main street Campbell is just the place to stroll if you don’t know exactly what you’re looking for but hope you’ll find that perfect something.\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/pages/On-The-Corner-Music/117238371673344\" target=\"_blank\" rel=\"noopener\">\u003cstrong>On the Corner Music \u003c/strong>\u003c/a>\u003cbr>\n530 E. Campbell Ave.\u003cbr>\nAt On the Corner Music, they know that great music stands the test of time, and that there’s nothing better than listening to it on vinyl. They have thousands of albums packed into well-organized bins, ranging from classic rock, alternative, and jazz, and their prices start at a mere $1. There are also two turntables so you can listen to your selections before purchasing them, to make sure your gift is as awesome as you remembered it in high school.\u003c/p>\n\u003cp>\u003cstrong>Close by:\u003c/strong>\u003cbr>\nMake your way north down the main strip and stop into \u003ca href=\"http://www.moonfyre.net/%20store\" target=\"_blank\" rel=\"noopener\">Moon Fyre Metaphysical\u003c/a> store for divine smelling oils to wear and incense to burn. \u003ca href=\"http://www.kaleidolamps.com/\" target=\"_blank\" rel=\"noopener\">Kaleido Lamps \u003c/a>is the place for far out lamps and fun night lights. And \u003ca href=\"http://www.recyclebookstore.com/\" target=\"_blank\" rel=\"noopener\">Recycle Bookstore West\u003c/a> has a huge variety of used books; this location is especially good for cookbooks and children’s books.\u003c/p>\n\u003cfigure id=\"attachment_11150718\" class=\"wp-caption aligncenter\" style=\"max-width: 507px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/8751563271_4725447457_2-507x600.jpg\" alt=\"Performances make a great gift.\" width=\"507\" height=\"600\" class=\"size-medium wp-image-11150718\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/8751563271_4725447457_2-507x600.jpg 507w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/8751563271_4725447457_2-400x474.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/8751563271_4725447457_2.jpg 517w\" sizes=\"(max-width: 507px) 100vw, 507px\">\u003cfigcaption class=\"wp-caption-text\">Performances make a great gift. \u003ccite>(Photo: Cherri Lakey)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>My last suggestion for a great gift idea is the gift of a performance. It could be a professional touring musical, an avant garde dance company or an unusual performance art happening. It’s the kind of gift that many people won’t typically purchase for themselves, but will be immensely enjoyed once they get there. This works well too for recipients that live out of town (just search online for “live performance” & their location). They’ll be impressed that you took the time to find something great at their local venue that they probably didn’t even know about. Shipping is easy too since most tickets can easily be printed out at home and put into a holiday card.\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>I hope you discover some new favorite shops, are reminded of some old friends, and find that perfect gift for those you care about. \u003cem>Have a wonderful holiday season!\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11150584/hidden-teasures-the-indie-guide-to-holiday-shopping-in-san-jose",
"authors": [
"191"
],
"categories": [
"arts_1",
"arts_73",
"arts_69"
],
"tags": [
"arts_1118",
"arts_1006",
"arts_596"
],
"featImg": "arts_11150585",
"label": "arts"
},
"arts_11148712": {
"type": "posts",
"id": "arts_11148712",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11148712",
"score": null,
"sort": [
1449763233000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1449763233,
"format": "standard",
"title": "The 'Fail' of the House of Usher",
"headTitle": "The ‘Fail’ of the House of Usher | KQED",
"content": "\u003cp>San Francisco Opera ends the year with a double-bill of hour-long works based on Edgar Allan Poe’s short story \u003cem>The Fall of the House of Usher\u003c/em>: Gordon Getty’s \u003cem>Usher House\u003c/em> and a reconstruction of Claude Debussy’s \u003cem>La Chute de la Maison Usher, \u003c/em>which the French composer left unfinished\u003ci>.\u003c/i>\u003c/p>\n\u003cp>Poe’s hoary Gothic tale tells the story of a tortured brother and sister who cohabit inside a creepy castle. It involves scenes of hypochondria, catalepsy, implied incest, and a grizzly live burial. The dramatic plot might seem perfect for operatic treatment. But San Francisco Opera sadly squanders the opportunity owing to the dry music and a dull staging. When the most interesting things about a performance are the curtain call and the onstage rain, you know you’re in trouble.\u003c/p>\n\u003cp>Director David Pountney’s staging of Getty’s \u003cem>Usher House\u003c/em> looks reminiscent of the Haunted Mansion at Disneyland. Kitsch rules. It all begins with video images of a raven atop a castle. On opening night, the clichéd melodrama of the image provoked laughter from the audience. And the production continues in this spirit, cycling predictably through images of windswept trees, the sound of horses’ hooves and frequent cuts back to the raven. Despite all this visual and sonic activity, the staging feels strangely static. This impression is compounded by the fact that the performers mostly stand still while singing.\u003c/p>\n\u003cp>Getty’s music is sparse, creepy and chromatic. The texture is also generally thin, only involving at most two musical lines at a time. Getty mainly constructs his opera out of dialogue between the characters. There are very few real melodies in all this back and forth.\u003c/p>\n\u003cp>\u003cstrong>“\u003c/strong>Where Is My Lady?”\u003cb> \u003c/b>is the one \u003cem>bona fide\u003c/em> aria of Getty’s work. Sung by tenor Jason Bridges in this production, this ballad about the beauty and grace of Madeline Usher, one of the two siblings at the heart of Poe’s story\u003cb>,\u003c/b> is sweet, and Bridges makes the most of it. Oddly, Getty chooses not to include a setting of the one song that’s included in Poe’s original story — “The Haunted Palace” — which Roderick Usher, Madeline’s brother, sings accompanied by his own guitar playing.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The opera isn’t without moments of clarity. Representing Madeline on stage (singer Jacqueline Piccolino sings off stage later in the piece), dancer Jamielyn Duggan provides welcome movement to the otherwise largely inert staging. Her fluttery steps, choreographed by Jo Jeffries, provide a spark of life and movingly reflect Madeline’s frail state of health. There is also an entertaining ball scene with filmed supernumeraries playing the ghostly forebears of the Ushers. The actors bow at the end of the opera, their reappearance during curtain call providing an amusing touch.\u003c/p>\n\u003cp>There are a couple of existing versions of Debussy’s unfinished \u003cem>La Chute de la Maison Usher. \u003c/em>San Francisco Opera presents a take\u003cem> \u003c/em>completed by music scholar Robert Orledge which received its premiere in 2006. Orledge’s orchestration has none of the lushness and descriptiveness of Debussy’s only finished opera, \u003cem>Pelléas et Mélisande, \u003c/em>or indeed the rest of his music. The result is both strange and staid. It’s no surprise that Debussy, though he labored on this work for nine years, ultimately abandoned it.\u003cstrong>\u003cbr>\n\u003c/strong>\u003c/p>\n\u003cp>Unlike Getty’s opera, Debussy’s is monologue- rather than dialogue-driven, so there are more songs. Yet the music is often more declamatory than lyrical. Poutney’s staging only adds to the heavy-handed feeling, as the video projections focus on the austere architectural details of the Ushers’ home, like the columns and statues.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Fall of the House of Usher \u003c/em>comes at the end of a challenging year for San Francisco Opera. Notably, the company has gone through around a dozen casting changes. In this production, for instance, Jason Bridges and Joel Sorenson stepped in for Richard Croft, who was originally scheduled to personify Poe in the Getty and Le Médecin in the Debussy. Yet despite an overall lackluster night out at the opera, the performers — especially baritone Brian Mulligan and soprano Jacqueline Piccolino who play the Usher twins in both pieces — still manage to hold their own.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 778,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 11
},
"modified": 1705045725,
"excerpt": "Despite strong singing, SF Opera's kitsch take on an Edgar Allan Poe favorite doesn't impress our critic.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Despite strong singing, SF Opera's kitsch take on an Edgar Allan Poe favorite doesn't impress our critic.",
"title": "The 'Fail' of the House of Usher | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "The 'Fail' of the House of Usher",
"datePublished": "2015-12-10T08:00:33-08:00",
"dateModified": "2024-01-11T23:48:45-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "the-fail-of-the-house-of-usher",
"status": "publish",
"sticky": false,
"path": "/arts/11148712/the-fail-of-the-house-of-usher",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Francisco Opera ends the year with a double-bill of hour-long works based on Edgar Allan Poe’s short story \u003cem>The Fall of the House of Usher\u003c/em>: Gordon Getty’s \u003cem>Usher House\u003c/em> and a reconstruction of Claude Debussy’s \u003cem>La Chute de la Maison Usher, \u003c/em>which the French composer left unfinished\u003ci>.\u003c/i>\u003c/p>\n\u003cp>Poe’s hoary Gothic tale tells the story of a tortured brother and sister who cohabit inside a creepy castle. It involves scenes of hypochondria, catalepsy, implied incest, and a grizzly live burial. The dramatic plot might seem perfect for operatic treatment. But San Francisco Opera sadly squanders the opportunity owing to the dry music and a dull staging. When the most interesting things about a performance are the curtain call and the onstage rain, you know you’re in trouble.\u003c/p>\n\u003cp>Director David Pountney’s staging of Getty’s \u003cem>Usher House\u003c/em> looks reminiscent of the Haunted Mansion at Disneyland. Kitsch rules. It all begins with video images of a raven atop a castle. On opening night, the clichéd melodrama of the image provoked laughter from the audience. And the production continues in this spirit, cycling predictably through images of windswept trees, the sound of horses’ hooves and frequent cuts back to the raven. Despite all this visual and sonic activity, the staging feels strangely static. This impression is compounded by the fact that the performers mostly stand still while singing.\u003c/p>\n\u003cp>Getty’s music is sparse, creepy and chromatic. The texture is also generally thin, only involving at most two musical lines at a time. Getty mainly constructs his opera out of dialogue between the characters. There are very few real melodies in all this back and forth.\u003c/p>\n\u003cp>\u003cstrong>“\u003c/strong>Where Is My Lady?”\u003cb> \u003c/b>is the one \u003cem>bona fide\u003c/em> aria of Getty’s work. Sung by tenor Jason Bridges in this production, this ballad about the beauty and grace of Madeline Usher, one of the two siblings at the heart of Poe’s story\u003cb>,\u003c/b> is sweet, and Bridges makes the most of it. Oddly, Getty chooses not to include a setting of the one song that’s included in Poe’s original story — “The Haunted Palace” — which Roderick Usher, Madeline’s brother, sings accompanied by his own guitar playing.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The opera isn’t without moments of clarity. Representing Madeline on stage (singer Jacqueline Piccolino sings off stage later in the piece), dancer Jamielyn Duggan provides welcome movement to the otherwise largely inert staging. Her fluttery steps, choreographed by Jo Jeffries, provide a spark of life and movingly reflect Madeline’s frail state of health. There is also an entertaining ball scene with filmed supernumeraries playing the ghostly forebears of the Ushers. The actors bow at the end of the opera, their reappearance during curtain call providing an amusing touch.\u003c/p>\n\u003cp>There are a couple of existing versions of Debussy’s unfinished \u003cem>La Chute de la Maison Usher. \u003c/em>San Francisco Opera presents a take\u003cem> \u003c/em>completed by music scholar Robert Orledge which received its premiere in 2006. Orledge’s orchestration has none of the lushness and descriptiveness of Debussy’s only finished opera, \u003cem>Pelléas et Mélisande, \u003c/em>or indeed the rest of his music. The result is both strange and staid. It’s no surprise that Debussy, though he labored on this work for nine years, ultimately abandoned it.\u003cstrong>\u003cbr>\n\u003c/strong>\u003c/p>\n\u003cp>Unlike Getty’s opera, Debussy’s is monologue- rather than dialogue-driven, so there are more songs. Yet the music is often more declamatory than lyrical. Poutney’s staging only adds to the heavy-handed feeling, as the video projections focus on the austere architectural details of the Ushers’ home, like the columns and statues.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Fall of the House of Usher \u003c/em>comes at the end of a challenging year for San Francisco Opera. Notably, the company has gone through around a dozen casting changes. In this production, for instance, Jason Bridges and Joel Sorenson stepped in for Richard Croft, who was originally scheduled to personify Poe in the Getty and Le Médecin in the Debussy. Yet despite an overall lackluster night out at the opera, the performers — especially baritone Brian Mulligan and soprano Jacqueline Piccolino who play the Usher twins in both pieces — still manage to hold their own.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11148712/the-fail-of-the-house-of-usher",
"authors": [
