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_11184961": {
"type": "attachments",
"id": "arts_11184961",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11184961",
"found": true
},
"parent": 11184852,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/MusicQuiz.MAIN_-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/MusicQuiz.MAIN_-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/MusicQuiz.MAIN_-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/MusicQuiz.MAIN_-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/MusicQuiz.MAIN_.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/MusicQuiz.MAIN_-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/MusicQuiz.MAIN_-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/MusicQuiz.MAIN_-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/MusicQuiz.MAIN_-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/MusicQuiz.MAIN_-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/MusicQuiz.MAIN_-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/MusicQuiz.MAIN_-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/MusicQuiz.MAIN_-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/MusicQuiz.MAIN_-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/MusicQuiz.MAIN_-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1450837521,
"modified": 1450837521,
"caption": null,
"description": null,
"title": "MusicQuiz.MAIN",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11184593": {
"type": "attachments",
"id": "arts_11184593",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11184593",
"found": true
},
"parent": 11184267,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/Prince-Purple-Rain-e1450826996399-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/Prince-Purple-Rain-e1450826996399-400x228.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 228
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/Prince-Purple-Rain-e1450826996399-960x548.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 548
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/Prince-Purple-Rain-e1450826996399-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/Prince-Purple-Rain-e1450826996399.jpg",
"width": 1286,
"height": 734
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/Prince-Purple-Rain-e1450826996399-1180x673.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 673
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/Prince-Purple-Rain-e1450826996399-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/Prince-Purple-Rain-e1450826996399-800x457.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 457
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/Prince-Purple-Rain-e1450826996399-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/Prince-Purple-Rain-e1450826996399-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/Prince-Purple-Rain-e1450826996399-1180x673.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 673
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/Prince-Purple-Rain-e1450826996399-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/Prince-Purple-Rain-e1450826996399-768x438.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 438
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/Prince-Purple-Rain-e1450826996399-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1450826979,
"modified": 1540428617,
"caption": "The Purple Ones, a Prince tribute band, channel the late singer at their Halloween Crystal Ball Party at the Uptown on Oct. 27.",
"description": null,
"title": "Prince-Purple-Rain",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"pop_19596": {
"type": "attachments",
"id": "pop_19596",
"meta": {
"index": "attachments_1716263798",
"site": "pop",
"id": "19596",
"found": true
},
"parent": 19133,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2015/12/father-christmas-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2015/12/father-christmas-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2015/12/father-christmas.jpg",
"width": 800,
"height": 450
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2015/12/father-christmas-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2015/12/father-christmas-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2015/12/father-christmas-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2015/12/father-christmas-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2015/12/father-christmas-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2015/12/father-christmas-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2015/12/father-christmas-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1450741457,
"modified": 1450743172,
"caption": "Photo: The British Library, \u003ca href=\"https://www.flickr.com/photos/britishlibrary/11228106243/in/photolist-i7bYNF-hR4aSm-i76VSG-i7hvRn-i6Ygib-jYXJxZ-i78Crz-jYZu8d-i7euJ9-hXxrVw-i6YJDn-i7dJdV-i6YeKy-i714eZ-i7adyy-i7iXnw-i7jWb3-idZmUB-i6ZVTB-i7asA8-i7dJVh-i7bnAX-i74pNQ-i8RYom-i7hAng-i7eKf3-i6Xdhy-i7gZZD-i7hqGs-icBScg-id9bzP-idyzPK-hTUysd-hTX9kj-hU1Tav-idujeW-hR6tCQ-hU9wuf-idbkSU-id8ztW-idPCtL-i2uMLL-i7f3hv-i7dSFj-i74mex-i6Y1dR-idWG2H-ie5r77-id448y-hUfigi\">Flickr\u003c/a>",
"description": null,
"title": "father-christmas",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11174300": {
"type": "attachments",
"id": "arts_11174300",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11174300",
"found": true
},
"parent": 11174293,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/Beth-Clarke-credit-shootthatclown-e1450739702440-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/Beth-Clarke-credit-shootthatclown-e1450739702440-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/Beth-Clarke-credit-shootthatclown-e1450739702440-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/Beth-Clarke-credit-shootthatclown-e1450739702440-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/Beth-Clarke-credit-shootthatclown-e1450739702440.jpg",
"width": 2824,
"height": 1588
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/Beth-Clarke-credit-shootthatclown-e1450739702440-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/Beth-Clarke-credit-shootthatclown-e1450739702440-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/Beth-Clarke-credit-shootthatclown-e1450739702440-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/Beth-Clarke-credit-shootthatclown-e1450739702440-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/Beth-Clarke-credit-shootthatclown-e1450739702440-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/Beth-Clarke-credit-shootthatclown-e1450739702440-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/Beth-Clarke-credit-shootthatclown-e1450739702440-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/Beth-Clarke-credit-shootthatclown-e1450739702440-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/Beth-Clarke-credit-shootthatclown-e1450739702440-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/Beth-Clarke-credit-shootthatclown-e1450739702440-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1450484301,
"modified": 1450484347,
"caption": "Beth Clarke of Sweet Can Productions",
"description": "Beth Clarke of Sweet Can Productions",
"title": "Beth Clarke credit shootthatclown",
"credit": "Photo: shootthatclown",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11182238": {
"type": "attachments",
"id": "arts_11182238",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11182238",
"found": true
},
"parent": 11182237,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/11182237-thumb-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/11182237-thumb.jpg",
"width": 400,
"height": 225
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/11182237-thumb-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/11182237-thumb-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/11182237-thumb-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/11182237-thumb-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/11182237-thumb-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1450749077,
"modified": 1450749077,
"caption": null,
"description": null,
"title": "Thumbnail for 11182237",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"pop_113553": {
"type": "attachments",
"id": "pop_113553",
"meta": {
"index": "attachments_1716263798",
"site": "pop",
"id": "113553",
"found": true
},
"parent": 19503,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2015/12/RunDMC.Xmas_-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2015/12/RunDMC.Xmas_-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2015/12/RunDMC.Xmas_-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2015/12/RunDMC.Xmas_.jpg",
"width": 1067,
"height": 600
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2015/12/RunDMC.Xmas_-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2015/12/RunDMC.Xmas_-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2015/12/RunDMC.Xmas_-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1642034939,
"modified": 1642035020,
"caption": "The picture disc single of Run-DMC's \"Christmas in Hollis,\" one of a handful of Christmas songs that won't give you diabetes.",
"description": "The picture disc single of Run-DMC's \"Christmas in Hollis,\" one of a handful of Christmas songs that won't give you diabetes.",
"title": "RunDMC.Xmas",
"credit": "Profile Records",
"status": "inherit",
"altTag": "Run DMC pictured inside a Christmas wreath",
"isLoading": false,
"fetchFailed": false
},
"news_10799420": {
"type": "attachments",
"id": "news_10799420",
"meta": {
"index": "attachments_1716263798",
"site": "news",
"id": "10799420",
"found": true
},
"parent": 10799417,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17854_diablos2.JPG-qut-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17854_diablos2.JPG-qut-400x266.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 266
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17854_diablos2.JPG-qut-960x638.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 638
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17854_diablos2.JPG-qut-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17854_diablos2.JPG-qut.jpg",
"width": 1920,
"height": 1275
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17854_diablos2.JPG-qut-1440x956.jpg",
"width": 1440,
"mimeType": "image/jpeg",
"height": 956
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17854_diablos2.JPG-qut-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17854_diablos2.JPG-qut-800x531.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 531
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17854_diablos2.JPG-qut-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17854_diablos2.JPG-qut-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"jmtc-small-thumb": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17854_diablos2.JPG-qut-280x150.jpg",
"width": 280,
"mimeType": "image/jpeg",
"height": 150
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17854_diablos2.JPG-qut-1920x1275.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1275
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17854_diablos2.JPG-qut-1180x784.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 784
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17854_diablos2.JPG-qut-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17854_diablos2.JPG-qut-768x510.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 510
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17854_diablos2.JPG-qut-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1450469377,
"modified": 1450469472,
"caption": " Grupo Nuu Yuku – Danza de los Diablos de San Miguel Cuevas is a self-supporting Mixteco dance group comprised of up to 50 men, women, and children. The dancers are local Mixteco immigrant farm workers from the Madera area north of Fresno. The danza de los diablos, or dance of the devils, represents a specialized local tradition that is widely practiced in San Miguel Cuevas and the nearby town of Juxtlahuaca in northern Oaxaca. ",
"description": null,
"title": "RS17854_diablos2.JPG-qut",
"credit": "Amy Kitchener/ACTA",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11171740": {
"type": "attachments",
"id": "arts_11171740",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11171740",
"found": true
},
"parent": 11168560,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/TopAlbums2015.MAIN1_-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/TopAlbums2015.MAIN1_-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/TopAlbums2015.MAIN1_-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/TopAlbums2015.MAIN1_-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/TopAlbums2015.MAIN1_.jpg",
"width": 1400,
"height": 788
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/TopAlbums2015.MAIN1_-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/TopAlbums2015.MAIN1_-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/TopAlbums2015.MAIN1_-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/TopAlbums2015.MAIN1_-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/TopAlbums2015.MAIN1_-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/TopAlbums2015.MAIN1_-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/TopAlbums2015.MAIN1_-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/TopAlbums2015.MAIN1_-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/TopAlbums2015.MAIN1_-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1450400458,
"modified": 1450400458,
"caption": null,
"description": null,
"title": "TopAlbums2015.MAIN1",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"pop_19564": {
"type": "attachments",
"id": "pop_19564",
"meta": {
"index": "attachments_1716263798",
"site": "pop",
"id": "19564",
"found": true
},
"parent": 19557,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2015/12/ariana-xmas-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2015/12/ariana-xmas-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2015/12/ariana-xmas.jpg",
"width": 800,
"height": 450