"8660"
],
"categories": [
"arts_69",
"arts_967"
],
"tags": [
"arts_1118",
"arts_596",
"arts_769"
],
"featImg": "arts_11148721",
"label": "arts"
},
"pop_19373": {
"type": "posts",
"id": "pop_19373",
"meta": {
"index": "posts_1716263798",
"site": "pop",
"id": "19373",
"score": null,
"sort": [
1449789305000
]
},
"parent": 0,
"labelTerm": {
"site": "pop"
},
"blocks": [],
"publishDate": 1449789305,
"format": "standard",
"disqusTitle": "Michelle Obama Is a Decent Rapper",
"title": "Michelle Obama Is a Decent Rapper",
"headTitle": "KQED Pop | KQED Arts",
"content": "\u003cp>Yeah, we never thought we'd see that headline either. And yet, here we are.\u003c/p>\n\u003cp>As if she needed to ensure she'd go down in the books as The Coolest First Lady of All Time (because superior arm muscle definition and \u003ca href=\"http://www.cnn.com/2014/01/17/showbiz/celebrity-news-gossip/michelle-obama-beyonce-friendship/\" target=\"_blank\">friendship with Beyonce\u003c/a> just don't quite cut it?), Michelle Obama released a rap video today with SNL's Jay Pharoah, via the comedy site College Humor.\u003c/p>\n\u003cp>Of course, it's a Michelle Obama rap video, so the song is called \"Go To College,\" with a central message that's staunchly focused on the importance of higher education as opposed to, you know, getting high. Still, it's pretty funny -- and, to the surprise of probably no one, Ms. Obama can \u003cem>actually kind of rap. \u003c/em>\u003c/p>\n\u003cp>“South Side Chicago, we all know/we had to do overtime every night to make it tomorrow,\" rhymes one of the most powerful women in the Western Hemisphere, over visuals of her and Pharoah just hanging out around the White House (totally normal) and naming various undergraduate majors from which the First Lady would like you to choose.\u003c/p>\n\u003cp>Within minutes of its release, \u003ca href=\"https://twitter.com/hashtag/FlotusBars?src=tren\" target=\"_blank\">#FlotusBars\u003c/a> started trending on Twitter, which tells you, um...not that much. Maybe that a lot of people already blew through the first episode of \u003cem>Serial\u003c/em> and are bored at work this afternoon.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Anyway: What do you think? If you were previously not inclined to further your education after high school, would a rapping Michelle Obama change your mind? Give it a watch below.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_1yAOK0nSb0\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
"disqusIdentifier": "19373 http://ww2.kqed.org/pop/?p=19373",
"disqusUrl": "https://ww2.kqed.org/pop/2015/12/10/michelle-obama-is-a-decent-rapper/",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 273,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 8
},
"modified": 1449789508,
"excerpt": "\"Go to college,\" says FLOTUS -- with a little help from Jay Pharoah. ",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": ""Go to college," says FLOTUS -- with a little help from Jay Pharoah. ",
"title": "Michelle Obama Is a Decent Rapper | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Michelle Obama Is a Decent Rapper",
"datePublished": "2015-12-10T15:15:05-08:00",
"dateModified": "2015-12-10T15:18:28-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "michelle-obama-is-a-decent-rapper",
"status": "publish",
"path": "/pop/19373/michelle-obama-is-a-decent-rapper",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Yeah, we never thought we'd see that headline either. And yet, here we are.\u003c/p>\n\u003cp>As if she needed to ensure she'd go down in the books as The Coolest First Lady of All Time (because superior arm muscle definition and \u003ca href=\"http://www.cnn.com/2014/01/17/showbiz/celebrity-news-gossip/michelle-obama-beyonce-friendship/\" target=\"_blank\">friendship with Beyonce\u003c/a> just don't quite cut it?), Michelle Obama released a rap video today with SNL's Jay Pharoah, via the comedy site College Humor.\u003c/p>\n\u003cp>Of course, it's a Michelle Obama rap video, so the song is called \"Go To College,\" with a central message that's staunchly focused on the importance of higher education as opposed to, you know, getting high. Still, it's pretty funny -- and, to the surprise of probably no one, Ms. Obama can \u003cem>actually kind of rap. \u003c/em>\u003c/p>\n\u003cp>“South Side Chicago, we all know/we had to do overtime every night to make it tomorrow,\" rhymes one of the most powerful women in the Western Hemisphere, over visuals of her and Pharoah just hanging out around the White House (totally normal) and naming various undergraduate majors from which the First Lady would like you to choose.\u003c/p>\n\u003cp>Within minutes of its release, \u003ca href=\"https://twitter.com/hashtag/FlotusBars?src=tren\" target=\"_blank\">#FlotusBars\u003c/a> started trending on Twitter, which tells you, um...not that much. Maybe that a lot of people already blew through the first episode of \u003cem>Serial\u003c/em> and are bored at work this afternoon.\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>Anyway: What do you think? If you were previously not inclined to further your education after high school, would a rapping Michelle Obama change your mind? Give it a watch below.\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/_1yAOK0nSb0'\n title='//www.youtube.com/embed/_1yAOK0nSb0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/pop/19373/michelle-obama-is-a-decent-rapper",
"authors": [
"7237"
],
"categories": [
"pop_2696",
"pop_4"
],
"tags": [
"pop_560"
],
"featImg": "pop_19374",
"label": "pop"
},
"arts_11149631": {
"type": "posts",
"id": "arts_11149631",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11149631",
"score": null,
"sort": [
1449716456000
]
},
"guestAuthors": [],
"slug": "sound-advice-when-christmas-songs-go-awry-and-other-live-music-picks",
"title": "Sound Advice: When Christmas Songs Go Awry and Other Live Music Picks",
"publishDate": 1449716456,
"format": "standard",
"headTitle": "Sound Advice: When Christmas Songs Go Awry and Other Live Music Picks | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003cp>Everyone loves a lousy, depressing Christmas song, and among the truly great ones (I’m lookin’ at you, “\u003ca href=\"https://www.youtube.com/watch?v=j9jbdgZidu8\" target=\"_blank\" rel=\"noopener\">Fairytale of New York\u003c/a>”), there are the small, often overlooked chronicles of holidays gone awry.\u003c/p>\n\u003cp>“Christmas in Prison,” by John Prine, is one of them, told from the point of view of a prisoner who opens his story with the simplest detail: “It was Christmas in prison, and the food was real good.” He sings of daily prison occurrences like chess games, of pistols carved out of wood, and of the searchlight crisscrossing the yard. But mostly, he sings about the girl he left behind, whose “heart is as big as this whole goddamn jail, and she’s sweeter than saccharine at a drug store sale.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=00Ig33jctXs\u003c/p>\n\u003cp>Prine, as his many fans know, has mixed small, usually antiquated details with life’s bigger questions for decades. The back door screen from “Hello in There.” The graveyards and pawn shops from “Souvenirs.” The commuter train from “Bruised Orange (Chain of Sorrow).” The penny stuck in a burned-out fuse from “Grandpa was a Carpenter.” I could go on and on.\u003c/p>\n\u003cp>Live, Prine tosses off these details with a nod and a wink, usually garnering a laugh from the audience, if only to split up the terse emotional impact of songs like “Sam Stone” or “The Great Compromise.” He’s simply one of America’s greatest songwriters, and when he plays this week at the Warfield, expect his crackerjack two-piece backing band to elevate songs like “Lake Marie” and “You Got Gold” to transcendental status. Ramblin’ Jack Elliott opens the show. \u003ca href=\"http://www.axs.com/events/279151/john-prine-tickets\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Of course, this week’s calendar is teeming with other great live music in the Bay Area. Here are our picks.\u003c/p>\n\u003cfigure id=\"attachment_11149883\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11149883\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/frank_sinatra_2.jpg\" alt=\"Frank Sinatra.\" width=\"600\" height=\"391\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/frank_sinatra_2.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/frank_sinatra_2-400x261.jpg 400w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Frank Sinatra.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Sunday, Dec. 13: ‘Let Us Break Bread Together — Sinatra Style’ at the Paramount Theater.\u003c/strong> Frank Sinatra, whose would-have-been-100th-birthday is the source of many tributes this week, was never thought to be a gospel singer in the traditional sense of the term. But combing through the man’s extensive back catalog, one finds gospel-tinged performances filled with spirit: “\u003ca href=\"https://www.youtube.com/watch?v=_-z8VpLEHHk\" target=\"_blank\" rel=\"noopener\">You’ll Never Walk Alone\u003c/a>,” “\u003ca href=\"https://www.youtube.com/watch?v=TlkqNLxF76Q\" target=\"_blank\" rel=\"noopener\">Yes Indeed\u003c/a>,” “\u003ca href=\"https://www.youtube.com/watch?v=PSPGzRKBuDU\" target=\"_blank\" rel=\"noopener\">God’s Country\u003c/a>.” (My personal favorite is “Ol’ Man River” — not exactly a gospel song, but \u003ca href=\"https://youtu.be/heOQE9214pE?t=3m15s\" target=\"_blank\" rel=\"noopener\">listen to him sing “you get a little drunk and you lands in jaillllllllllll” here\u003c/a>, and marvel at the way he extends “jail” for 13 glorious seconds into the next line, unbelievably dipping into an even lower register without taking a breath, and just \u003cem>try\u003c/em> to tell me the good Lord isn’t present.) This week, the Oakland Symphony presents \u003cem>Let Us Break Bread Together — Sinatra Style\u003c/em>, a gospel tribute to Ol’ Blue Eyes with the Mt. Eden High School Choir, the Oakland Interfaith Gospel Choir, the Oakland Symphony Chorus, Vocal Rush and the Kugelplex klezmer band. Inside the gorgeous art-deco Paramount Theater, the concert is a slam-dunk. \u003ca href=\"http://www.oaklandsymphony.org/event/let-us-break-bread-together-sinatra-style/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11149878\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11149878\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/TheBadPlusJoshuaRedman_credit_DavidJacobs-1429724918.jpg\" alt=\"The Bad Plus and Joshua Redman. \" width=\"600\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/TheBadPlusJoshuaRedman_credit_DavidJacobs-1429724918.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/TheBadPlusJoshuaRedman_credit_DavidJacobs-1429724918-400x267.jpg 400w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">The Bad Plus and Joshua Redman. \u003ccite>(David Jacobs)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Thursday–Sunday, Dec. 10-13: The Bad Plus and Joshua Redman at SFJAZZ.\u003c/strong> The Bad Plus tore onto the scene in 2004 with \u003cem>These are the Vistas\u003c/em>, featuring a blog-worthy avant-garde jazz cover of Nirvana’s “Smells Like Teen Spirit.” Since, the trio has unreeled a string of covers, ranging from Blondie’s “Heart of Glass” to the movie theme from \u003cem>Chariots of Fire\u003c/em>. But the trio’s covers aren’t pure novelty, as one might suspect, and their own material is rich, vigorous, and rewarding. This year, the adventurous trio teamed up with East Bay saxophone legend Joshua Redman for \u003cem>The Bad Plus Joshua Redman\u003c/em>, easily one of the year’s best jazz albums. (A single solo by Redman from the album was \u003ca href=\"http://ww2.kqed.org/arts/2015/12/07/bay-area-artists-with-2016-grammy-nominations/\" target=\"_blank\" rel=\"noopener\">nominated for a Grammy Award \u003c/a>earlier this week.) The fearless four power into the SFJAZZ Center for a four-night residency this week. \u003ca href=\"http://www.sfjazz.org/events/2015-16/1213/bad-plus-redman\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11149881\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11149881\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Judith_Hill_014.jpg\" alt=\"Judith Hill.\" width=\"600\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Judith_Hill_014.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Judith_Hill_014-400x267.jpg 400w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Judith Hill.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Tuesday, Dec. 15: Judith Hill at the Great American Music Hall.\u003c/strong> Judith Hill may not be a household name, but it’s exactly that status that landed her a spot in the fantastic documentary \u003cem>20 Feet From Stardom\u003c/em>. Following a group of career backup singers, the film exposed the vast talents of women whose headlining break had yet to come. Judith Hill’s may be upon us, if her \u003ca href=\"https://www.youtube.com/watch?v=2bzPrQvs1fo&feature=youtu.be\" target=\"_blank\" rel=\"noopener\">latest video for “Cry, Cry, Cry”\u003c/a> is any indication. When I saw her at SFJAZZ’s Joni Mitchell tribute earlier this year, she easily stole the show — and in a lineup including Kris Kristofferson, Kurt Elling and Joe Jackson, no less. If you close your eyes while Hill is singing, you’ll sometimes swear you’re in the presence of a young Aretha Franklin. Goosebumps are all but guaranteed. \u003ca href=\"http://www.slimspresents.com/?post_type=events&p=13192\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11149882\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11149882\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Eightbelles.jpg\" alt=\"Eight Belles.\" width=\"600\" height=\"398\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Eightbelles.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Eightbelles-400x265.jpg 400w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Eight Belles.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Saturday, Dec. 12: Eight Belles at the Last Record Store.\u003c/strong> Jessi Phillips and Henry Nagle last made an album together three years ago, and the two didn’t skimp on taking time to make their latest self-titled album stellar. With the help of various members of other local bands (Once and Future Band, Con Brio, Painted Palms, Cave Clove), \u003cem>Eight Belles\u003c/em> is a 10-song album that can be streamed \u003ca href=\"http://thebaybridged.com/2015/12/08/album-premiere-listen-eight-belles-new-self-titled-lp/\" target=\"_blank\" rel=\"noopener\">right over here at the Bay Bridged\u003c/a>. Those in the city can catch the band on Dec. 10 at the Rickshaw Stop, with Cave Clove; at a free afternoon show at the Last Record Store in Santa Rosa, the band appears with local songwriter Ashley Allred. \u003ca href=\"https://www.facebook.com/events/1524919874472280/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\n",