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2015/12/ariana-xmas-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2015/12/ariana-xmas-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2015/12/ariana-xmas-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2015/12/ariana-xmas-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2015/12/ariana-xmas-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2015/12/ariana-xmas-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2015/12/ariana-xmas-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1450481495,
"modified": 1450481495,
"caption": null,
"description": null,
"title": "ariana-xmas",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11171730": {
"type": "attachments",
"id": "arts_11171730",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11171730",
"found": true
},
"parent": 11171307,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/Sarah-Bethe-Nelson-1-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/Sarah-Bethe-Nelson-1-400x267.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 267
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/Sarah-Bethe-Nelson-1-960x640.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 640
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/Sarah-Bethe-Nelson-1-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/Sarah-Bethe-Nelson-1.jpg",
"width": 1149,
"height": 766
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/Sarah-Bethe-Nelson-1-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/Sarah-Bethe-Nelson-1-800x533.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 533
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/Sarah-Bethe-Nelson-1-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/Sarah-Bethe-Nelson-1-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/Sarah-Bethe-Nelson-1-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/Sarah-Bethe-Nelson-1-768x512.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 512
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/Sarah-Bethe-Nelson-1-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1450399646,
"modified": 1450399675,
"caption": "Sarah Bethe Nelson",
"description": "Sarah Bethe Nelson",
"title": "Sarah Bethe Nelson",
"credit": "Photo: Colette Levesque",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11171465": {
"type": "attachments",
"id": "arts_11171465",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11171465",
"found": true
},
"parent": 11171454,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/NWA-1crop-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/NWA-1crop-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/NWA-1crop.jpg",
"width": 800,
"height": 450
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/NWA-1crop-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/NWA-1crop-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/NWA-1crop-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/NWA-1crop-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/NWA-1crop-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/NWA-1crop-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/NWA-1crop-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1450392844,
"modified": 1450392884,
"caption": "Rap group N.W.A. pose with rappers The D.O.C. and Laylaw from Above The Law (L-R standing: Laylaw, DJ Yella, Dr. Dre and The D.O.C. seated Ice Cube, Eazy-E and MC Ren) backstage at the Kemper Arena during their 'Straight Outta Compton' tour in June 1989 in Kansas City, Miss. ",
"description": "Rap group N.W.A. pose with rappers The D.O.C. and Laylaw from Above The Law (L-R standing: Laylaw, DJ Yella, Dr. Dre and The D.O.C. seated Ice Cube, Eazy-E and MC Ren) backstage at the Kemper Arena during their 'Straight Outta Compton' tour in June 1989 in Kansas City, Miss. ",
"title": "N.W.A. Backstage In KC",
"credit": "Photo: Raymond Boyd/Michael Ochs Archives/Getty Images",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_11171177": {
"type": "attachments",
"id": "arts_11171177",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11171177",
"found": true
},
"parent": 11155384,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/9-record-covers-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/9-record-covers-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/9-record-covers.jpg",
"width": 800,
"height": 450
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/9-record-covers-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/9-record-covers-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/9-record-covers-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/9-record-covers-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/9-record-covers-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/9-record-covers-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/12/9-record-covers-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1450385591,
"modified": 1450385606,
"caption": null,
"description": null,
"title": "9 record covers",
"credit": "Graphic: Kevin L. Jones",
"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_11171454": {
"type": "authors",
"id": "byline_arts_11171454",
"meta": {
"override": true
},
"slug": "byline_arts_11171454",
"name": "Associated Press",
"isLoading": false
},
"ehapsis": {
"type": "authors",
"id": "27",
"meta": {
"index": "authors_1716337520",
"id": "27",
"found": true
},
"name": "Emmanuel Hapsis",
"firstName": "Emmanuel",
"lastName": "Hapsis",
"slug": "ehapsis",
"email": "ehapsis@kqed.org",
"display_author_email": false,
"staff_mastheads": [],
"title": "KQED Contributor",
"bio": "Emmanuel Hapsis is the creator and editor of KQED Pop and also the host of \u003cem>\u003ca href=\"https://itunes.apple.com/us/podcast/the-cooler/id1041117499?mt=2\">The Cooler\u003c/a>\u003c/em>. He studied creative writing at University of Maryland and went on to receive his MFA in the field from California College of the Arts. In his free time, he sings his heart out at karaoke.",
"avatar": "https://secure.gravatar.com/avatar/6302b6f7ef8b2dcd3acd9e2c6bc570b7?s=600&d=blank&r=g",
"twitter": "xcusemybeauty",
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"Contributor",
"subscriber"
]
},
{
"site": "pop",
"roles": [
"contributor"
]
}
],
"headData": {
"title": "Emmanuel Hapsis | KQED",
"description": "KQED Contributor",
"ogImgSrc": "https://secure.gravatar.com/avatar/6302b6f7ef8b2dcd3acd9e2c6bc570b7?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/6302b6f7ef8b2dcd3acd9e2c6bc570b7?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/ehapsis"
},
"cmusiker": {
"type": "authors",
"id": "32",
"meta": {
"index": "authors_1716337520",
"id": "32",
"found": true
},
"name": "Cy Musiker",
"firstName": "Cy",
"lastName": "Musiker",
"slug": "cmusiker",
"email": "cmusiker@kqed.org",
"display_author_email": false,
"staff_mastheads": [],
"title": "KQED Contributor",
"bio": "Cy Musiker is a former co-host of The Do List and a former reporter covering the arts for KQED News and The California Report. He loves live performance, especially great theater, jazz, roots music, anything by Mahler. Cy has an MJ from UC Berkeley's School of Journalism, and got his BA from Hampshire College. His work has been recognized by the Society for Professional Journalists with their Sigma Delta Chi Award for Public Service in Journalism. When he can, Cy likes to swim in Tomales Bay, run with his dog in the East Bay Hills, and hike the Sierra.",
"avatar": "https://secure.gravatar.com/avatar/05eaba5c5696ce8f062e4ea2df428a43?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"Contributor",
"subscriber"
]
},
{
"site": "news",
"roles": [
"author"
]
},
{
"site": "bayareabites",
"roles": [
"contributor"
]
}
],
"headData": {
"title": "Cy Musiker | KQED",
"description": "KQED Contributor",
"ogImgSrc": "https://secure.gravatar.com/avatar/05eaba5c5696ce8f062e4ea2df428a43?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/05eaba5c5696ce8f062e4ea2df428a43?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/cmusiker"
},
"kjones": {
"type": "authors",
"id": "93",
"meta": {
"index": "authors_1716337520",
"id": "93",
"found": true
},
"name": "Kevin L. Jones",
"firstName": "Kevin",
"lastName": "Jones",
"slug": "kjones",
"email": "kjones@kqed.org",
"display_author_email": false,
"staff_mastheads": [],
"title": null,
"bio": null,
"avatar": "https://secure.gravatar.com/avatar/12c65b5633ed39d0a59bb7f497eff645?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"subscriber"
]
},
{
"site": "styleguide",
"roles": [
"contributor"
]
},
{
"site": "artschool",
"roles": [
"subscriber"
]
},
{
"site": "news",
"roles": [
"subscriber"
]
},
{
"site": "pop",
"roles": [
"subscriber"
]
}
],
"headData": {
"title": "Kevin L. Jones | KQED",
"description": null,
"ogImgSrc": "https://secure.gravatar.com/avatar/12c65b5633ed39d0a59bb7f497eff645?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/12c65b5633ed39d0a59bb7f497eff645?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/kjones"
},
"gmeline": {
"type": "authors",
"id": "185",
"meta": {
"index": "authors_1716337520",
"id": "185",
"found": true
},
"name": "Gabe Meline",
"firstName": "Gabe",
"lastName": "Meline",
"slug": "gmeline",
"email": "gmeline@kqed.org",
"display_author_email": true,
"staff_mastheads": [
"arts"
],
"title": "Senior Editor, KQED Arts & Culture",
"bio": "Gabe Meline entered journalism at age 15 making photocopied zines, and has since earned awards from the Edward R. Murrow Awards, the Society for Professional Journalists, the Online Journalism Awards, the Association of Alternative Newsweeklies and the California Newspaper Publishers Association. Prior to KQED, he was the editor of the \u003cem>North Bay Bohemian\u003c/em> and a touring musician. He lives with his wife and daughter in his hometown of Santa Rosa, CA.",
"avatar": "https://secure.gravatar.com/avatar/5bebe57be0d8bc2dd318934feb47299e2d2d10cba28d09d8d7afb389a2ce2bdd?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "",
"roles": [
"editor"
]
},
{
"site": "arts",
"roles": [
"administrator"
]
},
{
"site": "artschool",
"roles": [
"editor"
]
},
{
"site": "news",
"roles": [
"author"
]
},
{
"site": "pop",
"roles": [
"editor"
]
},
{
"site": "bayareabites",
"roles": [
"editor"
]
},
{
"site": "food",
"roles": [
"editor"
]
},
{
"site": "forum",
"roles": [
"administrator"
]
},
{
"site": "liveblog",
"roles": [
"editor"
]
},
{
"site": "hiphop",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Gabe Meline | KQED",
"description": "Senior Editor, KQED Arts & Culture",
"ogImgSrc": "https://secure.gravatar.com/avatar/5bebe57be0d8bc2dd318934feb47299e2d2d10cba28d09d8d7afb389a2ce2bdd?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/5bebe57be0d8bc2dd318934feb47299e2d2d10cba28d09d8d7afb389a2ce2bdd?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/gmeline"
},
"sasha-khokha": {
"type": "authors",
"id": "254",
"meta": {
"index": "authors_1716337520",
"id": "254",
"found": true
},
"name": "Sasha Khokha",
"firstName": "Sasha",
"lastName": "Khokha",
"slug": "sasha-khokha",
"email": "skhokha@kqed.org",
"display_author_email": true,
"staff_mastheads": [
"news"
],
"title": "Host, The California Report Magazine",
"bio": "Sasha Khokha is the host of \u003cem>The California Report's \u003c/em> weekly magazine program, which takes listeners on sound-rich excursions to meet the people that make the Golden State unique -- through audio documentaries and long-form stories. As \u003cem>The California Report's\u003c/em> Central Valley Bureau Chief based in Fresno for nearly a dozen years, Sasha brought the lives and concerns of rural Californians to listeners around the state. Her reporting helped expose the hidden price immigrant women janitors and farmworkers may pay to keep their jobs: sexual assault at work. It inspired two new California laws to protect them from sexual harassment. She was a key member of the reporting team for the Frontline film \u003cem>Rape on the Night Shift, \u003c/em>which was nominated for two national Emmys. Sasha has also won a national Edward R. Murrow and a national PRNDI award for investigative reporting, as well as multiple prizes from the Society for Professional Journalists. Sasha is a proud alum of the UC Berkeley Graduate School of Journalism and Brown University and a member of the South Asian Journalists Association.",
"avatar": "https://secure.gravatar.com/avatar/e4b5e1541aaeea2aa356aa1fb2a68950?s=600&d=blank&r=g",
"twitter": "KQEDSashaKhokha",
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "news",
"roles": [
"editor"
]
},
{
"site": "stateofhealth",
"roles": [
"author"
]
},
{
"site": "science",
"roles": [
"author"
]
},
{
"site": "quest",
"roles": [
"subscriber"
]
}
],
"headData": {
"title": "Sasha Khokha | KQED",
"description": "Host, The California Report Magazine",
"ogImgSrc": "https://secure.gravatar.com/avatar/e4b5e1541aaeea2aa356aa1fb2a68950?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/e4b5e1541aaeea2aa356aa1fb2a68950?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/sasha-khokha"
},
"kqedpop": {
"type": "authors",
"id": "2421",
"meta": {
"index": "authors_1716337520",
"id": "2421",
"found": true
},
"name": "KQED Pop",
"firstName": "KQED",
"lastName": "Pop",
"slug": "kqedpop",
"email": "pop@kqed.org",
"display_author_email": false,
"staff_mastheads": [],
"title": "KQED Contributor",
"bio": "KQED Pop is a daily blog edited by Emmanuel Hapsis that critically examines the social and cultural impact of music, movies, television, advertisements, fashion, the internet and all the other collective experiences that make us laugh, cringe and cry. We focus on local, national and international experiences with a Bay Area lens. We don’t do reviews.",
"avatar": "https://secure.gravatar.com/avatar/28b423a68ba9acb207fe107dd55b9e6882c1ba6805a4c8af8b7cae7079f362b9?s=600&d=blank&r=g",
"twitter": "KQEDpop",
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"contributor"
]
},
{
"site": "pop",
"roles": [
"contributor"
]
}
],
"headData": {
"title": "KQED Pop | KQED",
"description": "KQED Contributor",
"ogImgSrc": "https://secure.gravatar.com/avatar/28b423a68ba9acb207fe107dd55b9e6882c1ba6805a4c8af8b7cae7079f362b9?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/28b423a68ba9acb207fe107dd55b9e6882c1ba6805a4c8af8b7cae7079f362b9?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/kqedpop"
},
"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"
},
"cveltman": {
"type": "authors",
"id": "8608",
"meta": {
"index": "authors_1716337520",
"id": "8608",
"found": true
},
"name": "Chloe Veltman",
"firstName": "Chloe",
"lastName": "Veltman",
"slug": "cveltman",
"email": "cveltman@kqed.org",
"display_author_email": true,
"staff_mastheads": [],
"title": "Arts and Culture Reporter",
"bio": "Chloe Veltman is a former arts and culture reporter for KQED. Prior to joining the organization, she launched and led the arts bureau at Colorado Public Radio, served as the Bay Area's culture columnist for the New York Times, and was the founder, host and executive producer of VoiceBox, a national award-winning weekly podcast/radio show and live events series all about the human voice. Chloe is the recipient of numerous prizes, grants and fellowships including a Webby Award for her work on interactive storytelling, both the John S Knight Journalism Fellowship and Humanities Center Fellowship at Stanford University, the Sundance Arts Writing Fellowship and a Library of Congress Research Fellowship. She is the author of the book \"On Acting\" and has appeared as a guest lecturer at Yale University and the San Francisco Conservatory of Music among other institutions. She holds a BA in english literature from King's College, Cambridge, and a Masters in Dramaturgy from the Central School of Speech and Drama/Harvard Institute for Advanced Theater Training.\r\n\u003ca href=\"https://www.chloeveltman.com\">www.chloeveltman.com\u003c/a>",
"avatar": "https://secure.gravatar.com/avatar/55403394b00a1ddab683952c2eb2cf85?s=600&d=blank&r=g",
"twitter": "chloeveltman",
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": []
},
{
"site": "news",
"roles": [
"author"
]
},
{
"site": "pop",
"roles": [
"editor"
]
},
{
"site": "science",
"roles": []
}
],
"headData": {
"title": "Chloe Veltman | KQED",
"description": "Arts and Culture Reporter",
"ogImgSrc": "https://secure.gravatar.com/avatar/55403394b00a1ddab683952c2eb2cf85?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/55403394b00a1ddab683952c2eb2cf85?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/cveltman"
}
},
"pagesReducer": {
"arts_category_music": {
"type": "terms",
"id": "arts_69",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "69",
"score": 10.851354
},
"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": 314
},
"blocks": [
{
"blockName": "kqed/post-list",
"attrs": {
"layout": "cardArticle2",
"query": "posts/arts?category=music",
"seeMore": false,
"paginated": true,
"page": 314
}
},
{
"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_11184852": {
"type": "posts",
"id": "arts_11184852",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11184852",
"score": null,
"sort": [
1450886428000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1450886428,
"format": "image",
"title": "2015 Pop Quiz: How Well Do You Know the Year in Pop Music?",
"headTitle": "2015 Pop Quiz: How Well Do You Know the Year in Pop Music? | KQED",
"content": "\u003cp>With blockbuster albums, hit singles and social-media gaffes, 2015 provided yet another year for pop-music stories. Just how much did you pay attention to it all?\u003c/p>\n\u003cp>Test your knowledge below as we proudly present the 2015 Pop Music Quiz!\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" id=\"quizWidget-142751\" width=\"100%\" height=\"700px\" frameborder=\"0\" border=\"none\" src=\"https://app.qzzr.com/quiz/142751/widget\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": true,
"hasAudio": false,
"hasPolis": false,
"wordCount": 43,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [
"https://app.qzzr.com/quiz/142751/widget"
],
"paragraphCount": 5
},
"modified": 1705045615,
"excerpt": "Looking back, 2015 provided yet another crazy year for pop-music stories. Just how much did you pay attention to it all? Take our quiz to find out!",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Looking back, 2015 provided yet another crazy year for pop-music stories. Just how much did you pay attention to it all? Take our quiz to find out!",
"title": "2015 Pop Quiz: How Well Do You Know the Year in Pop Music? | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "2015 Pop Quiz: How Well Do You Know the Year in Pop Music?",
"datePublished": "2015-12-23T08:00:28-08:00",
"dateModified": "2024-01-11T23:46:55-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "2015-pop-quiz-how-well-do-you-know-the-year-in-pop-music",
"status": "publish",
"sticky": false,
"path": "/arts/11184852/2015-pop-quiz-how-well-do-you-know-the-year-in-pop-music",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>With blockbuster albums, hit singles and social-media gaffes, 2015 provided yet another year for pop-music stories. Just how much did you pay attention to it all?\u003c/p>\n\u003cp>Test your knowledge below as we proudly present the 2015 Pop Music Quiz!\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" id=\"quizWidget-142751\" width=\"100%\" height=\"700px\" frameborder=\"0\" border=\"none\" src=\"https://app.qzzr.com/quiz/142751/widget\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11184852/2015-pop-quiz-how-well-do-you-know-the-year-in-pop-music",
"authors": [
"185"
],
"categories": [
"arts_69"
],
"tags": [
"arts_1118",
"arts_596"
],
"featImg": "arts_11184961",
"label": "arts"
},
"arts_11184267": {
"type": "posts",
"id": "arts_11184267",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11184267",
"score": null,
"sort": [
1450830093000
]
},
"guestAuthors": [],
"slug": "cheap-date-purple-rain-krazy-karaoke-and-chinese-food",
"title": "Cheap Date: 'Purple Rain,' Krazy Karaoke and Chinese Food",
"publishDate": 1450830093,
"format": "standard",
"headTitle": "Cheap Date: ‘Purple Rain,’ Krazy Karaoke and Chinese Food | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003cp>Alright, dear penny-pinchers: Hanukkah has come and gone, Christmas is almost upon us, and hopefully by now you’ve figured out how to make and/or purchase some gifts for your loved ones without forfeiting your lunch money for the next six months.\u003c/p>\n\u003cp>If, however, said shopping (or, you know, life in the most expensive metropolitan area in the United States) has left you feeling a little light in the bank account, it’s still entirely possible to get out and have fun this week. Bonus: Roughly half the city is gone!\u003c/p>\n\u003cp>If you’re among those of us still here — you might be a native or you might just not want to go home to Wisconsin — do yourself a favor and get out and enjoy it: These streets is ours. Here are six $20-and-under options, a.k.a. this week’s \u003cstrong>Cheap Date.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Christmas Eve: \u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-11184483\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/OIYC_HolidayConcert2014-400x267.jpg\" alt=\"OIYC_HolidayConcert2014\" width=\"400\" height=\"267\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/OIYC_HolidayConcert2014-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/OIYC_HolidayConcert2014-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/OIYC_HolidayConcert2014-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/OIYC_HolidayConcert2014-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/OIYC_HolidayConcert2014-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/OIYC_HolidayConcert2014.jpg 1200w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://www.slimspresents.com/event/oakland-interfaith-gospel-choir-ensemble-early-show-slims/\" target=\"_blank\" rel=\"noopener\">Oakland Interfaith Gospel Choir\u003c/a> (two shows) at Slim’s, SF. \u003c/strong>Joyful, raucous, rowdy, grin-inducing gospel music for everyone, regardless of denomination. 7 p.m., and 10 p.m., both $15; \u003ca href=\"http://www.slimspresents.com/event/oakland-interfaith-gospel-choir-ensemble-early-show-slims/\" target=\"_blank\" rel=\"noopener\">details here. \u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://www.theknockoutsf.com/#!about/cee5\" target=\"_blank\" rel=\"noopener\">The Annual Krazy for Karaoke Holiday Party\u003c/a> at The Knockout, SF.\u003c/strong> “Screeching begins at 10 p.m.” So you have time to take in an early gospel show, then tear it up to “Love Is a Battlefield” or “Gin & Juice” a few hours later. \u003ca href=\"http://www.theknockoutsf.com/#!about/cee5\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Christmas Day: \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>\u003ca href=\"https://www.facebook.com/events/548179738669383/\" target=\"_blank\" rel=\"noopener\">Purple Rain\u003c/a>\u003c/em> at the New Parkway, Oakland.\u003c/strong> Because nothing says “holiday spirit” like watching Prince, at his prime, fight (with concert sequences!) for his deserved stardom — and his girl. $8; \u003ca href=\"https://www.facebook.com/events/548179738669383/\" target=\"_blank\" rel=\"noopener\">details here. \u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=AuXK8ZbTmLk\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/events/974099155996971/\" target=\"_blank\" rel=\"noopener\">Jewish Christmas\u003c/a> at the Make Out Room, SF. \u003c/strong>Standup comedy, strip dreidel, live music, and a neverending stream of films by Woody Allen, Larry David, and Sascha Baron Cohen — and Chinese food, of course. What, you want we should starve? $5 – $10; \u003ca href=\"https://www.facebook.com/events/974099155996971/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Saturday, Dec. 26: \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://www.sweetwatermusichall.com/event/993211-monophonics-annual-soulful-mill-valley/\" target=\"_blank\" rel=\"noopener\">Monophonics\u003c/a> at the Sweetwater Music Hall, Mill Valley. \u003c/strong>One of the Bay Area’s best-loved funk-soul acts proudly carries a torch passed down by the likes of Parliament-Funkadelic and Sly & the Family Stone. $20 in advance;\u003ca href=\"http://www.sweetwatermusichall.com/event/993211-monophonics-annual-soulful-mill-valley/\" target=\"_blank\" rel=\"noopener\"> details here. \u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=nPpdgcERNAU\u003c/p>\n\u003cp>\u003cstrong>\u003cem>\u003ca href=\"http://sfoasis.com/event.cfm?id=152203&cart\" target=\"_blank\" rel=\"noopener\">Mother: Nightmare After Christmas\u003c/a>,\u003c/em> a Tim Burton tribute night at Oasis, SF. \u003c/strong>You read all about local drag legend \u003ca href=\"http://ww2.kqed.org/arts/2015/12/14/drag-legend-heklina-on-glamour-realness-and-the-work-that-goes-unseen/\" target=\"_blank\" rel=\"noopener\">Heklina in last week’s Backstage Heroes\u003c/a> — why not visit her club for yourself, especially on night that promises campy dance routines of the most gleefully weird variety? $10;\u003ca href=\"http://sfoasis.com/event.cfm?id=152203&cart\" target=\"_blank\" rel=\"noopener\"> details here. \u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://youtu.be/AQXVHITd1N4\u003c/p>\n\n",
"blocks": [],
"excerpt": "These are pricey times, Bay Area. Help us help you save a few. ",
"status": "publish",
"parent": 0,
"modified": 1726788283,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 14,
"wordCount": 460
},
"headData": {
"title": "Cheap Date: 'Purple Rain,' Krazy Karaoke and Chinese Food | KQED",
"description": "These are pricey times, Bay Area. Help us help you save a few. ",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Cheap Date: 'Purple Rain,' Krazy Karaoke and Chinese Food",
"datePublished": "2015-12-22T16:21:33-08:00",
"dateModified": "2024-09-19T16:24:43-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"path": "/arts/11184267/cheap-date-purple-rain-krazy-karaoke-and-chinese-food",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Alright, dear penny-pinchers: Hanukkah has come and gone, Christmas is almost upon us, and hopefully by now you’ve figured out how to make and/or purchase some gifts for your loved ones without forfeiting your lunch money for the next six months.\u003c/p>\n\u003cp>If, however, said shopping (or, you know, life in the most expensive metropolitan area in the United States) has left you feeling a little light in the bank account, it’s still entirely possible to get out and have fun this week. Bonus: Roughly half the city is gone!\u003c/p>\n\u003cp>If you’re among those of us still here — you might be a native or you might just not want to go home to Wisconsin — do yourself a favor and get out and enjoy it: These streets is ours. Here are six $20-and-under options, a.k.a. this week’s \u003cstrong>Cheap Date.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Christmas Eve: \u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-11184483\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/OIYC_HolidayConcert2014-400x267.jpg\" alt=\"OIYC_HolidayConcert2014\" width=\"400\" height=\"267\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/OIYC_HolidayConcert2014-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/OIYC_HolidayConcert2014-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/OIYC_HolidayConcert2014-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/OIYC_HolidayConcert2014-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/OIYC_HolidayConcert2014-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/OIYC_HolidayConcert2014.jpg 1200w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://www.slimspresents.com/event/oakland-interfaith-gospel-choir-ensemble-early-show-slims/\" target=\"_blank\" rel=\"noopener\">Oakland Interfaith Gospel Choir\u003c/a> (two shows) at Slim’s, SF. \u003c/strong>Joyful, raucous, rowdy, grin-inducing gospel music for everyone, regardless of denomination. 