"blocks": [],
"excerpt": "John Prine, a Frank Sinatra gospel tribute, Eight Belles, the Bad Plus, Joshua Redman, and Judith Hill round out this week's top Bay Area live music picks.",
"status": "publish",
"parent": 0,
"modified": 1726704369,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 11,
"wordCount": 995
},
"headData": {
"title": "Sound Advice: When Christmas Songs Go Awry and Other Live Music Picks | KQED",
"description": "John Prine, a Frank Sinatra gospel tribute, Eight Belles, the Bad Plus, Joshua Redman, and Judith Hill round out this week's top Bay Area live music picks.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Sound Advice: When Christmas Songs Go Awry and Other Live Music Picks",
"datePublished": "2015-12-09T19:00:56-08:00",
"dateModified": "2024-09-18T17:06:09-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"path": "/arts/11149631/sound-advice-when-christmas-songs-go-awry-and-other-live-music-picks",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Everyone loves a lousy, depressing Christmas song, and among the truly great ones (I’m lookin’ at you, “\u003ca href=\"https://www.youtube.com/watch?v=j9jbdgZidu8\" target=\"_blank\" rel=\"noopener\">Fairytale of New York\u003c/a>”), there are the small, often overlooked chronicles of holidays gone awry.\u003c/p>\n\u003cp>“Christmas in Prison,” by John Prine, is one of them, told from the point of view of a prisoner who opens his story with the simplest detail: “It was Christmas in prison, and the food was real good.” He sings of daily prison occurrences like chess games, of pistols carved out of wood, and of the searchlight crisscrossing the yard. But mostly, he sings about the girl he left behind, whose “heart is as big as this whole goddamn jail, and she’s sweeter than saccharine at a drug store sale.”\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/00Ig33jctXs'\n title='//www.youtube.com/embed/00Ig33jctXs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Prine, as his many fans know, has mixed small, usually antiquated details with life’s bigger questions for decades. The back door screen from “Hello in There.” The graveyards and pawn shops from “Souvenirs.” The commuter train from “Bruised Orange (Chain of Sorrow).” The penny stuck in a burned-out fuse from “Grandpa was a Carpenter.” I could go on and on.\u003c/p>\n\u003cp>Live, Prine tosses off these details with a nod and a wink, usually garnering a laugh from the audience, if only to split up the terse emotional impact of songs like “Sam Stone” or “The Great Compromise.” He’s simply one of America’s greatest songwriters, and when he plays this week at the Warfield, expect his crackerjack two-piece backing band to elevate songs like “Lake Marie” and “You Got Gold” to transcendental status. Ramblin’ Jack Elliott opens the show. \u003ca href=\"http://www.axs.com/events/279151/john-prine-tickets\" 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>Of course, this week’s calendar is teeming with other great live music in the Bay Area. Here are our picks.\u003c/p>\n\u003cfigure id=\"attachment_11149883\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11149883\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/frank_sinatra_2.jpg\" alt=\"Frank Sinatra.\" width=\"600\" height=\"391\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/frank_sinatra_2.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/frank_sinatra_2-400x261.jpg 400w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Frank Sinatra.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Sunday, Dec. 13: ‘Let Us Break Bread Together — Sinatra Style’ at the Paramount Theater.\u003c/strong> Frank Sinatra, whose would-have-been-100th-birthday is the source of many tributes this week, was never thought to be a gospel singer in the traditional sense of the term. But combing through the man’s extensive back catalog, one finds gospel-tinged performances filled with spirit: “\u003ca href=\"https://www.youtube.com/watch?v=_-z8VpLEHHk\" target=\"_blank\" rel=\"noopener\">You’ll Never Walk Alone\u003c/a>,” “\u003ca href=\"https://www.youtube.com/watch?v=TlkqNLxF76Q\" target=\"_blank\" rel=\"noopener\">Yes Indeed\u003c/a>,” “\u003ca href=\"https://www.youtube.com/watch?v=PSPGzRKBuDU\" target=\"_blank\" rel=\"noopener\">God’s Country\u003c/a>.” (My personal favorite is “Ol’ Man River” — not exactly a gospel song, but \u003ca href=\"https://youtu.be/heOQE9214pE?t=3m15s\" target=\"_blank\" rel=\"noopener\">listen to him sing “you get a little drunk and you lands in jaillllllllllll” here\u003c/a>, and marvel at the way he extends “jail” for 13 glorious seconds into the next line, unbelievably dipping into an even lower register without taking a breath, and just \u003cem>try\u003c/em> to tell me the good Lord isn’t present.) This week, the Oakland Symphony presents \u003cem>Let Us Break Bread Together — Sinatra Style\u003c/em>, a gospel tribute to Ol’ Blue Eyes with the Mt. Eden High School Choir, the Oakland Interfaith Gospel Choir, the Oakland Symphony Chorus, Vocal Rush and the Kugelplex klezmer band. Inside the gorgeous art-deco Paramount Theater, the concert is a slam-dunk. \u003ca href=\"http://www.oaklandsymphony.org/event/let-us-break-bread-together-sinatra-style/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11149878\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11149878\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/TheBadPlusJoshuaRedman_credit_DavidJacobs-1429724918.jpg\" alt=\"The Bad Plus and Joshua Redman. \" width=\"600\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/TheBadPlusJoshuaRedman_credit_DavidJacobs-1429724918.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/TheBadPlusJoshuaRedman_credit_DavidJacobs-1429724918-400x267.jpg 400w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">The Bad Plus and Joshua Redman. \u003ccite>(David Jacobs)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Thursday–Sunday, Dec. 10-13: The Bad Plus and Joshua Redman at SFJAZZ.\u003c/strong> The Bad Plus tore onto the scene in 2004 with \u003cem>These are the Vistas\u003c/em>, featuring a blog-worthy avant-garde jazz cover of Nirvana’s “Smells Like Teen Spirit.” Since, the trio has unreeled a string of covers, ranging from Blondie’s “Heart of Glass” to the movie theme from \u003cem>Chariots of Fire\u003c/em>. But the trio’s covers aren’t pure novelty, as one might suspect, and their own material is rich, vigorous, and rewarding. This year, the adventurous trio teamed up with East Bay saxophone legend Joshua Redman for \u003cem>The Bad Plus Joshua Redman\u003c/em>, easily one of the year’s best jazz albums. (A single solo by Redman from the album was \u003ca href=\"http://ww2.kqed.org/arts/2015/12/07/bay-area-artists-with-2016-grammy-nominations/\" target=\"_blank\" rel=\"noopener\">nominated for a Grammy Award \u003c/a>earlier this week.) The fearless four power into the SFJAZZ Center for a four-night residency this week. \u003ca href=\"http://www.sfjazz.org/events/2015-16/1213/bad-plus-redman\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11149881\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11149881\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Judith_Hill_014.jpg\" alt=\"Judith Hill.\" width=\"600\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Judith_Hill_014.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Judith_Hill_014-400x267.jpg 400w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Judith Hill.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Tuesday, Dec. 15: Judith Hill at the Great American Music Hall.\u003c/strong> Judith Hill may not be a household name, but it’s exactly that status that landed her a spot in the fantastic documentary \u003cem>20 Feet From Stardom\u003c/em>. Following a group of career backup singers, the film exposed the vast talents of women whose headlining break had yet to come. Judith Hill’s may be upon us, if her \u003ca href=\"https://www.youtube.com/watch?v=2bzPrQvs1fo&feature=youtu.be\" target=\"_blank\" rel=\"noopener\">latest video for “Cry, Cry, Cry”\u003c/a> is any indication. When I saw her at SFJAZZ’s Joni Mitchell tribute earlier this year, she easily stole the show — and in a lineup including Kris Kristofferson, Kurt Elling and Joe Jackson, no less. If you close your eyes while Hill is singing, you’ll sometimes swear you’re in the presence of a young Aretha Franklin. Goosebumps are all but guaranteed. \u003ca href=\"http://www.slimspresents.com/?post_type=events&p=13192\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11149882\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11149882\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Eightbelles.jpg\" alt=\"Eight Belles.\" width=\"600\" height=\"398\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Eightbelles.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Eightbelles-400x265.jpg 400w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Eight Belles.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Saturday, Dec. 12: Eight Belles at the Last Record Store.\u003c/strong> Jessi Phillips and Henry Nagle last made an album together three years ago, and the two didn’t skimp on taking time to make their latest self-titled album stellar. With the help of various members of other local bands (Once and Future Band, Con Brio, Painted Palms, Cave Clove), \u003cem>Eight Belles\u003c/em> is a 10-song album that can be streamed \u003ca href=\"http://thebaybridged.com/2015/12/08/album-premiere-listen-eight-belles-new-self-titled-lp/\" target=\"_blank\" rel=\"noopener\">right over here at the Bay Bridged\u003c/a>. Those in the city can catch the band on Dec. 10 at the Rickshaw Stop, with Cave Clove; at a free afternoon show at the Last Record Store in Santa Rosa, the band appears with local songwriter Ashley Allred. \u003ca href=\"https://www.facebook.com/events/1524919874472280/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11149631/sound-advice-when-christmas-songs-go-awry-and-other-live-music-picks",
"authors": [
"185"
],
"programs": [
"arts_140"
],
"categories": [
"arts_69"
],
"tags": [
"arts_1118",
"arts_596"
],
"featImg": "arts_11149875",
"label": "arts_140"
},
"arts_11149505": {
"type": "posts",
"id": "arts_11149505",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11149505",
"score": null,
"sort": [
1449704963000
]
},
"guestAuthors": [],
"slug": "sole-copy-of-latest-wu-tang-album-was-sold-to-pharma-bro",
"title": "Sole Copy of Latest Wu-Tang Album was Sold To 'Pharma Bro'",
"publishDate": 1449704963,
"format": "standard",
"headTitle": "Sole Copy of Latest Wu-Tang Album was Sold To ‘Pharma Bro’ | KQED",
"labelTerm": {
"term": 137,
"site": "arts"
},
"content": "\u003cp>In 2014, the Wu-Tang Clan turned a double album into lost treasure.\u003c/p>\n\u003cp>\u003cem>Once Upon A Time In Shaolin \u003c/em>was heard, in its 31-track entirety, only by Wu-Tang Clan leader RZA and producer Cilvaringz.\u003c/p>\n\u003cp>They vowed to sell just a single copy — with a seven-digit price tag. They destroyed all duplicates and placed the only extant version in a hand-carved silver and nickel box, along with a 174-page leather-bound book of lyrics, anecdotes and credits.\u003c/p>\n\u003cp>They threw in a $55,000 pair of speakers and a “gold-leafed certificate of authenticity,” according to \u003ca href=\"http://scluzay.com/\">the album’s Web site\u003c/a>. They teased the music world with sneak listens. And they added a provision: The buyer couldn’t release the album commercially for 88 years after purchase.\u003c/p>\n\u003cp>Then they locked the whole thing in the vault of a luxury hotel in Marrakech, Morocco, set it up on \u003ca href=\"https://paddle8.com/wu-tang/\">an online auction house\u003c/a>, and waited to see who would buy the world’s most expensive, most exclusive album.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Some fans \u003ca href=\"https://www.kickstarter.com/projects/1308696559/once-upon-a-time-in-shaolin-for-wu-fans-for-wu-peo\" target=\"_blank\" rel=\"noopener\">attempted to crowdfund\u003c/a> the purchase of the album, so it could stay in the hands of non-wealthy, true believers. Instead, the album reportedly sold for millions to a secret purchaser.\u003c/p>\n\u003cp>\u003ca href=\"http://www.fuse.tv/2014/03/wu-tang-clan-secret-album\" target=\"_blank\" rel=\"noopener\">Some\u003c/a> had \u003ca href=\"http://noisey.vice.com/blog/did-quentin-tarantino-buy-the-wu-tang-clans-album\" target=\"_blank\" rel=\"noopener\">theorized\u003c/a> that Quentin Tarantino — super-wealthy Wu-Tang super-fan — was the most likely buyer.\u003c/p>\n\u003cp>Or maybe Richard Branson, who once \u003ca href=\"http://www.forbes.com/sites/zackomalleygreenburg/2014/05/06/unlocking-the-wu-tang-clans-secret-album-in-morocco/\" target=\"_blank\" rel=\"noopener\">called it\u003c/a> a “really fun idea” and could certainly afford it. RZA himself once \u003ca href=\"http://grantland.com/hollywood-prospectus/we-went-there-the-first-and-last-chance-to-hear-wu-tangs-once-upon-a-time-in-shaolin-for-88-years/\" target=\"_blank\" rel=\"noopener\">expressed the hope\u003c/a> that the Virgin mogul would buy the album and fly it into space.