7 p.m., and 10 p.m., both $15; \u003ca href=\"http://www.slimspresents.com/event/oakland-interfaith-gospel-choir-ensemble-early-show-slims/\" 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>\u003cstrong>\u003ca href=\"http://www.theknockoutsf.com/#!about/cee5\" target=\"_blank\" rel=\"noopener\">The Annual Krazy for Karaoke Holiday Party\u003c/a> at The Knockout, SF.\u003c/strong> “Screeching begins at 10 p.m.” So you have time to take in an early gospel show, then tear it up to “Love Is a Battlefield” or “Gin & Juice” a few hours later. \u003ca href=\"http://www.theknockoutsf.com/#!about/cee5\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Christmas Day: \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>\u003ca href=\"https://www.facebook.com/events/548179738669383/\" target=\"_blank\" rel=\"noopener\">Purple Rain\u003c/a>\u003c/em> at the New Parkway, Oakland.\u003c/strong> Because nothing says “holiday spirit” like watching Prince, at his prime, fight (with concert sequences!) for his deserved stardom — and his girl. $8; \u003ca href=\"https://www.facebook.com/events/548179738669383/\" target=\"_blank\" rel=\"noopener\">details here. \u003c/a>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/AuXK8ZbTmLk'\n title='//www.youtube.com/embed/AuXK8ZbTmLk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/events/974099155996971/\" target=\"_blank\" rel=\"noopener\">Jewish Christmas\u003c/a> at the Make Out Room, SF. \u003c/strong>Standup comedy, strip dreidel, live music, and a neverending stream of films by Woody Allen, Larry David, and Sascha Baron Cohen — and Chinese food, of course. What, you want we should starve? $5 – $10; \u003ca href=\"https://www.facebook.com/events/974099155996971/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Saturday, Dec. 26: \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://www.sweetwatermusichall.com/event/993211-monophonics-annual-soulful-mill-valley/\" target=\"_blank\" rel=\"noopener\">Monophonics\u003c/a> at the Sweetwater Music Hall, Mill Valley. \u003c/strong>One of the Bay Area’s best-loved funk-soul acts proudly carries a torch passed down by the likes of Parliament-Funkadelic and Sly & the Family Stone. $20 in advance;\u003ca href=\"http://www.sweetwatermusichall.com/event/993211-monophonics-annual-soulful-mill-valley/\" target=\"_blank\" rel=\"noopener\"> details here. \u003c/a>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/nPpdgcERNAU'\n title='//www.youtube.com/embed/nPpdgcERNAU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>\u003cem>\u003ca href=\"http://sfoasis.com/event.cfm?id=152203&cart\" target=\"_blank\" rel=\"noopener\">Mother: Nightmare After Christmas\u003c/a>,\u003c/em> a Tim Burton tribute night at Oasis, SF. \u003c/strong>You read all about local drag legend \u003ca href=\"http://ww2.kqed.org/arts/2015/12/14/drag-legend-heklina-on-glamour-realness-and-the-work-that-goes-unseen/\" target=\"_blank\" rel=\"noopener\">Heklina in last week’s Backstage Heroes\u003c/a> — why not visit her club for yourself, especially on night that promises campy dance routines of the most gleefully weird variety? $10;\u003ca href=\"http://sfoasis.com/event.cfm?id=152203&cart\" target=\"_blank\" rel=\"noopener\"> details here. \u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/AQXVHITd1N4'\n title='//www.youtube.com/embed/AQXVHITd1N4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11184267/cheap-date-purple-rain-krazy-karaoke-and-chinese-food",
"authors": [
"7237"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_968",
"arts_74",
"arts_69"
],
"tags": [
"arts_1118",
"arts_1006",
"arts_596"
],
"featImg": "arts_11184593",
"label": "arts_140"
},
"pop_19600": {
"type": "posts",
"id": "pop_19600",
"meta": {
"index": "posts_1716263798",
"site": "pop",
"id": "19600",
"score": null,
"sort": [
1450771300000
]
},
"parent": 0,
"labelTerm": {
"site": "pop"
},
"blocks": [],
"publishDate": 1450771300,
"format": "standard",
"disqusTitle": "British Christmas Songs That Never Crossed the Pond (Because They're Weird)",
"title": "British Christmas Songs That Never Crossed the Pond (Because They're Weird)",
"headTitle": "KQED Pop | KQED Arts",
"content": "\u003cp>Aliens and dead snowmen populate Christmas hits over in Britain.\u003c/p>\n\u003cp>[audio src=\"https://dts.podtrac.com/redirect.mp3/www.kqed.org/.stream/mp3splice/radio/thecooler/2015/12/BritXmasMusic.mp3\" title=\"British Christmas Songs That Never Crossed the Pond (Because They're Weird)\" program=\"The Cooler\" image=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/clo.jpg\"]\u003c/p>\n\u003caside class=\"aligncenter\">\n\u003cdiv>\u003ca href=\"https://itunes.apple.com/us/podcast/the-cooler/id1041117499?mt=2\" target=\"_blank\">\u003cimg class=\"alignnone\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/DownloadOniTunes_100x100.png\" width=\"75px\">\u003c/a> \u003ca href=\"https://play.google.com/music/m/Ig3hk6qa4fzcgjp2kagptfgu4u4?t=The_Cooler\" target=\"_blank\">\u003cimg class=\"alignnone\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/Google_Play_100x100.png\" width=\"75px\">\u003c/a>\u003c/div>\n\u003c/aside>\n\u003cp>This week, Carly guides us through an exploration of British Christmas music that never managed to cross the pond. One of them is about an alien and another is about a dead snowman:\u003c/p>\n\u003cp>\u003ca class=\"embedly-card\" href=\"http://ww2.kqed.org/pop/i-wish-it-could-be-christmas-every-day\">The Weird, Wonderful World of British Christmas Music\u003c/a>\u003c/p>\n\u003cp>Something we didn't talk about (but should have) is this collection of super scary Victorian Christmas cards BBC News just dug up:\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca class=\"embedly-card\" href=\"http://www.bbc.com/news/uk-england-34988154\">Frog murder and boiled children: 'Merry Christmas' Victorian style - BBC News\u003c/a>\u003c/p>\n\u003cp>And, even though it's not British, Destiny's Child's \"8 Days of Christmas\" deserves a mention:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ikOWQ9YIb-A\u003c/p>\n\u003cp>Until next week!\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://itunes.apple.com/us/podcast/id1041117499\" target=\"_blank\">Subscribe and rate us in iTunes\u003c/a>! And find us on \u003ca href=\"https://www.facebook.com/KQED-Pop-336039936485067/timeline/\" target=\"_blank\">Facebook\u003c/a> and \u003ca href=\"https://twitter.com/kqedpop\" target=\"_blank\">Twitter\u003c/a>!\u003c/p>\n\n",
"disqusIdentifier": "19600 http://ww2.kqed.org/pop/?p=19600",
"disqusUrl": "https://ww2.kqed.org/pop/2015/12/22/british-christmas-songs-that-never-crossed-the-pond-because-theyre-weird/",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": true,
"hasPolis": false,
"wordCount": 183,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 10
},
"modified": 1492213377,
"excerpt": "Aliens and dead snowmen populate Christmas hits over in Britain.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Aliens and dead snowmen populate Christmas hits over in Britain.",
"title": "British Christmas Songs That Never Crossed the Pond (Because They're Weird) | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "British Christmas Songs That Never Crossed the Pond (Because They're Weird)",
"datePublished": "2015-12-22T00:01:40-08:00",
"dateModified": "2017-04-14T16:42:57-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "british-christmas-songs-that-never-crossed-the-pond-because-theyre-weird",
"status": "publish",
"path": "/pop/19600/british-christmas-songs-that-never-crossed-the-pond-because-theyre-weird",
"audioUrl": "https://www.kqed.org/.stream/mp3splice/radio/thecooler/2015/12/BritXmasMusic.mp3",
"audioDuration": 917000,
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Aliens and dead snowmen populate Christmas hits over in Britain.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "audio",
"attributes": {
"named": {
"program": "The Cooler",
"image": "https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/clo.jpg",
"label": "src=\"https://dts.podtrac.com/redirect.mp3/www.kqed.org/.stream/mp3splice/radio/thecooler/2015/12/BritXmasMusic.mp3\" title=\"British Christmas Songs That Never Crossed the Pond (Because They're Weird)\""
},
"numeric": [
"src=\"https://dts.podtrac.com/redirect.mp3/www.kqed.org/.stream/mp3splice/radio/thecooler/2015/12/BritXmasMusic.mp3\" title=\"British",
"Christmas",
"Songs",
"That",
"Never",
"Crossed",
"the",
"Pond",
"(Because",
"They're",
"Weird)\""
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003caside class=\"aligncenter\">\n\u003cdiv>\u003ca href=\"https://itunes.apple.com/us/podcast/the-cooler/id1041117499?mt=2\" target=\"_blank\">\u003cimg class=\"alignnone\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/DownloadOniTunes_100x100.png\" width=\"75px\">\u003c/a> \u003ca href=\"https://play.google.com/music/m/Ig3hk6qa4fzcgjp2kagptfgu4u4?t=The_Cooler\" target=\"_blank\">\u003cimg class=\"alignnone\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/Google_Play_100x100.png\" width=\"75px\">\u003c/a>\u003c/div>\n\u003c/aside>\n\u003cp>This week, Carly guides us through an exploration of British Christmas music that never managed to cross the pond. One of them is about an alien and another is about a dead snowman:\u003c/p>\n\u003cp>\u003ca class=\"embedly-card\" href=\"http://ww2.kqed.org/pop/i-wish-it-could-be-christmas-every-day\">The Weird, Wonderful World of British Christmas Music\u003c/a>\u003c/p>\n\u003cp>Something we didn't talk about (but should have) is this collection of super scary Victorian Christmas cards BBC News just dug up:\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>\u003ca class=\"embedly-card\" href=\"http://www.bbc.com/news/uk-england-34988154\">Frog murder and boiled children: 'Merry Christmas' Victorian style - BBC News\u003c/a>\u003c/p>\n\u003cp>And, even though it's not British, Destiny's Child's \"8 Days of Christmas\" deserves a mention:\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/ikOWQ9YIb-A'\n title='//www.youtube.com/embed/ikOWQ9YIb-A'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Until next week!\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://itunes.apple.com/us/podcast/id1041117499\" target=\"_blank\">Subscribe and rate us in iTunes\u003c/a>! And find us on \u003ca href=\"https://www.facebook.com/KQED-Pop-336039936485067/timeline/\" target=\"_blank\">Facebook\u003c/a> and \u003ca href=\"https://twitter.com/kqedpop\" target=\"_blank\">Twitter\u003c/a>!\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/pop/19600/british-christmas-songs-that-never-crossed-the-pond-because-theyre-weird",
"authors": [
"27"
],
"categories": [
"pop_2793"
],
"tags": [
"pop_259",
"pop_258"
],
"featImg": "pop_19596",
"label": "pop"
},
"arts_11174293": {
"type": "posts",
"id": "arts_11174293",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11174293",
"score": null,
"sort": [
1450738832000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 140
},
"blocks": [],
"publishDate": 1450738832,
"format": "standard",
"title": "Show Me Yours: ‘Harry Potter’ on Crack and Other Bay Area Performing Arts Happenings",
"headTitle": "Show Me Yours: ‘Harry Potter’ on Crack and Other Bay Area Performing Arts Happenings | KQED",
"content": "\u003cp>\u003cem>Show Me Yours is a weekly column in which Senior Arts Editor Chloe Veltman shares her picks for the Bay Area’s best bets in the performing arts.\u003cbr>\n\u003c/em>\u003cbr>\nThe holidays are now officially upon us. The halls have been duly decked and our gay apparel donned. But why stop there? Bay Area performing arts organizations are here to make the season even more colorful and vibrant. Here are some suggestions to make this Christmas and New Year particularly memorable.\u003c/p>\n\u003cp>\u003cstrong>Now through Sunday, Dec. 27: Sweet Can Productions presents \u003cem>\u003ca href=\"http://www.sweetcanproductions.com/MnM.html\" target=\"_blank\" rel=\"noopener\">Mittens and Mistletoe: A Winter Circus Cabaret\u003c/a>\u003c/em> at Dance Mission Theater, San Francisco. \u003c/strong>If you find Cirque du Soleil productions expensive and exhausting, then Sweet Can Productions’ intimate cabaret style circus is perfect for you. The Bay Area-based company presents its annual holiday show for the sixth year running. It’s a combination of awe-inspiring slack rope, aerial hoop, hula hoop and juggling acts, together with live music by New Orleans harp player Luke Brechtelsbauer, and comedy. And new for 2015 is the late night, adults-only show.\u003c/p>\n\u003cfigure id=\"attachment_11174411\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11174411\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/PottedPJefferson-Turner-and-Daniel-Clarkson-as-Harry-Potted-and-Lord-Voldemort-in-Potted-Potter-photo-by-Colin-Hattersley-e1450484894400-800x510.jpg\" alt=\"Jefferson Turner and Daniel Clarkson in 'Potted Potter'\" width=\"800\" height=\"510\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/PottedPJefferson-Turner-and-Daniel-Clarkson-as-Harry-Potted-and-Lord-Voldemort-in-Potted-Potter-photo-by-Colin-Hattersley-e1450484894400-800x510.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/PottedPJefferson-Turner-and-Daniel-Clarkson-as-Harry-Potted-and-Lord-Voldemort-in-Potted-Potter-photo-by-Colin-Hattersley-e1450484894400-400x255.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/PottedPJefferson-Turner-and-Daniel-Clarkson-as-Harry-Potted-and-Lord-Voldemort-in-Potted-Potter-photo-by-Colin-Hattersley-e1450484894400-768x490.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/PottedPJefferson-Turner-and-Daniel-Clarkson-as-Harry-Potted-and-Lord-Voldemort-in-Potted-Potter-photo-by-Colin-Hattersley-e1450484894400-1180x752.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/PottedPJefferson-Turner-and-Daniel-Clarkson-as-Harry-Potted-and-Lord-Voldemort-in-Potted-Potter-photo-by-Colin-Hattersley-e1450484894400-1920x1224.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/PottedPJefferson-Turner-and-Daniel-Clarkson-as-Harry-Potted-and-Lord-Voldemort-in-Potted-Potter-photo-by-Colin-Hattersley-e1450484894400-960x612.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jefferson Turner and Daniel Clarkson in ‘Potted Potter’ \u003ccite>(Photo: Colin Hattersley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Now through Sunday, Jan. 3:\u003cem>\u003ca href=\"https://palaceoffinearts.org/event/potted-potter/\" target=\"_blank\" rel=\"noopener\"> Potted Potter\u003c/a>\u003c/em> at Palace of Fine Arts, San Francisco. \u003c/strong>Ever since three guys in baggy shirts and ill-fitting codpieces started performing their heavily edited version of all of Shakespeare’s plays — \u003cem>The Complete Works of Shakespeare (abridged)\u003c/em> — at Renaissance fairs in California in 1981, audiences have been splitting their britches over a variety of cleverly-edited hatchet jobs on great works of poetry and prose. One of the most successful recent forays into the genre is \u003cem>Potted Potter\u003c/em>, a bold attempt by actors Daniel Clarkson and Jefferson Turner to condense all seven of J.K. Rowling’s famous books about a boy magician into a single night’s entertainment. The fun-loving spoof is aimed at audiences of all ages and features hummable songs, madcap costume changes and plenty of Hogwarts magic.\u003c/p>\n\u003cp>\u003cstrong>Now through Saturday, Jan. 23: \u003cem>\u003ca href=\"https://themarsh.org/lisa_rothman/lisa-rothman/\" target=\"_blank\" rel=\"noopener\">Date Night at Pet Emergency\u003c/a>\u003c/em> at The Marsh, Berkeley. \u003c/strong>“We discovered adopting a dog combines the worst aspects of Internet dating and buying a house,” says Lisa Rothman in her comic solo show about living through the opposite of domestic bliss. That doesn’t stop Rothman and her husband Kevin from introducing two canines and two children into their household in the space of less than three years. And just when life couldn’t possibly get more hectic, it does: the Rothmans find themselves spending what should be a romantic evening dealing with a dog who OD’d. Staged by David Ford, one of the the most masterful solo show directors around, this wry look at family life provides the perfect antidote to the usual saccharine theatrical fare that abounds at holiday time.\u003c/p>\n\u003cfigure id=\"attachment_11174412\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11174412\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Anastacia-Powers-Cuellar.-e1450484954689-800x528.jpg\" alt=\"The cast of New Year's Eve Comedy Fiesta: Latino Power Edition!\" width=\"800\" height=\"528\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Anastacia-Powers-Cuellar.-e1450484954689-800x528.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Anastacia-Powers-Cuellar.-e1450484954689-400x264.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Anastacia-Powers-Cuellar.-e1450484954689-768x507.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Anastacia-Powers-Cuellar.-e1450484954689-1180x778.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Anastacia-Powers-Cuellar.-e1450484954689-1920x1267.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Anastacia-Powers-Cuellar.-e1450484954689-960x633.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The cast of New Year’s Eve Comedy Fiesta: Latino Power Edition! \u003ccite>(Photo: Anastacia Powers Cuellar)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Thursday, Dec. 31: \u003ca href=\"http://www.brava.org/current-shows/current-shows/bravas-4th-annual-new-years-eve-comedy-fiesta-w-marga-gome/#.VmC6ICghnTo\" target=\"_blank\" rel=\"noopener\">\u003cem>New Year’s Eve Comedy Fiesta: Latino Power Edition!\u003c/em> \u003c/a>at Brava Theater Center, San Francisco. \u003c/strong>Where would we be without Marga Gomez? The comedian and actress has been helping Bay Area audiences confront their blind spots via-a-vis Latinos, lesbians and Latino lesbians for decades, her criticism always laced with a dollop of unabashed self-scrutiny. Gomez muscles her way into the New Year at Brava Theater Center in the heart of The Mission with a crew of powerful Latino comics headlined by Punchline and Cobb’s regular Lydia Popovich. The lineup includes LA-based Chicana LGBT comedian Monica Palacios, and locals Chris Storin, Baruch Porras-Hernandez and Betty Pazmiño. Oh, and the fun continues into the wee small hours of 2016 with a dance party.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Saturday, Dec. 26 – Sunday, Jan. 3: \u003cem>\u003ca href=\"http://willdurst.com/mediakit/pr.xxiii.gen.pdf\" target=\"_blank\" rel=\"noopener\">The Big Year-End Kiss-Off Comedy Show XXIII\u003c/a>\u003c/em>, at various venues around the Bay Area. \u003c/strong>Between terrorist attacks, environmental calamities, and economic woes, 2015 hasn’t exactly been bursting with sunshine, lollipops and rainbows. But sometimes laughter is the best antidote in tough times, and comedian Will Durst and his friends aim to inject a little lightheartedness into New Year’s Eve as a way to cheerfully boot the year gone by out the door. The PG-13-rated show features six comics performing in nine cities around the Bay and tackles some of the 2015’s most lurid news stories from the Hillary Clinton email scandal to Pope Francis’s meeting with the controversial Kentucky county clerk Kim Davis in the wake of her refusal to issue marriage licenses to gay couples.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 784,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 8
},
"modified": 1705045626,
"excerpt": "This week our critic's picks also include Jewish comedy in a Chinese restaurant and a seasonal circus.\r\n",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "This week our critic's picks also include Jewish comedy in a Chinese restaurant and a seasonal circus.\r\n",
"title": "Show Me Yours: ‘Harry Potter’ on Crack and Other Bay Area Performing Arts Happenings | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Show Me Yours: ‘Harry Potter’ on Crack and Other Bay Area Performing Arts Happenings",
"datePublished": "2015-12-21T15:00:32-08:00",
"dateModified": "2024-01-11T23:47:06-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "show-me-yours-harry-potter-on-crack-and-other-bay-area-performing-arts-happenings",
"status": "publish",
"sticky": false,
"path": "/arts/11174293/show-me-yours-harry-potter-on-crack-and-other-bay-area-performing-arts-happenings",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Show Me Yours is a weekly column in which Senior Arts Editor Chloe Veltman shares her picks for the Bay Area’s best bets in the performing arts.\u003cbr>\n\u003c/em>\u003cbr>\nThe holidays are now officially upon us. The halls have been duly decked and our gay apparel donned. But why stop there? Bay Area performing arts organizations are here to make the season even more colorful and vibrant. Here are some suggestions to make this Christmas and New Year particularly memorable.\u003c/p>\n\u003cp>\u003cstrong>Now through Sunday, Dec. 27: Sweet Can Productions presents \u003cem>\u003ca href=\"http://www.sweetcanproductions.com/MnM.html\" target=\"_blank\" rel=\"noopener\">Mittens and Mistletoe: A Winter Circus Cabaret\u003c/a>\u003c/em> at Dance Mission Theater, San Francisco. \u003c/strong>If you find Cirque du Soleil productions expensive and exhausting, then Sweet Can Productions’ intimate cabaret style circus is perfect for you. The Bay Area-based company presents its annual holiday show for the sixth year running. It’s a combination of awe-inspiring slack rope, aerial hoop, hula hoop and juggling acts, together with live music by New Orleans harp player Luke Brechtelsbauer, and comedy. And new for 2015 is the late night, adults-only show.\u003c/p>\n\u003cfigure id=\"attachment_11174411\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11174411\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/PottedPJefferson-Turner-and-Daniel-Clarkson-as-Harry-Potted-and-Lord-Voldemort-in-Potted-Potter-photo-by-Colin-Hattersley-e1450484894400-800x510.jpg\" alt=\"Jefferson Turner and Daniel Clarkson in 'Potted Potter'\" width=\"800\" height=\"510\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/PottedPJefferson-Turner-and-Daniel-Clarkson-as-Harry-Potted-and-Lord-Voldemort-in-Potted-Potter-photo-by-Colin-Hattersley-e1450484894400-800x510.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/PottedPJefferson-Turner-and-Daniel-Clarkson-as-Harry-Potted-and-Lord-Voldemort-in-Potted-Potter-photo-by-Colin-Hattersley-e1450484894400-400x255.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/PottedPJefferson-Turner-and-Daniel-Clarkson-as-Harry-Potted-and-Lord-Voldemort-in-Potted-Potter-photo-by-Colin-Hattersley-e1450484894400-768x490.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/PottedPJefferson-Turner-and-Daniel-Clarkson-as-Harry-Potted-and-Lord-Voldemort-in-Potted-Potter-photo-by-Colin-Hattersley-e1450484894400-1180x752.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/PottedPJefferson-Turner-and-Daniel-Clarkson-as-Harry-Potted-and-Lord-Voldemort-in-Potted-Potter-photo-by-Colin-Hattersley-e1450484894400-1920x1224.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/PottedPJefferson-Turner-and-Daniel-Clarkson-as-Harry-Potted-and-Lord-Voldemort-in-Potted-Potter-photo-by-Colin-Hattersley-e1450484894400-960x612.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jefferson Turner and Daniel Clarkson in ‘Potted Potter’ \u003ccite>(Photo: Colin Hattersley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Now through Sunday, Jan. 3:\u003cem>\u003ca href=\"https://palaceoffinearts.org/event/potted-potter/\" target=\"_blank\" rel=\"noopener\"> Potted Potter\u003c/a>\u003c/em> at Palace of Fine Arts, San Francisco. \u003c/strong>Ever since three guys in baggy shirts and ill-fitting codpieces started performing their heavily edited version of all of Shakespeare’s plays — \u003cem>The Complete Works of Shakespeare (abridged)\u003c/em> — at Renaissance fairs in California in 1981, audiences have been splitting their britches over a variety of cleverly-edited hatchet jobs on great works of poetry and prose. One of the most successful recent forays into the genre is \u003cem>Potted Potter\u003c/em>, a bold attempt by actors Daniel Clarkson and Jefferson Turner to condense all seven of J.K. Rowling’s famous books about a boy magician into a single night’s entertainment. The fun-loving spoof is aimed at audiences of all ages and features hummable songs, madcap costume changes and plenty of Hogwarts magic.\u003c/p>\n\u003cp>\u003cstrong>Now through Saturday, Jan. 23: \u003cem>\u003ca href=\"https://themarsh.org/lisa_rothman/lisa-rothman/\" target=\"_blank\" rel=\"noopener\">Date Night at Pet Emergency\u003c/a>\u003c/em> at The Marsh, Berkeley. \u003c/strong>“We discovered adopting a dog combines the worst aspects of Internet dating and buying a house,” says Lisa Rothman in her comic solo show about living through the opposite of domestic bliss. That doesn’t stop Rothman and her husband Kevin from introducing two canines and two children into their household in the space of less than three years. And just when life couldn’t possibly get more hectic, it does: the Rothmans find themselves spending what should be a romantic evening dealing with a dog who OD’d. Staged by David Ford, one of the the most masterful solo show directors around, this wry look at family life provides the perfect antidote to the usual saccharine theatrical fare that abounds at holiday time.\u003c/p>\n\u003cfigure id=\"attachment_11174412\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11174412\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Anastacia-Powers-Cuellar.-e1450484954689-800x528.jpg\" alt=\"The cast of New Year's Eve Comedy Fiesta: Latino Power Edition!\" width=\"800\" height=\"528\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Anastacia-Powers-Cuellar.-e1450484954689-800x528.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Anastacia-Powers-Cuellar.-e1450484954689-400x264.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Anastacia-Powers-Cuellar.-e1450484954689-768x507.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Anastacia-Powers-Cuellar.-e1450484954689-1180x778.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Anastacia-Powers-Cuellar.-e1450484954689-1920x1267.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Anastacia-Powers-Cuellar.-e1450484954689-960x633.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The cast of New Year’s Eve Comedy Fiesta: Latino Power Edition! \u003ccite>(Photo: Anastacia Powers Cuellar)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Thursday, Dec. 31: \u003ca href=\"http://www.brava.org/current-shows/current-shows/bravas-4th-annual-new-years-eve-comedy-fiesta-w-marga-gome/#.VmC6ICghnTo\" target=\"_blank\" rel=\"noopener\">\u003cem>New Year’s Eve Comedy Fiesta: Latino Power Edition!\u003c/em> \u003c/a>at Brava Theater Center, San Francisco. \u003c/strong>Where would we be without Marga Gomez? The comedian and actress has been helping Bay Area audiences confront their blind spots via-a-vis Latinos, lesbians and Latino lesbians for decades, her criticism always laced with a dollop of unabashed self-scrutiny. Gomez muscles her way into the New Year at Brava Theater Center in the heart of The Mission with a crew of powerful Latino comics headlined by Punchline and Cobb’s regular Lydia Popovich. The lineup includes LA-based Chicana LGBT comedian Monica Palacios, and locals Chris Storin, Baruch Porras-Hernandez and Betty Pazmiño. Oh, and the fun continues into the wee small hours of 2016 with a dance party.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Saturday, Dec. 26 – Sunday, Jan. 3: \u003cem>\u003ca href=\"http://willdurst.com/mediakit/pr.xxiii.gen.pdf\" target=\"_blank\" rel=\"noopener\">The Big Year-End Kiss-Off Comedy Show XXIII\u003c/a>\u003c/em>, at various venues around the Bay Area. \u003c/strong>Between terrorist attacks, environmental calamities, and economic woes, 2015 hasn’t exactly been bursting with sunshine, lollipops and rainbows. But sometimes laughter is the best antidote in tough times, and comedian Will Durst and his friends aim to inject a little lightheartedness into New Year’s Eve as a way to cheerfully boot the year gone by out the door. The PG-13-rated show features six comics performing in nine cities around the Bay and tackles some of the 2015’s most lurid news stories from the Hillary Clinton email scandal to Pope Francis’s meeting with the controversial Kentucky county clerk Kim Davis in the wake of her refusal to issue marriage licenses to gay couples.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11174293/show-me-yours-harry-potter-on-crack-and-other-bay-area-performing-arts-happenings",