\u003c/p>\n\u003cp>But on Wednesday, Bloomberg Business broke the hearts (and fanned the fury) of Wu-Tang Clan fans around the world.\u003c/p>\n\u003cp>The buyer, \u003ca href=\"http://www.bloomberg.com/features/2015-martin-shkreli-wu-tang-clan-album/\" target=\"_blank\" rel=\"noopener\">they revealed\u003c/a>, was infamous, price-gouging pharmaceutical executive Martin Shkreli — and he hadn’t even bothered to listen to it.\u003c/p>\n\u003cp>Shkreli is the 32-year-old CEO whose company, Turing Pharmaceuticals, recently purchased the rights to a drug used to treat a deadly parasitic infection and \u003ca href=\"http://www.npr.org/sections/thetwo-way/2015/09/22/442684570/pharmaceutical-firms-back-off-big-price-hikes-following-critical-coverage\" target=\"_blank\" rel=\"noopener\">raised the price\u003c/a> 5,000 percent, from $13 a pill to $750. The resulting backlash brought attention to pharmaceutical price hikes in general, a debate that’s now being played out in \u003ca href=\"http://www.npr.org/sections/health-shots/2015/12/09/458976680/senate-questions-egregious-price-hikes-for-specialty-medicines\" target=\"_blank\" rel=\"noopener\">Senate hearings\u003c/a>.\u003c/p>\n\u003cp>The sale of \u003cem>Shaolin\u003c/em> had already gone through when news of the price-gouging hit, Bloomberg reports. After the “business practices came to light,” RZA told Bloomberg, the group donated some of his payment to charity.\u003c/p>\n\u003cp>Now that Shkreli has achieved ignominy, though, he’s hardly a pariah in the musical world: He’s hired Fetty Wap to perform at his company’s Christmas party.\u003c/p>\n\u003cp>It wasn’t hard, he told Bloomberg: “At the right price, these guys basically will do anything.”\u003c/p>\n\u003cfigure id=\"attachment_11149507\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/ap_834381384508_custom-e8747c3a19e48ea1c68d296b6d4944ab6046250d-1180x811.jpg\" alt=\"AIDS activists and others carry an image of Turing Pharmaceuticals CEO Martin Shkreli and signs decrying "Pharma greed" during a protest Oct. 1. Shkreli's company bought an antiparasitic drug and increased the price 5,000 percent.\" width=\"640\" height=\"440\" class=\"size-large wp-image-11149507\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/ap_834381384508_custom-e8747c3a19e48ea1c68d296b6d4944ab6046250d-1180x811.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/ap_834381384508_custom-e8747c3a19e48ea1c68d296b6d4944ab6046250d-400x275.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/ap_834381384508_custom-e8747c3a19e48ea1c68d296b6d4944ab6046250d-800x550.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/ap_834381384508_custom-e8747c3a19e48ea1c68d296b6d4944ab6046250d-1920x1319.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/ap_834381384508_custom-e8747c3a19e48ea1c68d296b6d4944ab6046250d-960x659.jpg 960w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">AIDS activists and others carry an image of Turing Pharmaceuticals CEO Martin Shkreli and signs decrying “Pharma greed” during a protest Oct. 1. Shkreli’s company bought an antiparasitic drug and increased the price 5,000 percent. \u003ccite>(Photo: Craig Ruttle/AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But back to the Wu-Tang Clan. Bloomberg Business notes that Shkreli is a fan, of sorts:\u003c/p>\n\u003cblockquote>\n\u003cp>“Shkreli was taken by the Wu-Tang song \u003cem>C.R.E.A.M.\u003c/em>, which stands for ‘Cash Rules Everything Around Me.’ It includes the often-repeated phrase ‘Dolla dolla bill, y’all!’ ”\u003c/p>\n\u003c/blockquote>\n\u003cp>It wasn’t fandom that drove his purchase, though. Shkreli liked the idea that owning the album would give him an in with celebrities and rappers, he told Bloomberg.\u003c/p>\n\u003cp>He didn’t listen to excerpts meant to verify the purchase — he had an employee check for him. And he reportedly still hasn’t played the album. He tells Bloomberg Business he might consider putting it on … if Taylor Swift wants to come over and hear it with him.\u003c/p>\n\u003cp>Some on social media have suggested another strategy for the pharma exec:\u003c/p>\n\u003cp>https://twitter.com/dylanlscott/status/674601290727493632\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Read the whole story \u003ca href=\"http://www.bloomberg.com/features/2015-martin-shkreli-wu-tang-clan-album/\" target=\"_blank\" rel=\"noopener\">at Bloomberg\u003c/a>.\u003c/em>\u003c/strong> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 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=Sole+Copy+Of+Latest+Wu-Tang+Album+Was+Sold+To+%27Pharma+Bro%27+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"blocks": [],
"excerpt": "The Wu-Tang Clan made just one copy of \u003cem>Once Upon A Time In Shaolin \u003c/em>and sold it, shrouded in secrecy, for millions. Bloomberg Business reveals the buyer: a CEO infamous for a massive drug-price hike.",
"status": "publish",
"parent": 0,
"modified": 1765578757,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 22,
"wordCount": 680
},
"headData": {
"title": "Sole Copy of Latest Wu-Tang Album was Sold To 'Pharma Bro' | KQED",
"description": "The Wu-Tang Clan made just one copy of Once Upon A Time In Shaolin and sold it, shrouded in secrecy, for millions. Bloomberg Business reveals the buyer: a CEO infamous for a massive drug-price hike.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Sole Copy of Latest Wu-Tang Album was Sold To 'Pharma Bro'",
"datePublished": "2015-12-09T15:49:23-08:00",
"dateModified": "2025-12-12T14:32:37-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"primaryCategory": {
"termId": 69,
"slug": "music",
"name": "Music"
},
"sticky": false,
"nprImageCredit": "Rashaad Patterson",
"nprByline": "Camila Domonoske",
"nprImageAgency": "Paddle8",
"nprStoryId": "459059359",
"nprApiLink": "http://api.npr.org/query?id=459059359&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprHtmlLink": "http://www.npr.org/sections/thetwo-way/2015/12/09/459059359/sole-copy-of-latest-wu-tang-album-was-sold-to-pharma-bro?ft=nprml&f=459059359",
"nprRetrievedStory": "1",
"nprPubDate": "Wed, 09 Dec 2015 16:48:00 -0500",
"nprStoryDate": "Wed, 09 Dec 2015 12:53:00 -0500",
"nprLastModifiedDate": "Wed, 09 Dec 2015 16:48:38 -0500",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"path": "/arts/11149505/sole-copy-of-latest-wu-tang-album-was-sold-to-pharma-bro",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 2014, the Wu-Tang Clan turned a double album into lost treasure.\u003c/p>\n\u003cp>\u003cem>Once Upon A Time In Shaolin \u003c/em>was heard, in its 31-track entirety, only by Wu-Tang Clan leader RZA and producer Cilvaringz.\u003c/p>\n\u003cp>They vowed to sell just a single copy — with a seven-digit price tag. They destroyed all duplicates and placed the only extant version in a hand-carved silver and nickel box, along with a 174-page leather-bound book of lyrics, anecdotes and credits.\u003c/p>\n\u003cp>They threw in a $55,000 pair of speakers and a “gold-leafed certificate of authenticity,” according to \u003ca href=\"http://scluzay.com/\">the album’s Web site\u003c/a>. They teased the music world with sneak listens. And they added a provision: The buyer couldn’t release the album commercially for 88 years after purchase.\u003c/p>\n\u003cp>Then they locked the whole thing in the vault of a luxury hotel in Marrakech, Morocco, set it up on \u003ca href=\"https://paddle8.com/wu-tang/\">an online auction house\u003c/a>, and waited to see who would buy the world’s most expensive, most exclusive album.\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>Some fans \u003ca href=\"https://www.kickstarter.com/projects/1308696559/once-upon-a-time-in-shaolin-for-wu-fans-for-wu-peo\" target=\"_blank\" rel=\"noopener\">attempted to crowdfund\u003c/a> the purchase of the album, so it could stay in the hands of non-wealthy, true believers. Instead, the album reportedly sold for millions to a secret purchaser.\u003c/p>\n\u003cp>\u003ca href=\"http://www.fuse.tv/2014/03/wu-tang-clan-secret-album\" target=\"_blank\" rel=\"noopener\">Some\u003c/a> had \u003ca href=\"http://noisey.vice.com/blog/did-quentin-tarantino-buy-the-wu-tang-clans-album\" target=\"_blank\" rel=\"noopener\">theorized\u003c/a> that Quentin Tarantino — super-wealthy Wu-Tang super-fan — was the most likely buyer.\u003c/p>\n\u003cp>Or maybe Richard Branson, who once \u003ca href=\"http://www.forbes.com/sites/zackomalleygreenburg/2014/05/06/unlocking-the-wu-tang-clans-secret-album-in-morocco/\" target=\"_blank\" rel=\"noopener\">called it\u003c/a> a “really fun idea” and could certainly afford it. RZA himself once \u003ca href=\"http://grantland.com/hollywood-prospectus/we-went-there-the-first-and-last-chance-to-hear-wu-tangs-once-upon-a-time-in-shaolin-for-88-years/\" target=\"_blank\" rel=\"noopener\">expressed the hope\u003c/a> that the Virgin mogul would buy the album and fly it into space.\u003c/p>\n\u003cp>But on Wednesday, Bloomberg Business broke the hearts (and fanned the fury) of Wu-Tang Clan fans around the world.\u003c/p>\n\u003cp>The buyer, \u003ca href=\"http://www.bloomberg.com/features/2015-martin-shkreli-wu-tang-clan-album/\" target=\"_blank\" rel=\"noopener\">they revealed\u003c/a>, was infamous, price-gouging pharmaceutical executive Martin Shkreli — and he hadn’t even bothered to listen to it.\u003c/p>\n\u003cp>Shkreli is the 32-year-old CEO whose company, Turing Pharmaceuticals, recently purchased the rights to a drug used to treat a deadly parasitic infection and \u003ca href=\"http://www.npr.org/sections/thetwo-way/2015/09/22/442684570/pharmaceutical-firms-back-off-big-price-hikes-following-critical-coverage\" target=\"_blank\" rel=\"noopener\">raised the price\u003c/a> 5,000 percent, from $13 a pill to $750. The resulting backlash brought attention to pharmaceutical price hikes in general, a debate that’s now being played out in \u003ca href=\"http://www.npr.org/sections/health-shots/2015/12/09/458976680/senate-questions-egregious-price-hikes-for-specialty-medicines\" target=\"_blank\" rel=\"noopener\">Senate hearings\u003c/a>.\u003c/p>\n\u003cp>The sale of \u003cem>Shaolin\u003c/em> had already gone through when news of the price-gouging hit, Bloomberg reports. After the “business practices came to light,” RZA told Bloomberg, the group donated some of his payment to charity.\u003c/p>\n\u003cp>Now that Shkreli has achieved ignominy, though, he’s hardly a pariah in the musical world: He’s hired Fetty Wap to perform at his company’s Christmas party.\u003c/p>\n\u003cp>It wasn’t hard, he told Bloomberg: “At the right price, these guys basically will do anything.”\u003c/p>\n\u003cfigure id=\"attachment_11149507\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/ap_834381384508_custom-e8747c3a19e48ea1c68d296b6d4944ab6046250d-1180x811.jpg\" alt=\"AIDS activists and others carry an image of Turing Pharmaceuticals CEO Martin Shkreli and signs decrying "Pharma greed" during a protest Oct. 1. Shkreli's company bought an antiparasitic drug and increased the price 5,000 percent.\" width=\"640\" height=\"440\" class=\"size-large wp-image-11149507\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/ap_834381384508_custom-e8747c3a19e48ea1c68d296b6d4944ab6046250d-1180x811.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/ap_834381384508_custom-e8747c3a19e48ea1c68d296b6d4944ab6046250d-400x275.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/ap_834381384508_custom-e8747c3a19e48ea1c68d296b6d4944ab6046250d-800x550.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/ap_834381384508_custom-e8747c3a19e48ea1c68d296b6d4944ab6046250d-1920x1319.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/ap_834381384508_custom-e8747c3a19e48ea1c68d296b6d4944ab6046250d-960x659.jpg 960w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">AIDS activists and others carry an image of Turing Pharmaceuticals CEO Martin Shkreli and signs decrying “Pharma greed” during a protest Oct. 1. Shkreli’s company bought an antiparasitic drug and increased the price 5,000 percent. \u003ccite>(Photo: Craig Ruttle/AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But back to the Wu-Tang Clan. Bloomberg Business notes that Shkreli is a fan, of sorts:\u003c/p>\n\u003cblockquote>\n\u003cp>“Shkreli was taken by the Wu-Tang song \u003cem>C.R.E.A.M.\u003c/em>, which stands for ‘Cash Rules Everything Around Me.’ It includes the often-repeated phrase ‘Dolla dolla bill, y’all!’ ”\u003c/p>\n\u003c/blockquote>\n\u003cp>It wasn’t fandom that drove his purchase, though. Shkreli liked the idea that owning the album would give him an in with celebrities and rappers, he told Bloomberg.\u003c/p>\n\u003cp>He didn’t listen to excerpts meant to verify the purchase — he had an employee check for him. And he reportedly still hasn’t played the album. He tells Bloomberg Business he might consider putting it on … if Taylor Swift wants to come over and hear it with him.\u003c/p>\n\u003cp>Some on social media have suggested another strategy for the pharma exec:\u003c/p>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "singleTwitterStatus",
"attributes": {
"named": {
"id": "674601290727493632"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Read the whole story \u003ca href=\"http://www.bloomberg.com/features/2015-martin-shkreli-wu-tang-clan-album/\" target=\"_blank\" rel=\"noopener\">at Bloomberg\u003c/a>.\u003c/em>\u003c/strong> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 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=Sole+Copy+Of+Latest+Wu-Tang+Album+Was+Sold+To+%27Pharma+Bro%27+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11149505/sole-copy-of-latest-wu-tang-album-was-sold-to-pharma-bro",
"authors": [
"byline_arts_11149505"
],