"authors": [
"8608"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_968",
"arts_69",
"arts_75",
"arts_967"
],
"tags": [
"arts_1118",
"arts_1006",
"arts_596"
],
"featImg": "arts_11174300",
"label": "arts_140"
},
"arts_11182237": {
"type": "posts",
"id": "arts_11182237",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11182237",
"score": null,
"sort": [
1450719579000
]
},
"guestAuthors": [],
"slug": "the-weird-wonderful-world-of-british-christmas-music",
"title": "The Weird, Wonderful World of British Christmas Music",
"publishDate": 1450719579,
"format": "standard",
"headTitle": "The Weird, Wonderful World of British Christmas Music | KQED",
"labelTerm": {
"site": "pop"
},
"content": "\u003cp>America and Britain: two countries whose superficial similarities (a common language, shared democratic ideals, a fondness for roasted meats) mask some pretty fundamental differences. And nowhere are these divisions more irreconcilable than in what constitutes holiday music.\u003c/p>\n\u003cp>It seems to me, America, that your holiday music falls into two camps: it’s \u003ca href=\"http://ww2.kqed.org/pop/i-wish-it-could-be-christmas-every-day\" target=\"_blank\" id=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source:: \u003ca href=\"http://ww2.kqed.org/pop/i-wish-it-could-be-christmas-every-day\" target=\"_blank\" title=\"The Weird, Wonderful World of British Christmas Music\" rel=\"noopener\">KQED Pop\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
"blocks": [],
"excerpt": "\u003cp>America and Britain: two countries whose superficial similarities (a common language, shared democratic ideals, a fondness for roasted meats) mask some pretty fundamental differences. And nowhere are these divisions more irreconcilable than in what constitutes holiday music.\u003c/p>\n\u003cp>It seems to me, America, that your holiday music falls into two camps: it's \u003ca href=\"http://ww2.kqed.org/pop/i-wish-it-could-be-christmas-every-day\" target=\"_blank\" id=\"rssmi_more\" rel=\"noopener\"> ...read more\u003c/a>",
"status": "publish",
"parent": 0,
"modified": 1726788288,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 5,
"wordCount": 61
},
"headData": {
"title": "The Weird, Wonderful World of British Christmas Music | KQED",
"description": "America and Britain: two countries whose superficial similarities (a common language, shared democratic ideals, a fondness for roasted meats) mask some pretty fundamental differences. And nowhere are these divisions more irreconcilable than in what constitutes holiday music.\nIt seems to me, America, that your holiday music falls into two camps: it's ...read more",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "The Weird, Wonderful World of British Christmas Music",
"datePublished": "2015-12-21T09:39:39-08:00",
"dateModified": "2024-09-19T16:24:48-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"redirect": {
"type": "external",
"url": "http://ww2.kqed.org/pop/i-wish-it-could-be-christmas-every-day"
},
"rssmiSourceLink": "http://ww2.kqed.org/pop/i-wish-it-could-be-christmas-every-day",
"sticky": false,
"path": "/arts/11182237/the-weird-wonderful-world-of-british-christmas-music",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>America and Britain: two countries whose superficial similarities (a common language, shared democratic ideals, a fondness for roasted meats) mask some pretty fundamental differences. And nowhere are these divisions more irreconcilable than in what constitutes holiday music.\u003c/p>\n\u003cp>It seems to me, America, that your holiday music falls into two camps: it’s \u003ca href=\"http://ww2.kqed.org/pop/i-wish-it-could-be-christmas-every-day\" target=\"_blank\" id=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source:: \u003ca href=\"http://ww2.kqed.org/pop/i-wish-it-could-be-christmas-every-day\" target=\"_blank\" title=\"The Weird, Wonderful World of British Christmas Music\" rel=\"noopener\">KQED Pop\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "http://ww2.kqed.org/pop/i-wish-it-could-be-christmas-every-day",
"authors": [
"2421"
],
"categories": [
"arts_69",
"arts_75"
],
"featImg": "arts_11182238",
"label": "arts"
},
"pop_19503": {
"type": "posts",
"id": "pop_19503",
"meta": {
"index": "posts_1716263798",
"site": "pop",
"id": "19503",
"score": null,
"sort": [
1450735612000
]
},
"parent": 0,
"labelTerm": {
"site": "pop"
},
"blocks": [],
"publishDate": 1450735612,
"format": "standard",
"disqusTitle": "10 Christmas Songs That Don't Sound Like Someone Pouring Maple Syrup In Your Ear",
"title": "10 Christmas Songs That Don't Sound Like Someone Pouring Maple Syrup In Your Ear",
"headTitle": "KQED Pop | KQED Arts",
"content": "\u003cp>Okay, first of all: If you're one of those people who genuinely loves Christmas music, jingle bells and all, I'm not here to judge. And I'm very happy for you that, for approximately eight weeks out of the year, your favorite tunes can be heard blaring from every convenience store, mall food court, and dentist's waiting room in America. It must be super convenient!\u003c/p>\n\u003cp>If, however, you have a slightly different reaction to \"I Saw Mommy Kissing Santa Claus\" -- namely, that you would sooner jam your ear canals with jagged shards of Christmas tree ornaments and hope that it permanently damages your hearing rather than listen to that inspid chorus one more time -- the holiday season can be a little, well, trying.\u003c/p>\n\u003cp>Fix yourself a warm alcoholic beverage, won't you? And come sit by me.\u003c/p>\n\u003cp>It's not that I'm a grinch, exactly, when it comes to Christmas tunes. It's just that the good ones -- the songs that upend saccharine expectations, that truly pack a punch (the way good spiked eggnog should) -- don't get enough attention. I'm here to remedy that. Here are the best Christmas tunes that won't give you auditory diabetes.\u003c/p>\n\u003cp>\u003cstrong>Run-D.M.C., \"Christmas In Hollis\"\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=OR07r0ZMFb8\u003c/p>\n\u003cp>In this song, the members of Run-D.M.C. find Santa's wallet and it's got hella money in it, but they decide to return it anyway. Then they get home and find that Santa in fact intended the money as a Christmas present, and everyone eats macaroni and cheese. \u003cem>Perfect Christmas. \u003c/em>\u003c/p>\n\u003cp>\u003cstrong>The Kinks, \"Father Christmas\"\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=CjaPXihbORk\u003c/p>\n\u003cp>True story: I listen to this one year-round. Maybe once a week. This is a legitimately classic Kinks song about class warfare, disguised as a clever Christmas ditty. Also, timeless hook.\u003c/p>\n\u003cp>\u003cstrong>Vulfpeck, \"Christmas in LA\"\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=d5K3UgrPdbQ\u003c/p>\n\u003cp>Vulfpeck, a funk band that gained some notoriety last year when they dropped an entirely silent album called \u003cem>Sleepify\u003c/em> on Spotify and used the meager earnings to fund a tour, occupies that fun space between joke band and real band -- the joke part because, well, listen to their lyrics and watch their videos; the real part because they're all exceedingly good at their instruments. They put on a seriously entertaining live show too.\u003c/p>\n\u003cp>\u003cstrong>The Pretenders, \"2000 Miles\"\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=OxCSo_cJ9mY\u003c/p>\n\u003cp>Does this one need an explanation? This song makes me wistful for something unnameable; it's Chrissie Hynde at her jaggedly vulnerable best.\u003c/p>\n\u003cp>\u003cstrong>The Ramones, \"Merry Christmas (I Don't Want to Fight Tonight)\"\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4Y5GtaTrPHM\u003c/p>\n\u003cp>This one goes out to anyone who's ever experienced the dissonance that comes with finding yourself in a tearful and/or screaming brawl with a family member or significant other while surrounded by twinkly lights, the scent of spiced apple cider, and an overwhelming cultural directive to experience peace, joy, and togetherness. So, everyone. Bonus: Sweet, shy Joey Ramone being added to the storied canon of \u003ca href=\"http://ww2.kqed.org/news/2015/12/06/where-is-all-the-hanukkah-music\" target=\"_blank\" rel=\"noopener noreferrer\">Christmas songs penned by Jews.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Happy Fangs, \"All I Want For Christmas Is Halloween\"\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=SVRs9AQEJPI\u003c/p>\n\u003cp>This garage-y, guitar riff-fueled tune from San Francisco's Happy Fangs has something in common with \u003cem>The Nightmare Before Christmas\u003c/em>, a.k.a. one of the greatest holiday movies of all time: It's hard to say if it's more appropriate for Halloween or Christmastime enjoyment. Be on the safe side; try both!\u003c/p>\n\u003cp>\u003cstrong>The Waitresses, \"Christmas Wrapping\"\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=nud2TQNahaU\u003c/p>\n\u003cp>God, the Waitresses are underrated. The deadpan delivery! The sax riff! I have a lot of feelings about this song, but NPR already combined feelings with facts about the track's history for you \u003ca href=\"http://www.npr.org/2014/12/24/372662676/couldnt-miss-this-one-behind-christmas-wrapping\" target=\"_blank\" rel=\"noopener noreferrer\">over here\u003c/a>\u003ca href=\"http://www.npr.org/2014/12/24/372662676/couldnt-miss-this-one-behind-christmas-wrapping\" target=\"_blank\" rel=\"noopener noreferrer\"> -- well worth a read/listen.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Juliana Hatfield, \"Make It Home\"\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=AreouV-wlJs\u003c/p>\n\u003cp>Juliana Hatfield was basically the princess of raw yet heartfelt '90s singer-songwriterdom, and though she's done plenty in the years since wearing this crown -- Blake Babies, Minor Alps -- her \u003ca href=\"https://www.youtube.com/watch?v=D9Ybwse4lXU\" target=\"_blank\" rel=\"noopener noreferrer\">turn as a homeless angel on the Christmas episode of \u003c/a>\u003cem>\u003ca href=\"https://www.youtube.com/watch?v=D9Ybwse4lXU\" target=\"_blank\" rel=\"noopener noreferrer\">My So-Called Life\u003c/a>, \u003c/em>in which she plays this song, is simply\u003cem> \u003c/em>too memorable for me to think of her in any other way this time of year. I mean, come on! That's hitting the guardian angel lottery.\u003c/p>\n\u003cp>\u003cstrong>James Brown, \"Santa Claus Go Straight to the Ghetto\"\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=cz48PR__uSo\u003c/p>\n\u003cp>See: Representations of economic equality in Christmas songs, Kinks edition, above. This version is a little easier to sneak into otherwise classic Christmas playlists.\u003c/p>\n\u003cp>\u003cstrong>Darlene Love, \"Christmas For the Jews\"\u003c/strong>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe width=\"512\" height=\"288\" src=\"http://www.hulu.com/embed.html?eid=pgn5kyl4fwyx3nshwa1vvw\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Because I had to. Because a woman who learned to sing in church choirs, who made a name for herself partially based on a song called \"Christmas (Baby Please Come Home),\" and who \u003ca href=\"http://www.hollywoodreporter.com/news/darlene-love-20-feet-from-stardom-oscars-2014-685201\" target=\"_blank\" rel=\"noopener noreferrer\">got her due \u003cem>much \u003c/em>too late in life\u003c/a> having the sense of humor to gleefully record a tune about Jews taking over the streets, eating Chinese food and getting into fistfights in bars is, in more ways than one, what Christmas is all about. And just for that, Darlene?\u003c/p>\n\u003cp>\u003cstrong>Bonus!\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=UV8x7H3DD8Y\u003c/p>\n\n",
"disqusIdentifier": "19503 http://ww2.kqed.org/pop/?p=19503",
"disqusUrl": "https://ww2.kqed.org/pop/2015/12/21/10-christmas-songs-that-dont-sound-like-someone-pouring-maple-syrup-in-your-ear/",
"stats": {
"hasVideo": true,
"hasChartOrMap": true,
"hasAudio": false,
"hasPolis": false,
"wordCount": 902,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [
"http://www.hulu.com/embed.html"
],
"paragraphCount": 28
},
"modified": 1642035024,
"excerpt": "Have a thing for Bing and Ol' Blue Eyes on repeat? Lucky you. Here are some festivus songs for the rest of us. ",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Have a thing for Bing and Ol' Blue Eyes on repeat? Lucky you. Here are some festivus songs for the rest of us. ",
"title": "10 Christmas Songs That Don't Sound Like Someone Pouring Maple Syrup In Your Ear - KQED Pop",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "10 Christmas Songs That Don't Sound Like Someone Pouring Maple Syrup In Your Ear",
"datePublished": "2015-12-21T14:06:52-08:00",
"dateModified": "2022-01-12T16:50:24-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "10-christmas-songs-that-dont-sound-like-someone-pouring-maple-syrup-in-your-ear",
"status": "publish",
"templateType": "standard",
"excludeFromSiteSearch": "Include",
"featuredImageType": "standard",
"path": "/pop/19503/10-christmas-songs-that-dont-sound-like-someone-pouring-maple-syrup-in-your-ear",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Okay, first of all: If you're one of those people who genuinely loves Christmas music, jingle bells and all, I'm not here to judge. And I'm very happy for you that, for approximately eight weeks out of the year, your favorite tunes can be heard blaring from every convenience store, mall food court, and dentist's waiting room in America. It must be super convenient!\u003c/p>\n\u003cp>If, however, you have a slightly different reaction to \"I Saw Mommy Kissing Santa Claus\" -- namely, that you would sooner jam your ear canals with jagged shards of Christmas tree ornaments and hope that it permanently damages your hearing rather than listen to that inspid chorus one more time -- the holiday season can be a little, well, trying.\u003c/p>\n\u003cp>Fix yourself a warm alcoholic beverage, won't you? And come sit by me.\u003c/p>\n\u003cp>It's not that I'm a grinch, exactly, when it comes to Christmas tunes. It's just that the good ones -- the songs that upend saccharine expectations, that truly pack a punch (the way good spiked eggnog should) -- don't get enough attention. I'm here to remedy that. Here are the best Christmas tunes that won't give you auditory diabetes.\u003c/p>\n\u003cp>\u003cstrong>Run-D.M.C., \"Christmas In Hollis\"\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\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/OR07r0ZMFb8'\n title='//www.youtube.com/embed/OR07r0ZMFb8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In this song, the members of Run-D.M.C. find Santa's wallet and it's got hella money in it, but they decide to return it anyway. Then they get home and find that Santa in fact intended the money as a Christmas present, and everyone eats macaroni and cheese. \u003cem>Perfect Christmas. \u003c/em>\u003c/p>\n\u003cp>\u003cstrong>The Kinks, \"Father Christmas\"\u003c/strong>\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/CjaPXihbORk'\n title='//www.youtube.com/embed/CjaPXihbORk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>True story: I listen to this one year-round. Maybe once a week. This is a legitimately classic Kinks song about class warfare, disguised as a clever Christmas ditty. Also, timeless hook.\u003c/p>\n\u003cp>\u003cstrong>Vulfpeck, \"Christmas in LA\"\u003c/strong>\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/d5K3UgrPdbQ'\n title='//www.youtube.com/embed/d5K3UgrPdbQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Vulfpeck, a funk band that gained some notoriety last year when they dropped an entirely silent album called \u003cem>Sleepify\u003c/em> on Spotify and used the meager earnings to fund a tour, occupies that fun space between joke band and real band -- the joke part because, well, listen to their lyrics and watch their videos; the real part because they're all exceedingly good at their instruments. They put on a seriously entertaining live show too.\u003c/p>\n\u003cp>\u003cstrong>The Pretenders, \"2000 Miles\"\u003c/strong>\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/OxCSo_cJ9mY'\n title='//www.youtube.com/embed/OxCSo_cJ9mY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Does this one need an explanation? This song makes me wistful for something unnameable; it's Chrissie Hynde at her jaggedly vulnerable best.\u003c/p>\n\u003cp>\u003cstrong>The Ramones, \"Merry Christmas (I Don't Want to Fight Tonight)\"\u003c/strong>\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/4Y5GtaTrPHM'\n title='//www.youtube.com/embed/4Y5GtaTrPHM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>This one goes out to anyone who's ever experienced the dissonance that comes with finding yourself in a tearful and/or screaming brawl with a family member or significant other while surrounded by twinkly lights, the scent of spiced apple cider, and an overwhelming cultural directive to experience peace, joy, and togetherness. So, everyone. Bonus: Sweet, shy Joey Ramone being added to the storied canon of \u003ca href=\"http://ww2.kqed.org/news/2015/12/06/where-is-all-the-hanukkah-music\" target=\"_blank\" rel=\"noopener noreferrer\">Christmas songs penned by Jews.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Happy Fangs, \"All I Want For Christmas Is Halloween\"\u003c/strong>\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/SVRs9AQEJPI'\n title='//www.youtube.com/embed/SVRs9AQEJPI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>This garage-y, guitar riff-fueled tune from San Francisco's Happy Fangs has something in common with \u003cem>The Nightmare Before Christmas\u003c/em>, a.k.a. one of the greatest holiday movies of all time: It's hard to say if it's more appropriate for Halloween or Christmastime enjoyment. Be on the safe side; try both!\u003c/p>\n\u003cp>\u003cstrong>The Waitresses, \"Christmas Wrapping\"\u003c/strong>\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/nud2TQNahaU'\n title='//www.youtube.com/embed/nud2TQNahaU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>God, the Waitresses are underrated. The deadpan delivery! The sax riff! I have a lot of feelings about this song, but NPR already combined feelings with facts about the track's history for you \u003ca href=\"http://www.npr.org/2014/12/24/372662676/couldnt-miss-this-one-behind-christmas-wrapping\" target=\"_blank\" rel=\"noopener noreferrer\">over here\u003c/a>\u003ca href=\"http://www.npr.org/2014/12/24/372662676/couldnt-miss-this-one-behind-christmas-wrapping\" target=\"_blank\" rel=\"noopener noreferrer\"> -- well worth a read/listen.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Juliana Hatfield, \"Make It Home\"\u003c/strong>\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/AreouV-wlJs'\n title='//www.youtube.com/embed/AreouV-wlJs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Juliana Hatfield was basically the princess of raw yet heartfelt '90s singer-songwriterdom, and though she's done plenty in the years since wearing this crown -- Blake Babies, Minor Alps -- her \u003ca href=\"https://www.youtube.com/watch?v=D9Ybwse4lXU\" target=\"_blank\" rel=\"noopener noreferrer\">turn as a homeless angel on the Christmas episode of \u003c/a>\u003cem>\u003ca href=\"https://www.youtube.com/watch?v=D9Ybwse4lXU\" target=\"_blank\" rel=\"noopener noreferrer\">My So-Called Life\u003c/a>, \u003c/em>in which she plays this song, is simply\u003cem> \u003c/em>too memorable for me to think of her in any other way this time of year. I mean, come on! That's hitting the guardian angel lottery.\u003c/p>\n\u003cp>\u003cstrong>James Brown, \"Santa Claus Go Straight to the Ghetto\"\u003c/strong>\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/cz48PR__uSo'\n title='//www.youtube.com/embed/cz48PR__uSo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>See: Representations of economic equality in Christmas songs, Kinks edition, above. This version is a little easier to sneak into otherwise classic Christmas playlists.\u003c/p>\n\u003cp>\u003cstrong>Darlene Love, \"Christmas For the Jews\"\u003c/strong>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe width=\"512\" height=\"288\" src=\"http://www.hulu.com/embed.html?eid=pgn5kyl4fwyx3nshwa1vvw\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Because I had to. Because a woman who learned to sing in church choirs, who made a name for herself partially based on a song called \"Christmas (Baby Please Come Home),\" and who \u003ca href=\"http://www.hollywoodreporter.com/news/darlene-love-20-feet-from-stardom-oscars-2014-685201\" target=\"_blank\" rel=\"noopener noreferrer\">got her due \u003cem>much \u003c/em>too late in life\u003c/a> having the sense of humor to gleefully record a tune about Jews taking over the streets, eating Chinese food and getting into fistfights in bars is, in more ways than one, what Christmas is all about. And just for that, Darlene?\u003c/p>\n\u003cp>\u003cstrong>Bonus!\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/UV8x7H3DD8Y'\n title='//www.youtube.com/embed/UV8x7H3DD8Y'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/pop/19503/10-christmas-songs-that-dont-sound-like-someone-pouring-maple-syrup-in-your-ear",
"authors": [
"7237"
],
"categories": [
"pop_4"
],
"tags": [
"pop_259"
],
"featImg": "pop_113553",
"label": "pop"
},
"news_10799417": {
"type": "posts",
"id": "news_10799417",
"meta": {
"index": "posts_1716263798",
"site": "news",
"id": "10799417",
"score": null,
"sort": [
1450718650000
]
},
"parent": 0,
"labelTerm": {
"site": "news",
"term": 72
},
"blocks": [],
"publishDate": 1450718650,
"format": "standard",
"disqusTitle": "Archive Documents California Immigrant Story, Through Music",
"title": "Archive Documents California Immigrant Story, Through Music",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>In the 1930s, an extraordinary woman set up shop in a modest office on Shattuck Avenue in Berkeley. Her goal? To record an ethnographic survey of California folk music, using 237 blank acetate disks supplied by the Library of Congress\u003ca href=\"https://memory.loc.gov/ammem/afccchtml/cowsonek.html\">. \u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"https://memory.loc.gov/ammem/afccchtml/cowsonek.html\">Sidney Robertson Cowell\u003c/a> traveled the state with a clunky recording device, seeking out folk musicians, from Armenian Oud players to Hungarian singers. She created a remarkable archive of recordings of 185 musicians from numerous ethnic groups, in 12 languages. The music, along with photographs and technical drawings of musical instruments, is part of a collection at the \u003ca href=\"https://www.loc.gov/folklife/\">American Folklife Center at the Library of Congress.\u003c/a>\u003c/p>\n\u003cp>http://stream.media.loc.gov/webcasts/2015/150909plc1700/data/150909plc1700_768x432_800.mp4\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>Here’s what Russell Rodriguez of the \u003ca href=\"http://www.actaonline.org/\">Alliance for California Traditional Arts\u003c/a> (ACTA) and Sojin Kim of the \u003ca href=\"http://www.folklife.si.edu/talkstory/2015/sounds-of-california-hearing-migration-through-music/\">Smithsonian Center for Folklife and Cultural Heritage\u003c/a> had to say about Cowell’s work:\u003c/p>\n\u003cblockquote>\u003cp>Cowell collected from people whose experiences were unrepresented, if not unrecorded at the time. She was interested in what people were singing, recognizing this would be represented in different languages, sounds, and aesthetics. She understood that California was made up of people who brought cultural repertoire from many different places. It's a remarkable inclination given that the 1930s were an era marked by such Nativist reactions as the exclusion of Asian immigrants and the mass deportations of Mexicans and Mexican Americans.\u003c/p>\u003c/blockquote>\n\u003cp>Now, ACTA and the Smithsonian are teaming up with the national Latino public radio network \u003ca href=\"http://radiobilingue.org/en/\">Radio Bilingue\u003c/a> to continue where Cowell left off. The \u003ca href=\"http://www.folklife.si.edu/talkstory/2015/sounds-of-california-hearing-migration-through-music/\">Sounds of California\u003c/a> project will document contemporary music through the lens of migration and immigration. The goal is to provide a lasting sound archive to be housed at the Library of Congress.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/238197469\" 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>ACTA supports traditional arts passed down from one generation to the next: everything from African-American quilt-making to cowboy poetry to Vietnamese opera in California. Documenting the immigrant experience through sound is a natural extension of that work, says Executive Director Amy Kitchener.\u003c/p>\n\u003cp>“The immigrant experience is, of course, a very integral sound of California,” says Kitchener. \"One of the things I like to think about is that immigration is a gift to California culture.”\u003c/p>\n\u003cfigure id=\"attachment_10799422\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10799422\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/12/RS17851_palabuniyan2-qut-800x357.jpg\" alt=\"The Palabuniyan Kulintang Ensemble is led by Danongan “Danny” Kalanduyan, an NEA Heritage Fellow, our nation’s highest honor for traditional artists. He is responsible for introducing this music to the West where its resurgence has inspired many Pilipino-American dance companies to research the indigenous roots of the Philippines. The brass instruments are played in interlocking percussive rhythms typical of music from the Mindanao, a predominately Muslim area of the Philippines archipelago and require precision ensemble practice. \" width=\"800\" height=\"357\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17851_palabuniyan2-qut-800x357.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17851_palabuniyan2-qut-400x179.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17851_palabuniyan2-qut-768x343.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17851_palabuniyan2-qut-960x428.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17851_palabuniyan2-qut.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Palabuniyan Kulintang Ensemble is led by Danongan “Danny” Kalanduyan, an NEA Heritage Fellow, our nation’s highest honor for traditional artists. He is responsible for introducing this music to the West where its resurgence has inspired many Pilipino-American dance companies to research the indigenous roots of the Philippines. The brass instruments are played in interlocking percussive rhythms typical of music from the Mindanao, a predominately Muslim area of the Philippines archipelago and require precision ensemble practice. \u003ccite>( Lily Kharrazi/ACTA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The project has already started to record artists like the San Francisco-based \u003ca href=\"http://www.festalpagdiriwang.com/#!palabuniyan-kulintang-ensemble/cxlh\">Palabuniyan Kulintang Ensemble\u003c/a>. They play a traditional tuned gong that predates the influence of either Islam or Christianity in the Philippines. Some of the central figures of Kulintang music in the U.S. are based in California, like \u003ca href=\"https://www.arts.gov/honors/heritage/fellows/danongan-kalanduyan\">Danongan “Danny” Kalunduyan.\u003c/a>\u003c/p>\n\u003cp>Ethnographers and folklorists with the project are also documenting performance and music that is rarely seen outside of immigrant communities. The “Diablo” or Devil dances of the traditional Mixteco dance group \u003ca href=\"//www.youtube.com/user/diegosolano27\">Nuu Yuku\u003c/a> are one such type of performance. These Oaxacan dancers from the San Joaquin Valley mostly work day jobs as farmworkers, but in their off time, they perform with ornate wooden devil masks adorned with deer antlers, cracking bull whips.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=jxCN-trcvu0\u003c/p>\n\u003cp>“A central idea is thinking about music and forms of oral expression that are part of a community, and that are valued in a community, and are parts of the identity of different groups of people in California,” says Kitchener.\u003c/p>\n\u003cp>This includes \u003ca href=\"https://www.facebook.com/events/679656802120626/\">FandangObon, \u003c/a>an L.A.-based fusion of Son Jaracho music from Veracruz, Mexico, and the tradition of Obon dance in Japanese-American culture.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=N3xVOB-HcMs\u003c/p>\n\u003cp>“This is a really very special California sound, and reflects a lot of the way that different cultural communities collaborate and know each other here,” says Kitchener.\u003c/p>\n\u003cp>The WPA California folk music project only had one recording from California Native Americans -- a Spanish Mission song. “California Sounds” is already filling in those gaps, by documenting the work of \u003ca href=\"http://ohlone.tumblr.com/\">Vincent Medina\u003c/a>, a storyteller from the Muwekma Olhone tribe, one of the original tribes in the Bay Area.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>After the last native speakers passed away, Medina says, the Chochenyo language was “sleeping” for over 70 years. But he listened to old wax cylinder recordings to teach himself to speak it. Earlier this month, Medina told a story in Chochenyo, without translation, at a celebration launching the California Sounds project at the Oakland Museum of California. He told the crowd, “This is the oldest language that Oakland has ever heard.”\u003c/p>\n\n",