"categories": [
"arts_69",
"arts_235"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13807814",
"label": "arts_137"
},
"arts_11148710": {
"type": "posts",
"id": "arts_11148710",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11148710",
"score": null,
"sort": [
1449684034000
]
},
"guestAuthors": [],
"slug": "john-trudell-native-american-activist-and-artist-dies-at-69",
"title": "John Trudell, Native American Activist and Artist, Dies at 69",
"publishDate": 1449684034,
"format": "standard",
"headTitle": "John Trudell, Native American Activist and Artist, Dies at 69 | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>John Trudell, the Native American activist whose long pursuit of justice for indigenous peoples included writing, lectures, music, acting and organizing, died Tuesday night in Mountain View, Calif. He was 69.\u003c/p>\n\u003cp>In early December, it was announced that Trudell had entered the final stages of terminal cancer. According to those close to Trudell’s family, a small gathering and ceremony took place Tuesday at his home.\u003c/p>\n\u003cfigure id=\"attachment_11148713\" class=\"wp-caption alignright\" style=\"max-width: 392px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Trudellgraffittiman.jpg\" alt=\"John Trudell's 'A.K.A. Grafitti Man.'\" width=\"392\" height=\"400\" class=\"size-full wp-image-11148713\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Trudellgraffittiman.jpg 392w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Trudellgraffittiman-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Trudellgraffittiman-64x64.jpg 64w\" sizes=\"(max-width: 392px) 100vw, 392px\">\u003cfigcaption class=\"wp-caption-text\">John Trudell’s ‘A.K.A. Grafitti Man.’\u003c/figcaption>\u003c/figure>\n\u003cp>Born to a Santee Sioux father and Mexican mother, Trudell grew up near the Santee reservation in Omaha, Neb. before joining the Navy in 1963 and serving in Vietnam. In 1969, Trudell joined the United Indians of All Tribes’ occupation of Alcatraz Island, serving as spokesperson. Throughout the 1970s, the FBI kept a file on Trudell that reportedly exceeded 17,000 pages.\u003c/p>\n\u003cp>Trudell’s life took a tragic turn on Feb. 11, 1979, when suspected arson burned his home on Nevada’s Duck Valley Reservation. His mother-in-law, his three young children and his wife, pregnant with their fourth child, all died in the fire. For years, Trudell maintained involvement in the fire by the U.S. government, who ruled it an electrical accident.\u003c/p>\n\u003cp>In the 1980s and 1990s, Trudell released a number of acclaimed albums, including \u003cem>A.K.A. Grafitti Man\u003c/em>, with friends and supporters Jackson Browne, Kris Kristofferson and Bonnie Raitt. Trudell also appeared in the films \u003cem>Thunderheart\u003c/em> (1992), \u003cem>On Deadly Ground\u003c/em> (1995) and \u003cem>Smoke Signals\u003c/em> (1998), and was the subject of the 2005 documentary \u003cem>Trudell\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Memorial services have not been announced as of press time.\u003c/p>\n\u003cp>\u003ci>Watch Trudell in 1970, speaking with KQED News about the occupation of Alcatraz:\u003c/i> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" width=\"630\" height=\"730\" src=\"https://diva.sfsu.edu/collections/sfbatv/bundles/187785\" frameborder=\"0\" marginwidth=\"0\" marginheight=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\n",
"blocks": [],
"excerpt": "John Trudell, whose pursuit of justice for indigenous peoples included writing, music and acting, died of cancer Tuesday night in Mountain View, Calif. ",
"status": "publish",
"parent": 0,
"modified": 1726788306,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": true,
"iframeSrcs": [
"https://diva.sfsu.edu/collections/sfbatv/bundles/187785"
],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 10,
"wordCount": 285
},
"headData": {
"title": "John Trudell, Native American Activist and Artist, Dies at 69 | KQED",
"description": "John Trudell, whose pursuit of justice for indigenous peoples included writing, music and acting, died of cancer Tuesday night in Mountain View, Calif. ",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "John Trudell, Native American Activist and Artist, Dies at 69",
"datePublished": "2015-12-09T10:00:34-08:00",
"dateModified": "2024-09-19T16:25:06-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"path": "/arts/11148710/john-trudell-native-american-activist-and-artist-dies-at-69",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>John Trudell, the Native American activist whose long pursuit of justice for indigenous peoples included writing, lectures, music, acting and organizing, died Tuesday night in Mountain View, Calif. He was 69.\u003c/p>\n\u003cp>In early December, it was announced that Trudell had entered the final stages of terminal cancer. According to those close to Trudell’s family, a small gathering and ceremony took place Tuesday at his home.\u003c/p>\n\u003cfigure id=\"attachment_11148713\" class=\"wp-caption alignright\" style=\"max-width: 392px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Trudellgraffittiman.jpg\" alt=\"John Trudell's 'A.K.A. Grafitti Man.'\" width=\"392\" height=\"400\" class=\"size-full wp-image-11148713\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Trudellgraffittiman.jpg 392w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Trudellgraffittiman-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Trudellgraffittiman-64x64.jpg 64w\" sizes=\"(max-width: 392px) 100vw, 392px\">\u003cfigcaption class=\"wp-caption-text\">John Trudell’s ‘A.K.A. Grafitti Man.’\u003c/figcaption>\u003c/figure>\n\u003cp>Born to a Santee Sioux father and Mexican mother, Trudell grew up near the Santee reservation in Omaha, Neb. before joining the Navy in 1963 and serving in Vietnam. In 1969, Trudell joined the United Indians of All Tribes’ occupation of Alcatraz Island, serving as spokesperson. Throughout the 1970s, the FBI kept a file on Trudell that reportedly exceeded 17,000 pages.\u003c/p>\n\u003cp>Trudell’s life took a tragic turn on Feb. 11, 1979, when suspected arson burned his home on Nevada’s Duck Valley Reservation. His mother-in-law, his three young children and his wife, pregnant with their fourth child, all died in the fire. For years, Trudell maintained involvement in the fire by the U.S. government, who ruled it an electrical accident.\u003c/p>\n\u003cp>In the 1980s and 1990s, Trudell released a number of acclaimed albums, including \u003cem>A.K.A. Grafitti Man\u003c/em>, with friends and supporters Jackson Browne, Kris Kristofferson and Bonnie Raitt. Trudell also appeared in the films \u003cem>Thunderheart\u003c/em> (1992), \u003cem>On Deadly Ground\u003c/em> (1995) and \u003cem>Smoke Signals\u003c/em> (1998), and was the subject of the 2005 documentary \u003cem>Trudell\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>Memorial services have not been announced as of press time.\u003c/p>\n\u003cp>\u003ci>Watch Trudell in 1970, speaking with KQED News about the occupation of Alcatraz:\u003c/i> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" width=\"630\" height=\"730\" src=\"https://diva.sfsu.edu/collections/sfbatv/bundles/187785\" frameborder=\"0\" marginwidth=\"0\" marginheight=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11148710/john-trudell-native-american-activist-and-artist-dies-at-69",
"authors": [
"185"
],
"categories": [
"arts_69",
"arts_235"
],
"tags": [
"arts_1118",
"arts_746",
"arts_596",
"arts_1091"
],
"featImg": "arts_11148719",
"label": "arts"
},
"arts_11146367": {
"type": "posts",
"id": "arts_11146367",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11146367",
"score": null,
"sort": [
1449630048000
]
},
"guestAuthors": [],
"slug": "cheap-date-punk-rock-karaoke-an-awesome-orchestra-and-more",
"title": "Cheap Date: Punk Rock Karaoke, an Awesöme Orchestra, and More",
"publishDate": 1449630048,
"format": "standard",
"headTitle": "Cheap Date: Punk Rock Karaoke, an Awesöme Orchestra, and More | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003cp>These days, it can be tough to maintain a positive perspective on the state of the arts in the Bay Area. It seems like every day brings news of a club going under or a nonprofit getting evicted. After reading such headlines, thinking in doomsday terms for independent artists and the intimate events they throw, which make up a hugely necessary part of our arts ecosystem, becomes all too easy.\u003c/p>\n\u003cp>\u003cem>And yet. \u003c/em>Make no mistake — the little guys are still here. Elbo Room just got its \u003ca href=\"http://ww2.kqed.org/arts/2015/12/08/elbo-rooms-lease-extended-to-2018/\" target=\"_blank\" rel=\"noopener\">lease renewed until 2018\u003c/a>! Noise Pop is bringing one of \u003ca href=\"http://ww2.kqed.org/arts/2015/11/19/noise-pop-branches-into-jazz-and-hip-hop-with-2016s-initial-lineup/\" target=\"_blank\" rel=\"noopener\">the brightest young stars in hip-hop\u003c/a> (that’d be Vince Staples) to a relatively tiny room! And our favorite \u003ca href=\"http://hoodline.com/2015/05/roxie-theater-hanging-on-to-location-for-another-three-years\" target=\"_blank\" rel=\"noopener\">independent theaters aren’t going anywhere\u003c/a>!\u003c/p>\n\u003cp>For those of us still living in the ever-more-expensive city, the onus is on us: If we want the little guys to keep thriving, we have to get out and support the little guys. With this responsibility in mind, here are six ways to get out around the Bay this week for $20 and under: It’s this week’s \u003cstrong>Cheap Date. \u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_11146733\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/12292639_1652943971660324_870898353_n.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-11146733\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/12292639_1652943971660324_870898353_n-400x400.jpg\" alt=\"This could be you at the Rickshaw Stop! \" width=\"400\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/12292639_1652943971660324_870898353_n-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/12292639_1652943971660324_870898353_n-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/12292639_1652943971660324_870898353_n-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/12292639_1652943971660324_870898353_n-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/12292639_1652943971660324_870898353_n-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/12292639_1652943971660324_870898353_n-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/12292639_1652943971660324_870898353_n-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/12292639_1652943971660324_870898353_n.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">This could be you at the Rickshaw Stop! \u003ccite>(via Karaoke Underground)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Friday, Dec. 11: \u003ca href=\"https://www.facebook.com/events/1036958066324772/\" target=\"_blank\" rel=\"noopener\">Karaoke Underground\u003c/a> at the Rickshaw Stop, San Francisco. \u003c/strong>Love karaoke, but perpetually-peeved that your favorite Rancid, Sleater-Kinney, and Jawbreaker songs aren’t on the typical song list? This traveling punk rock and indie amateur fest should do the trick. At April’s event (the first of its kind in SF), all of our usual cynicism went out the window when an impromptu group effort of eight women took the stage for Bikini Kill’s “Rebel Girl.” Bonus: Many punk songs don’t actually require you to sing very well! $5; \u003ca href=\"https://www.facebook.com/events/1036958066324772/\" target=\"_blank\" rel=\"noopener\">details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Saturday, Dec. 12: \u003ca href=\"https://www.facebook.com/events/918292348207679/\" target=\"_blank\" rel=\"noopener\">Awesöme Orchestra Concert Party\u003c/a> at American Steel Studios, Oakland. \u003c/strong>This nonprofit, anything-goes orchestra is open to players of all backgrounds, ages and levels, and often provides beer for its participants — which is to say, their shows tend to be \u003cem>really\u003c/em> fun. This year-end party’s program includes tunes by Danny Elfman, Portishead, Leonard Bernstein, and The Lonely Island, among others. Admission is a pay-what-you-want donation to help keep this project of the Intersection for the Arts alive. \u003ca href=\"https://www.facebook.com/events/918292348207679/\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=atN3Nqomjog\u003c/p>\n\u003cp>\u003cstrong>Saturday, Dec. 12: \u003ca href=\"http://www.cafestritch.com/event/battlehooch-growwler/\" target=\"_blank\" rel=\"noopener\">Battlehooch\u003c/a> at Cafe Stritch, San Jose. \u003c/strong>This San Francisco psych-rock staple makes the kind of music that might have you questioning what decade you’re in — but it’d be a huge disservice to call them retro. Electronic elements, dance-pop beats, and heavy psychedelic detours abound. D\u003ca href=\"http://www.cafestritch.com/event/battlehooch-growwler/\" target=\"_blank\" rel=\"noopener\">etails here. \u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=osUR2j_JdeA\u003c/p>\n\u003cp>\u003cstrong>Sunday, Dec. 13: \u003ca href=\"https://www.facebook.com/events/1521435664814846/\" target=\"_blank\" rel=\"noopener\">Holiday Urban Air Market\u003c/a> at Pier 70, San Francisco.\u003c/strong> Urban Air Market has been curating places for local, sustainable artists and designers to hawk their wares for the past 11 years, but this — their first holiday show — promises a blowout of vast, crafty proportions. More than 170 vendors will help you take care of your holiday shopping all at once, while food trucks keep your belly full and local bands like Vandella keep you grooving, should you tire of spending money. Free! \u003ca href=\"https://www.facebook.com/events/1521435664814846/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Sunday, Dec. 13: \u003ca href=\"http://www.sweetwatermusichall.com/event/1011933-kendra-mckinley-free-live-mill-valley/\" target=\"_blank\" rel=\"noopener\">Kendra McKinley\u003c/a> at the Sweetwater Music Hall, Mill Valley. \u003c/strong>This San Francisco songstress has one of those voices so sneakily smooth that it resonates in your bones — it’s somewhere between a lullaby and a call to arms. Her style veers between folk and bossa nova, with an affinity for looping and other experimentation; but her vocals and an acoustic guitar make for a plenty interesting show in and of themselves. She’ll play the patio during brunch at this North Bay venue. Free; \u003ca href=\"http://www.sweetwatermusichall.com/event/1011933-kendra-mckinley-free-live-mill-valley/\">details here. \u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=TbwZ6KX3lEc\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Tuesday, Dec. 15: \u003ca href=\"http://brownpapertickets.com/event/2471404\" target=\"_blank\" rel=\"noopener\">Republican Presidential Debate Viewing Party \u003c/a>at the New Parkway, Oakland. \u003c/strong>If we have to see Donald Trump’s mug on TV for the next few months, we might as well see it on the big screen — with plenty of pizza and alcohol, surrounded by folks who just might feel like booing and hissing along with us. The fourth debate will be hosted by political blogger Imani Gandy and lawyer/political junkie Dan Roth, and feature a short set of political-themed standup comedy by local gem Karina Dobbins. $10; \u003ca href=\"http://brownpapertickets.com/event/2471404\" target=\"_blank\" rel=\"noopener\">details here. \u003c/a>\u003c/p>\n\n",
"blocks": [],
"excerpt": "Plus: Kendra McKinley, an urban air market with 170+ vendors, and a chance to chuck popcorn at Donald Trump's face. ",
"status": "publish",
"parent": 0,
"modified": 1726702421,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 11,
"wordCount": 782
},
"headData": {
"title": "Cheap Date: Punk Rock Karaoke, an Awesöme Orchestra, and More | KQED",
"description": "Plus: Kendra McKinley, an urban air market with 170+ vendors, and a chance to chuck popcorn at Donald Trump's face. ",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Cheap Date: Punk Rock Karaoke, an Awesöme Orchestra, and More",
"datePublished": "2015-12-08T19:00:48-08:00",
"dateModified": "2024-09-18T16:33:41-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"path": "/arts/11146367/cheap-date-punk-rock-karaoke-an-awesome-orchestra-and-more",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>These days, it can be tough to maintain a positive perspective on the state of the arts in the Bay Area. It seems like every day brings news of a club going under or a nonprofit getting evicted. After reading such headlines, thinking in doomsday terms for independent artists and the intimate events they throw, which make up a hugely necessary part of our arts ecosystem, becomes all too easy.\u003c/p>\n\u003cp>\u003cem>And yet. \u003c/em>Make no mistake — the little guys are still here. Elbo Room just got its \u003ca href=\"http://ww2.kqed.org/arts/2015/12/08/elbo-rooms-lease-extended-to-2018/\" target=\"_blank\" rel=\"noopener\">lease renewed until 2018\u003c/a>! Noise Pop is bringing one of \u003ca href=\"http://ww2.kqed.org/arts/2015/11/19/noise-pop-branches-into-jazz-and-hip-hop-with-2016s-initial-lineup/\" target=\"_blank\" rel=\"noopener\">the brightest young stars in hip-hop\u003c/a> (that’d be Vince Staples) to a relatively tiny room! And our favorite \u003ca href=\"http://hoodline.com/2015/05/roxie-theater-hanging-on-to-location-for-another-three-years\" target=\"_blank\" rel=\"noopener\">independent theaters aren’t going anywhere\u003c/a>!\u003c/p>\n\u003cp>For those of us still living in the ever-more-expensive city, the onus is on us: If we want the little guys to keep thriving, we have to get out and support the little guys. With this responsibility in mind, here are six ways to get out around the Bay this week for $20 and under: It’s this week’s \u003cstrong>Cheap Date. \u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_11146733\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/12292639_1652943971660324_870898353_n.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-11146733\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/12292639_1652943971660324_870898353_n-400x400.jpg\" alt=\"This could be you at the Rickshaw Stop! \" width=\"400\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/12292639_1652943971660324_870898353_n-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/12292639_1652943971660324_870898353_n-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/12292639_1652943971660324_870898353_n-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/12292639_1652943971660324_870898353_n-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/12292639_1652943971660324_870898353_n-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/12292639_1652943971660324_870898353_n-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/12292639_1652943971660324_870898353_n-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/12292639_1652943971660324_870898353_n.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">This could be you at the Rickshaw Stop! \u003ccite>(via Karaoke Underground)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Friday, Dec. 11: \u003ca href=\"https://www.facebook.com/events/1036958066324772/\" target=\"_blank\" rel=\"noopener\">Karaoke Underground\u003c/a> at the Rickshaw Stop, San Francisco. \u003c/strong>Love karaoke, but perpetually-peeved that your favorite Rancid, Sleater-Kinney, and Jawbreaker songs aren’t on the typical song list? This traveling punk rock and indie amateur fest should do the trick. At April’s event (the first of its kind in SF), all of our usual cynicism went out the window when an impromptu group effort of eight women took the stage for Bikini Kill’s “Rebel Girl.” Bonus: Many punk songs don’t actually require you to sing very well! $5; \u003ca href=\"https://www.facebook.com/events/1036958066324772/\" target=\"_blank\" rel=\"noopener\">details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Saturday, Dec. 12: \u003ca href=\"https://www.facebook.com/events/918292348207679/\" target=\"_blank\" rel=\"noopener\">Awesöme Orchestra Concert Party\u003c/a> at American Steel Studios, Oakland. \u003c/strong>This nonprofit, anything-goes orchestra is open to players of all backgrounds, ages and levels, and often provides beer for its participants — which is to say, their shows tend to be \u003cem>really\u003c/em> fun. This year-end party’s program includes tunes by Danny Elfman, Portishead, Leonard Bernstein, and The Lonely Island, among others. Admission is a pay-what-you-want donation to help keep this project of the Intersection for the Arts alive. \u003ca href=\"https://www.facebook.com/events/918292348207679/\" 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/atN3Nqomjog'\n title='//www.youtube.com/embed/atN3Nqomjog'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Saturday, Dec. 12: \u003ca href=\"http://www.cafestritch.com/event/battlehooch-growwler/\" target=\"_blank\" rel=\"noopener\">Battlehooch\u003c/a> at Cafe Stritch, San Jose. \u003c/strong>This San Francisco psych-rock staple makes the kind of music that might have you questioning what decade you’re in — but it’d be a huge disservice to call them retro. Electronic elements, dance-pop beats, and heavy psychedelic detours abound. D\u003ca href=\"http://www.cafestritch.com/event/battlehooch-growwler/\" target=\"_blank\" rel=\"noopener\">etails here. \u003c/a>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/osUR2j_JdeA'\n title='//www.youtube.com/embed/osUR2j_JdeA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Sunday, Dec. 13: \u003ca href=\"https://www.facebook.com/events/1521435664814846/\" target=\"_blank\" rel=\"noopener\">Holiday Urban Air Market\u003c/a> at Pier 70, San Francisco.\u003c/strong> Urban Air Market has been curating places for local, sustainable artists and designers to hawk their wares for the past 11 years, but this — their first holiday show — promises a blowout of vast, crafty proportions. More than 170 vendors will help you take care of your holiday shopping all at once, while food trucks keep your belly full and local bands like Vandella keep you grooving, should you tire of spending money. Free! \u003ca href=\"https://www.facebook.com/events/1521435664814846/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Sunday, Dec. 13: \u003ca href=\"http://www.sweetwatermusichall.com/event/1011933-kendra-mckinley-free-live-mill-valley/\" target=\"_blank\" rel=\"noopener\">Kendra McKinley\u003c/a> at the Sweetwater Music Hall, Mill Valley. \u003c/strong>This San Francisco songstress has one of those voices so sneakily smooth that it resonates in your bones — it’s somewhere between a lullaby and a call to arms. Her style veers between folk and bossa nova, with an affinity for looping and other experimentation; but her vocals and an acoustic guitar make for a plenty interesting show in and of themselves. She’ll play the patio during brunch at this North Bay venue. Free; \u003ca href=\"http://www.sweetwatermusichall.com/event/1011933-kendra-mckinley-free-live-mill-valley/\">details here. \u003c/a>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/TbwZ6KX3lEc'\n title='//www.youtube.com/embed/TbwZ6KX3lEc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Tuesday, Dec. 15: \u003ca href=\"http://brownpapertickets.com/event/2471404\" target=\"_blank\" rel=\"noopener\">Republican Presidential Debate Viewing Party \u003c/a>at the New Parkway, Oakland. \u003c/strong>If we have to see Donald Trump’s mug on TV for the next few months, we might as well see it on the big screen — with plenty of pizza and alcohol, surrounded by folks who just might feel like booing and hissing along with us. The fourth debate will be hosted by political blogger Imani Gandy and lawyer/political junkie Dan Roth, and feature a short set of political-themed standup comedy by local gem Karina Dobbins. $10; \u003ca href=\"http://brownpapertickets.com/event/2471404\" target=\"_blank\" rel=\"noopener\">details here. \u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11146367/cheap-date-punk-rock-karaoke-an-awesome-orchestra-and-more",
"authors": [
"7237"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_968",
"arts_69",
"arts_967"
],
"tags": [
"arts_1118",
"arts_596",
"arts_626"
],
"featImg": "arts_11146735",
"label": "arts_140"
}
},
"podcastsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"podcasts": {}
},
"radioProgramsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"radioPrograms": {}
},
"radioSearchSegmentsReducer": {},
"programsReducer": {
"all-things-considered": {
"id": "all-things-considered",
"title": "All Things Considered",
"info": "Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. Michel Martin hosts on the weekends.",
"airtime": "MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/all-things-considered/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/all-things-considered"
},
"american-suburb-podcast": {
"id": "american-suburb-podcast",
"title": "American Suburb: The Podcast",
"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg",
"officialWebsiteLink": "/news/series/american-suburb-podcast",
"meta": {
"site": "news",
"source": "kqed",
"order": 19
},
"link": "/news/series/american-suburb-podcast/",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/RBrW",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328",
"tuneIn": "https://tunein.com/radio/American-Suburb-p1086805/",
"rss": "https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"
}
},
"baycurious": {
"id": "baycurious",
"title": "Bay Curious",
"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Bay Curious",
"officialWebsiteLink": "/news/series/baycurious",
"meta": {
"site": "news",
"source": "kqed",
"order": 3
},
"link": "/podcasts/baycurious",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/bay-curious/id1172473406",
"npr": "https://www.npr.org/podcasts/500557090/bay-curious",
"rss": "https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast",
"amazon": "https://music.amazon.com/podcasts/9a90d476-aa04-455d-9a4c-0871ed6216d4/bay-curious",
"stitcher": "https://www.stitcher.com/podcast/kqed/bay-curious",
"spotify": "https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"
}
},
"bbc-world-service": {
"id": "bbc-world-service",
"title": "BBC World Service",
"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
"airtime": "MON-FRI 9pm-10pm, TUE-FRI 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.bbc.co.uk/sounds/play/live:bbc_world_service",
"meta": {
"site": "news",
"source": "BBC World Service"
},
"link": "/radio/program/bbc-world-service",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2",
"tuneIn": "https://tunein.com/radio/BBC-World-Service-p455581/",
"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report",
"officialWebsiteLink": "/californiareport",
"meta": {
"site": "news",
"source": "kqed",
"order": 8
},
"link": "/californiareport",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-the-california-report/id79681292",
"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
"npr": "https://www.npr.org/podcasts/432285393/the-california-report",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-the-california-report-podcast-8838",
"rss": "https://ww2.kqed.org/news/tag/tcram/feed/podcast"
}
},
"californiareportmagazine": {
"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Magazine-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report Magazine",
"officialWebsiteLink": "/californiareportmagazine",
"meta": {
"site": "news",
"source": "kqed",
"order": 10
},
"link": "/californiareportmagazine",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-california-report-magazine/id1314750545",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
"npr": "https://www.npr.org/podcasts/564733126/the-california-report-magazine",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-california-report-magazine",
"rss": "https://ww2.kqed.org/news/tag/tcrmag/feed/podcast"
}
},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
"tagline": "Your irreverent guide to the trends redefining our world",
"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/02/CAT_2_Tile-scaled.jpg",
"imageAlt": "KQED Close All Tabs",
"officialWebsiteLink": "/podcasts/closealltabs",
"meta": {
"site": "news",
"source": "kqed",
"order": 1
},
"link": "/podcasts/closealltabs",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/close-all-tabs/id214663465",
"rss": "https://feeds.megaphone.fm/KQINC6993880386",
"amazon": "https://music.amazon.com/podcasts/92d9d4ac-67a3-4eed-b10a-fb45d45b1ef2/close-all-tabs",
"spotify": "https://open.spotify.com/show/6LAJFHnGK1pYXYzv6SIol6?si=deb0cae19813417c"
}
},
"code-switch-life-kit": {
"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
"airtime": "SUN 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/code-switch-life-kit",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
"spotify": "https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV",
"rss": "https://feeds.npr.org/510312/podcast.xml"
}
},
"commonwealth-club": {
"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
"tuneIn": "https://tunein.com/radio/Commonwealth-Club-of-California-p1060/"
}
},
"forum": {
"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
"officialWebsiteLink": "/forum",
"meta": {
"site": "news",
"source": "kqed",
"order": 9
},
"link": "/forum",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-forum/id73329719",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
"npr": "https://www.npr.org/podcasts/432307980/forum",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-forum-podcast",
"rss": "https://feeds.megaphone.fm/KQINC9557381633"
}
},
"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
"airtime": "MON-FRI 7pm-8pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Fresh-Air-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/fresh-air/",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/fresh-air",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Fresh-Air-p17/",
"rss": "https://feeds.npr.org/381444908/podcast.xml"
}
},
"here-and-now": {
"id": "here-and-now",
"title": "Here & Now",
"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
"airtime": "MON-THU 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Here-And-Now-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://www.wbur.org/hereandnow",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/here-and-now",
"subsdcribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=426698661",
"tuneIn": "https://tunein.com/radio/Here--Now-p211/",
"rss": "https://feeds.npr.org/510051/podcast.xml"
}
},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/hiddenbrain.jpg",
"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/hidden-brain/id1028908750?mt=2",
"tuneIn": "https://tunein.com/podcasts/Science-Podcasts/Hidden-Brain-p787503/",
"rss": "https://feeds.npr.org/510308/podcast.xml"
}
},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
"tuneIn": "https://tunein.com/podcasts/Arts--Culture-Podcasts/How-I-Built-This-p910896/",
"rss": "https://feeds.npr.org/510313/podcast.xml"
}
},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
"site": "news",
"source": "kqed",
"order": 15
},
"link": "/podcasts/hyphenacion",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/hyphenaci%C3%B3n/id1191591838",
"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
"youtube": "https://www.youtube.com/c/kqedarts",
"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
"site": "news",
"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
"subscribe": {
"npr": "https://www.npr.org/podcasts/790253322/the-political-mind-of-jerry-brown",
"apple": "https://itunes.apple.com/us/podcast/id1492194549",
"rss": "https://ww2.kqed.org/news/series/jerrybrown/feed/podcast/",
"tuneIn": "http://tun.in/pjGcK",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-political-mind-of-jerry-brown",
"spotify": "https://open.spotify.com/show/54C1dmuyFyKMFttY6X2j6r?si=K8SgRCoISNK6ZbjpXrX5-w",
"amazon": "https://music.amazon.com/podcasts/44420f75-3b0e-4301-ab3b-16da6b09e543/the-political-mind-of-jerry-brown"
}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/xtTd",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Latino-USA-p621/",
"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201853034&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/APM-Marketplace-p88/",
"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
"site": "news",
"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
"spotify": "https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"
}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
"npr": "https://rpb3r.app.goo.gl/onourwatch",
"spotify": "https://open.spotify.com/show/0OLWoyizopu6tY1XiuX70x",
"tuneIn": "https://tunein.com/radio/On-Our-Watch-p1436229/",
"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
"site": "news",
"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
"site": "radio",
"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
}
},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
"site": "radio",
"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/political-breakdown/id1327641087",
"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
"stitcher": "https://www.stitcher.com/podcast/kqed/political-breakdown",
"spotify": "https://open.spotify.com/show/07RVyIjIdk2WDuVehvBMoN",
"rss": "https://ww2.kqed.org/news/tag/political-breakdown/feed/podcast"
}
},
"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
"meta": {
"site": "news",
"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/possible/id1677184070",
"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
}
},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pri.org/programs/the-world",
"meta": {
"site": "news",
"source": "PRI"
},
"link": "/radio/program/pri-the-world",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pris-the-world-latest-edition/id278196007?mt=2",
"tuneIn": "https://tunein.com/podcasts/News--Politics-Podcasts/PRIs-The-World-p24/",
"rss": "http://feeds.feedburner.com/pri/theworld"
}
},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
"airtime": "SUN 12am-1am, SAT 2pm-3pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/radiolab1400.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/radiolab/",
"meta": {
"site": "science",
"source": "WNYC"
},
"link": "/radio/program/radiolab",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/radiolab/id152249110?mt=2",
"tuneIn": "https://tunein.com/radio/RadioLab-p68032/",
"rss": "https://feeds.wnyc.org/radiolab"
}
},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png",
"officialWebsiteLink": "https://www.revealnews.org/episodes/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/reveal",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/reveal/id886009669",
"tuneIn": "https://tunein.com/radio/Reveal-p679597/",
"rss": "http://feeds.revealradio.org/revealpodcast"
}
},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Rightnowish-Podcast-Tile-500x500-1.jpg",
"imageAlt": "KQED Rightnowish with Pendarvis Harshaw",
"officialWebsiteLink": "/podcasts/rightnowish",
"meta": {
"site": "arts",
"source": "kqed",
"order": 16
},
"link": "/podcasts/rightnowish",
"subscribe": {
"npr": "https://www.npr.org/podcasts/721590300/rightnowish",
"rss": "https://ww2.kqed.org/arts/programs/rightnowish/feed/podcast",
"apple": "https://podcasts.apple.com/us/podcast/rightnowish/id1482187648",
"stitcher": "https://www.stitcher.com/podcast/kqed/rightnowish",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMxMjU5MTY3NDc4",
"spotify": "https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I"
}
},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
"airtime": "FRI 11am-1pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Science-Friday-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/science-friday",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/science-friday",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=73329284&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Science-Friday-p394/",
"rss": "http://feeds.wnyc.org/science-friday"
}
},
"snap-judgment": {
"id": "snap-judgment",
"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
"airtime": "SAT 1pm-2pm, 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/05/Snap-Judgment-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Snap Judgment",
"officialWebsiteLink": "https://snapjudgment.org",
"meta": {
"site": "arts",
"source": "kqed",
"order": 4
},
"link": "https://snapjudgment.org",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/snap-judgment/id283657561",
"npr": "https://www.npr.org/podcasts/449018144/snap-judgment",
"stitcher": "https://www.pandora.com/podcast/snap-judgment/PC:241?source=stitcher-sunset",
"spotify": "https://open.spotify.com/show/3Cct7ZWmxHNAtLgBTqjC5v",
"rss": "https://snap.feed.snapjudgment.org/"
}
},
"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Sold-Out-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Sold Out: Rethinking Housing in America",
"officialWebsiteLink": "/podcasts/soldout",
"meta": {
"site": "news",
"source": "kqed",
"order": 13
},
"link": "/podcasts/soldout",
"subscribe": {
"npr": "https://www.npr.org/podcasts/911586047/s-o-l-d-o-u-t-a-new-future-for-housing",
"apple": "https://podcasts.apple.com/us/podcast/introducing-sold-out-rethinking-housing-in-america/id1531354937",
"rss": "https://feeds.megaphone.fm/soldout",
"spotify": "https://open.spotify.com/show/38dTBSk2ISFoPiyYNoKn1X",
"stitcher": "https://www.stitcher.com/podcast/kqed/sold-out-rethinking-housing-in-america",
"tunein": "https://tunein.com/radio/SOLD-OUT-Rethinking-Housing-in-America-p1365871/"
}
},
"spooked": {
"id": "spooked",
"title": "Spooked",
"tagline": "True-life supernatural stories",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/10/Spooked-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Spooked",
"officialWebsiteLink": "https://spookedpodcast.org/",
"meta": {
"site": "news",
"source": "kqed",
"order": 7
},
"link": "https://spookedpodcast.org/",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/spooked/id1279361017",
"npr": "https://www.npr.org/podcasts/549547848/snap-judgment-presents-spooked",
"spotify": "https://open.spotify.com/show/76571Rfl3m7PLJQZKQIGCT",
"rss": "https://feeds.simplecast.com/TBotaapn"
}
},
"tech-nation": {
"id": "tech-nation",
"title": "Tech Nation Radio Podcast",
"info": "Tech Nation is a weekly public radio program, hosted by Dr. Moira Gunn. Founded in 1993, it has grown from a simple interview show to a multi-faceted production, featuring conversations with noted technology and science leaders, and a weekly science and technology-related commentary.",
"airtime": "FRI 10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Tech-Nation-Radio-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://technation.podomatic.com/",
"meta": {
"site": "science",
"source": "Tech Nation Media"
},
"link": "/radio/program/tech-nation",
"subscribe": {
"rss": "https://technation.podomatic.com/rss2.xml"
}
},
"ted-radio-hour": {
"id": "ted-radio-hour",
"title": "TED Radio Hour",
"info": "The TED Radio Hour is a journey through fascinating ideas, astonishing inventions, fresh approaches to old problems, and new ways to think and create.",
"airtime": "SUN 3pm-4pm, SAT 10pm-11pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/tedRadioHour.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/ted-radio-hour/?showDate=2018-06-22",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/ted-radio-hour",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/8vsS",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=523121474&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/TED-Radio-Hour-p418021/",
"rss": "https://feeds.npr.org/510298/podcast.xml"
}
},
"thebay": {
"id": "thebay",
"title": "The Bay",
"tagline": "Local news to keep you rooted",
"info": "Host Devin Katayama walks you through the biggest story of the day with reporters and newsmakers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Bay-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Bay",
"officialWebsiteLink": "/podcasts/thebay",
"meta": {
"site": "radio",
"source": "kqed",
"order": 2
},
"link": "/podcasts/thebay",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-bay/id1350043452",
"amazon": "https://music.amazon.com/podcasts/d800ea4c-7a2c-42f2-b861-edaf78a5db0b/the-bay",
"npr": "https://www.npr.org/podcasts/586725995/the-bay",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-bay",
"spotify": "https://open.spotify.com/show/4BIKBKIujizLHlIlBNaAqQ",
"rss": "https://feeds.megaphone.fm/KQINC8259786327"
}
},
"thelatest": {
"id": "thelatest",
"title": "The Latest",
"tagline": "Trusted local news in real time",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/05/The-Latest-2025-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Latest",
"officialWebsiteLink": "/thelatest",
"meta": {
"site": "news",
"source": "kqed",
"order": 6
},
"link": "/thelatest",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-latest-from-kqed/id1197721799",
"npr": "https://www.npr.org/podcasts/1257949365/the-latest-from-k-q-e-d",
"spotify": "https://open.spotify.com/show/5KIIXMgM9GTi5AepwOYvIZ?si=bd3053fec7244dba",
"rss": "https://feeds.megaphone.fm/KQINC9137121918"
}
},
"theleap": {
"id": "theleap",
"title": "The Leap",
"tagline": "What if you closed your eyes, and jumped?",
"info": "Stories about people making dramatic, risky changes, told by award-winning public radio reporter Judy Campbell.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Leap-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Leap",
"officialWebsiteLink": "/podcasts/theleap",
"meta": {
"site": "news",
"source": "kqed",
"order": 17
},
"link": "/podcasts/theleap",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-leap/id1046668171",
"npr": "https://www.npr.org/podcasts/447248267/the-leap",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-leap",
"spotify": "https://open.spotify.com/show/3sSlVHHzU0ytLwuGs1SD1U",
"rss": "https://ww2.kqed.org/news/programs/the-leap/feed/podcast"
}
},
"the-moth-radio-hour": {
"id": "the-moth-radio-hour",
"title": "The Moth Radio Hour",
"info": "Since its launch in 1997, The Moth has presented thousands of true stories, told live and without notes, to standing-room-only crowds worldwide. Moth storytellers stand alone, under a spotlight, with only a microphone and a roomful of strangers. The storyteller and the audience embark on a high-wire act of shared experience which is both terrifying and exhilarating. Since 2008, The Moth podcast has featured many of our favorite stories told live on Moth stages around the country. For information on all of our programs and live events, visit themoth.org.",
"airtime": "SAT 8pm-9pm and SUN 11am-12pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/theMoth.jpg",
"officialWebsiteLink": "https://themoth.org/",
"meta": {
"site": "arts",
"source": "prx"
},
"link": "/radio/program/the-moth-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/the-moth-podcast/id275699983?mt=2",
"tuneIn": "https://tunein.com/radio/The-Moth-p273888/",
"rss": "http://feeds.themoth.org/themothpodcast"
}
},
"the-new-yorker-radio-hour": {
"id": "the-new-yorker-radio-hour",
"title": "The New Yorker Radio Hour",
"info": "The New Yorker Radio Hour is a weekly program presented by the magazine's editor, David Remnick, and produced by WNYC Studios and The New Yorker. Each episode features a diverse mix of interviews, profiles, storytelling, and an occasional burst of humor inspired by the magazine, and shaped by its writers, artists, and editors. This isn't a radio version of a magazine, but something all its own, reflecting the rich possibilities of audio storytelling and conversation. Theme music for the show was composed and performed by Merrill Garbus of tUnE-YArDs.",
"airtime": "SAT 10am-11am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-New-Yorker-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/tnyradiohour",
"meta": {
"site": "arts",
"source": "WNYC"
},
"link": "/radio/program/the-new-yorker-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/id1050430296",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/New-Yorker-Radio-Hour-p803804/",
"rss": "https://feeds.feedburner.com/newyorkerradiohour"
}
},
"the-sam-sanders-show": {
"id": "the-sam-sanders-show",
"title": "The Sam Sanders Show",
"info": "One of public radio's most dynamic voices, Sam Sanders helped launch The NPR Politics Podcast and hosted NPR's hit show It's Been A Minute. Now, the award-winning host returns with something brand new, The Sam Sanders Show. Every week, Sam Sanders and friends dig into the culture that shapes our lives: what's driving the biggest trends, how artists really think, and even the memes you can't stop scrolling past. Sam is beloved for his way of unpacking the world and bringing you up close to fresh currents and engaging conversations. The Sam Sanders Show is smart, funny and always a good time.",
"airtime": "FRI 12-1pm AND SAT 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/11/The-Sam-Sanders-Show-Podcast-Tile-400x400-1.jpg",
"officialWebsiteLink": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"meta": {
"site": "arts",
"source": "KCRW"
},
"link": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"subscribe": {
"rss": "https://feed.cdnstream1.com/zjb/feed/download/ac/28/59/ac28594c-e1d0-4231-8728-61865cdc80e8.xml"
}
},
"the-splendid-table": {
"id": "the-splendid-table",
"title": "The Splendid Table",
"info": "\u003cem>The Splendid Table\u003c/em> hosts our nation's conversations about cooking, sustainability and food culture.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Splendid-Table-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.splendidtable.org/",
"airtime": "SUN 10-11 pm",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/the-splendid-table"
},
"this-american-life": {
"id": "this-american-life",
"title": "This American Life",
"info": "This American Life is a weekly public radio show, heard by 2.2 million people on more than 500 stations. Another 2.5 million people download the weekly podcast. It is hosted by Ira Glass, produced in collaboration with Chicago Public Media, delivered to stations by PRX The Public Radio Exchange, and has won all of the major broadcasting awards.",
"airtime": "SAT 12pm-1pm, 7pm-8pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/thisAmericanLife.png",
"officialWebsiteLink": "https://www.thisamericanlife.org/",
"meta": {
"site": "news",
"source": "wbez"
},
"link": "/radio/program/this-american-life",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201671138&at=11l79Y&ct=nprdirectory",
"rss": "https://www.thisamericanlife.org/podcast/rss.xml"
}
},
"tinydeskradio": {
"id": "tinydeskradio",
"title": "Tiny Desk Radio",
"info": "We're bringing the best of Tiny Desk to the airwaves, only on public radio.",
"airtime": "SUN 8pm and SAT 9pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/04/300x300-For-Member-Station-Logo-Tiny-Desk-Radio-@2x.png",
"officialWebsiteLink": "https://www.npr.org/series/g-s1-52030/tiny-desk-radio",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/tinydeskradio",
"subscribe": {
"rss": "https://feeds.npr.org/g-s1-52030/rss.xml"
}
},
"wait-wait-dont-tell-me": {
"id": "wait-wait-dont-tell-me",
"title": "Wait Wait... Don't Tell Me!",
"info": "Peter Sagal and Bill Kurtis host the weekly NPR News quiz show alongside some of the best and brightest news and entertainment personalities.",
"airtime": "SUN 10am-11am, SAT 11am-12pm, SAT 6pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Wait-Wait-Podcast-Tile-300x300-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/wait-wait-dont-tell-me/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/wait-wait-dont-tell-me",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/Xogv",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=121493804&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Wait-Wait-Dont-Tell-Me-p46/",
"rss": "https://feeds.npr.org/344098539/podcast.xml"
}
},
"weekend-edition-saturday": {
"id": "weekend-edition-saturday",
"title": "Weekend Edition Saturday",
"info": "Weekend Edition Saturday wraps up the week's news and offers a mix of analysis and features on a wide range of topics, including arts, sports, entertainment, and human interest stories. The two-hour program is hosted by NPR's Peabody Award-winning Scott Simon.",
"airtime": "SAT 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-saturday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-saturday"
},
"weekend-edition-sunday": {
"id": "weekend-edition-sunday",
"title": "Weekend Edition Sunday",
"info": "Weekend Edition Sunday features interviews with newsmakers, artists, scientists, politicians, musicians, writers, theologians and historians. The program has covered news events from Nelson Mandela's 1990 release from a South African prison to the capture of Saddam Hussein.",
"airtime": "SUN 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-sunday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-sunday"
}
},
"racesReducer": {},
"racesGenElectionReducer": {},
"racesGenElection2026Reducer": {},
"radioSchedulesReducer": {},
"listsReducer": {
"posts/arts?category=music": {
"isFetching": false,
"latestQuery": {
"from": 3744,
"size": 12
},
"vitalsOnly": false,
"totalRequested": 12,
"isLoading": false,
"isLoadingMore": true,
"total": {
"value": 4900,
"relation": "eq"
},
"items": [
"arts_11162682",
"arts_11147327",
"news_10780713",
"arts_11155955",
"arts_11152194",
"arts_11150584",
"arts_11148712",
"pop_19373",
"arts_11149631",
"arts_11149505",
"arts_11148710",
"arts_11146367"
],
"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_596": {
"type": "terms",
"id": "arts_596",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "596",
"found": true
},
"relationships": {},
"featImg": null,
"name": "ntv",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "ntv Archives | KQED Arts",
"ogDescription": null
},
"ttid": 602,
"slug": "ntv",
"isLoading": false,
"link": "/arts/tag/ntv"
},
"arts_700": {
"type": "terms",
"id": "arts_700",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "700",
"found": true
},
"relationships": {},
"featImg": null,
"name": "ticket alert",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "ticket alert Archives | KQED Arts",
"ogDescription": null
},
"ttid": 711,
"slug": "ticket-alert",
"isLoading": false,
"link": "/arts/tag/ticket-alert"
},
"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_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_769": {
"type": "terms",
"id": "arts_769",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "769",
"found": true
},
"relationships": {},
"featImg": null,
"name": "review",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "review Archives | KQED Arts",
"ogDescription": null
},
"ttid": 787,
"slug": "review",
"isLoading": false,
"link": "/arts/tag/review"
},
"news_72": {
"type": "terms",
"id": "news_72",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "72",
"found": true
},
"relationships": {},
"featImg": "https://ww2.kqed.org/app/uploads/sites/10/2014/10/TCR-2-Logo-Web-Banners-03.png",
"name": "The California Report",
"description": null,
"taxonomy": "program",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "The California Report Archives | KQED News",
"ogDescription": null
},
"ttid": 6969,
"slug": "the-california-report",
"isLoading": false,
"link": "/news/program/the-california-report"
},
"news_223": {
"type": "terms",
"id": "news_223",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "223",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Arts and Culture",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Arts and Culture Archives | KQED News",
"ogDescription": null
},
"ttid": 231,
"slug": "arts-and-culture",
"isLoading": false,
"link": "/news/category/arts-and-culture"
},
"news_18436": {
"type": "terms",
"id": "news_18436",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "18436",
"found": true
},
"relationships": {},
"featImg": null,
"name": "India",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "India Archives | KQED News",
"ogDescription": null
},
"ttid": 18470,
"slug": "india",
"isLoading": false,
"link": "/news/tag/india"
},
"news_1425": {
"type": "terms",
"id": "news_1425",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "1425",
"found": true
},
"relationships": {},
"featImg": null,
"name": "music",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "music Archives | KQED News",
"ogDescription": null
},
"ttid": 1437,
"slug": "music",
"isLoading": false,
"link": "/news/tag/music"
},
"news_17051": {
"type": "terms",
"id": "news_17051",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "17051",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Music Review",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Music Review Archives | KQED News",
"ogDescription": null
},
"ttid": 17079,
"slug": "music-review",
"isLoading": false,
"link": "/news/tag/music-review"
},
"news_17286": {
"type": "terms",
"id": "news_17286",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "17286",
"found": true
},
"relationships": {},
"featImg": null,
"name": "tcr",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "tcr Archives | KQED News",
"ogDescription": null
},
"ttid": 17318,
"slug": "tcr",
"isLoading": false,
"link": "/news/tag/tcr"
},
"arts_137": {
"type": "terms",
"id": "arts_137",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "137",
"found": true
},
"relationships": {},
"featImg": "https://ww2.kqed.org/app/uploads/sites/2/2014/04/logo-npr-lg1.png",
"name": "NPR",
"description": null,
"taxonomy": "affiliate",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "NPR Archives | KQED Arts",
"ogDescription": null
},
"ttid": 138,
"slug": "npr",
"isLoading": false,
"link": "/arts/affiliate/npr"
},
"arts_1007": {
"type": "terms",
"id": "arts_1007",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1007",
"found": true
},
"relationships": {},
"featImg": null,
"name": "video",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "video Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1024,
"slug": "video",
"isLoading": false,
"link": "/arts/tag/video"
},
"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_73": {
"type": "terms",
"id": "arts_73",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "73",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Books",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Books Archives | KQED Arts",
"ogDescription": null
},
"ttid": 74,
"slug": "literature",
"isLoading": false,
"link": "/arts/category/literature"
},
"arts_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"
},
"pop_2696": {
"type": "terms",
"id": "pop_2696",
"meta": {
"index": "terms_1716263798",
"site": "pop",
"id": "2696",
"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": 2702,
"slug": "comedy-2",
"isLoading": false,
"link": "/pop/category/comedy-2"
},
"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_560": {
"type": "terms",
"id": "pop_560",
"meta": {
"index": "terms_1716263798",
"site": "pop",
"id": "560",
"found": true
},
"relationships": {},
"featImg": null,
"name": "hip hop",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "hip hop Archives | KQED Arts",
"ogDescription": null
},
"ttid": 560,
"slug": "hip-hop",
"isLoading": false,
"link": "/pop/tag/hip-hop"
},
"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_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_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_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_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_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"
}
},
"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
}
}