"disqusIdentifier": "10799417 http://ww2.kqed.org/news/?p=10799417",
"disqusUrl": "https://ww2.kqed.org/news/2015/12/21/sounds-of-california-archives-californias-immigrant-story-through-music/",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 856,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 17
},
"modified": 1450749738,
"excerpt": "This remarkable archive contains recordings of 185 musicians from numerous ethnic groups is in 12 languages. ",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "This remarkable archive contains recordings of 185 musicians from numerous ethnic groups is in 12 languages. ",
"title": "Archive Documents California Immigrant Story, Through Music | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "NewsArticle",
"headline": "Archive Documents California Immigrant Story, Through Music",
"datePublished": "2015-12-21T09:24:10-08:00",
"dateModified": "2015-12-21T18:02:18-08:00",
"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": "sounds-of-california-archives-californias-immigrant-story-through-music",
"status": "publish",
"path": "/news/10799417/sounds-of-california-archives-californias-immigrant-story-through-music",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the 1930s, an extraordinary woman set up shop in a modest office on Shattuck Avenue in Berkeley. Her goal? To record an ethnographic survey of California folk music, using 237 blank acetate disks supplied by the Library of Congress\u003ca href=\"https://memory.loc.gov/ammem/afccchtml/cowsonek.html\">. \u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"https://memory.loc.gov/ammem/afccchtml/cowsonek.html\">Sidney Robertson Cowell\u003c/a> traveled the state with a clunky recording device, seeking out folk musicians, from Armenian Oud players to Hungarian singers. She created a remarkable archive of recordings of 185 musicians from numerous ethnic groups, in 12 languages. The music, along with photographs and technical drawings of musical instruments, is part of a collection at the \u003ca href=\"https://www.loc.gov/folklife/\">American Folklife Center at the Library of Congress.\u003c/a>\u003c/p>\n\u003cp>http://stream.media.loc.gov/webcasts/2015/150909plc1700/data/150909plc1700_768x432_800.mp4\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>Here’s what Russell Rodriguez of the \u003ca href=\"http://www.actaonline.org/\">Alliance for California Traditional Arts\u003c/a> (ACTA) and Sojin Kim of the \u003ca href=\"http://www.folklife.si.edu/talkstory/2015/sounds-of-california-hearing-migration-through-music/\">Smithsonian Center for Folklife and Cultural Heritage\u003c/a> had to say about Cowell’s work:\u003c/p>\n\u003cblockquote>\u003cp>Cowell collected from people whose experiences were unrepresented, if not unrecorded at the time. She was interested in what people were singing, recognizing this would be represented in different languages, sounds, and aesthetics. She understood that California was made up of people who brought cultural repertoire from many different places. It's a remarkable inclination given that the 1930s were an era marked by such Nativist reactions as the exclusion of Asian immigrants and the mass deportations of Mexicans and Mexican Americans.\u003c/p>\u003c/blockquote>\n\u003cp>Now, ACTA and the Smithsonian are teaming up with the national Latino public radio network \u003ca href=\"http://radiobilingue.org/en/\">Radio Bilingue\u003c/a> to continue where Cowell left off. The \u003ca href=\"http://www.folklife.si.edu/talkstory/2015/sounds-of-california-hearing-migration-through-music/\">Sounds of California\u003c/a> project will document contemporary music through the lens of migration and immigration. The goal is to provide a lasting sound archive to be housed at the Library of Congress.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\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/238197469&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/238197469'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>ACTA supports traditional arts passed down from one generation to the next: everything from African-American quilt-making to cowboy poetry to Vietnamese opera in California. Documenting the immigrant experience through sound is a natural extension of that work, says Executive Director Amy Kitchener.\u003c/p>\n\u003cp>“The immigrant experience is, of course, a very integral sound of California,” says Kitchener. \"One of the things I like to think about is that immigration is a gift to California culture.”\u003c/p>\n\u003cfigure id=\"attachment_10799422\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10799422\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/12/RS17851_palabuniyan2-qut-800x357.jpg\" alt=\"The Palabuniyan Kulintang Ensemble is led by Danongan “Danny” Kalanduyan, an NEA Heritage Fellow, our nation’s highest honor for traditional artists. He is responsible for introducing this music to the West where its resurgence has inspired many Pilipino-American dance companies to research the indigenous roots of the Philippines. The brass instruments are played in interlocking percussive rhythms typical of music from the Mindanao, a predominately Muslim area of the Philippines archipelago and require precision ensemble practice. \" width=\"800\" height=\"357\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17851_palabuniyan2-qut-800x357.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17851_palabuniyan2-qut-400x179.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17851_palabuniyan2-qut-768x343.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17851_palabuniyan2-qut-960x428.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/12/RS17851_palabuniyan2-qut.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Palabuniyan Kulintang Ensemble is led by Danongan “Danny” Kalanduyan, an NEA Heritage Fellow, our nation’s highest honor for traditional artists. He is responsible for introducing this music to the West where its resurgence has inspired many Pilipino-American dance companies to research the indigenous roots of the Philippines. The brass instruments are played in interlocking percussive rhythms typical of music from the Mindanao, a predominately Muslim area of the Philippines archipelago and require precision ensemble practice. \u003ccite>( Lily Kharrazi/ACTA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The project has already started to record artists like the San Francisco-based \u003ca href=\"http://www.festalpagdiriwang.com/#!palabuniyan-kulintang-ensemble/cxlh\">Palabuniyan Kulintang Ensemble\u003c/a>. They play a traditional tuned gong that predates the influence of either Islam or Christianity in the Philippines. Some of the central figures of Kulintang music in the U.S. are based in California, like \u003ca href=\"https://www.arts.gov/honors/heritage/fellows/danongan-kalanduyan\">Danongan “Danny” Kalunduyan.\u003c/a>\u003c/p>\n\u003cp>Ethnographers and folklorists with the project are also documenting performance and music that is rarely seen outside of immigrant communities. The “Diablo” or Devil dances of the traditional Mixteco dance group \u003ca href=\"//www.youtube.com/user/diegosolano27\">Nuu Yuku\u003c/a> are one such type of performance. These Oaxacan dancers from the San Joaquin Valley mostly work day jobs as farmworkers, but in their off time, they perform with ornate wooden devil masks adorned with deer antlers, cracking bull whips.\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/jxCN-trcvu0'\n title='//www.youtube.com/embed/jxCN-trcvu0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“A central idea is thinking about music and forms of oral expression that are part of a community, and that are valued in a community, and are parts of the identity of different groups of people in California,” says Kitchener.\u003c/p>\n\u003cp>This includes \u003ca href=\"https://www.facebook.com/events/679656802120626/\">FandangObon, \u003c/a>an L.A.-based fusion of Son Jaracho music from Veracruz, Mexico, and the tradition of Obon dance in Japanese-American culture.\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/N3xVOB-HcMs'\n title='//www.youtube.com/embed/N3xVOB-HcMs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“This is a really very special California sound, and reflects a lot of the way that different cultural communities collaborate and know each other here,” says Kitchener.\u003c/p>\n\u003cp>The WPA California folk music project only had one recording from California Native Americans -- a Spanish Mission song. “California Sounds” is already filling in those gaps, by documenting the work of \u003ca href=\"http://ohlone.tumblr.com/\">Vincent Medina\u003c/a>, a storyteller from the Muwekma Olhone tribe, one of the original tribes in the Bay Area.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>After the last native speakers passed away, Medina says, the Chochenyo language was “sleeping” for over 70 years. But he listened to old wax cylinder recordings to teach himself to speak it. Earlier this month, Medina told a story in Chochenyo, without translation, at a celebration launching the California Sounds project at the Oakland Museum of California. He told the crowd, “This is the oldest language that Oakland has ever heard.”\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/news/10799417/sounds-of-california-archives-californias-immigrant-story-through-music",
"authors": [
"254"
],
"programs": [
"news_72"
],
"categories": [
"news_223",
"news_8"
],
"tags": [
"news_17286"
],
"featImg": "news_10799420",
"label": "news_72"
},
"arts_11168560": {
"type": "posts",
"id": "arts_11168560",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11168560",
"score": null,
"sort": [
1450454421000
]
},
"guestAuthors": [],
"slug": "top-25-albums-of-2015",
"title": "Listening to the Year: Your Music Editor's Top 25 Albums of 2015",
"publishDate": 1450454421,
"format": "image",
"headTitle": "Listening to the Year: Your Music Editor’s Top 25 Albums of 2015 | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>I turned 40 this year, and instead of throwing in the towel and giving up on new music, I found that I sought out more new sounds than ever. I also put together a \u003ca href=\"http://ww2.kqed.org/arts/2015/10/23/keep-listening-notes-on-turning-40-and-still-seeking-out-new-music/\" target=\"_blank\" rel=\"noopener\">list of tips\u003c/a> for staying excited about new bands and artists, and organized a \u003ca href=\"http://www.commonwealthclub.org/events/2015-08-25/how-we-listen-music\" target=\"_blank\" rel=\"noopener\">Commonwealth Club panel\u003c/a> about the ways we consume recorded music. All of this resulted in weekly surprises on my stereo.\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>Of the 25 albums I loved the most in 2015, most, I find, are mysteries that are a joy to unravel. I liked them all for different reasons, and sorting the top three, in particular, took weeks. For background reference, see my top album lists from the years \u003ca href=\"http://ww2.kqed.org/arts/2014/12/23/your-new-music-editors-top-25-albums-of-2014/\" target=\"_blank\" rel=\"noopener\">2014\u003c/a>, \u003ca href=\"http://citysound.bohemian.com/2013/12/31/gabes-top-25-albums-of-2013/\" target=\"_blank\" rel=\"noopener\">2013\u003c/a>, \u003ca href=\"http://citysound.bohemian.com/2012/12/13/top-25-albums-of-2012/\" target=\"_blank\" rel=\"noopener\">2012\u003c/a>, \u003ca href=\"http://citysound.bohemian.com/2011/12/14/top-25-albums-of-2011/\" target=\"_blank\" rel=\"noopener\">2011\u003c/a>, \u003ca href=\"http://citysound.bohemian.com/2010/12/14/top-25-albums-of-2010/\" target=\"_blank\" rel=\"noopener\">2010\u003c/a>, and lo and behold, the \u003ca href=\"http://citysound.bohemian.com/2009/12/15/the-top-albums-of-the-decade-2000-2009/\" target=\"_blank\" rel=\"noopener\">entire decade from 2000-2009\u003c/a>.\u003c/p>\n\u003cp>Here’s what I loved the most in 2015.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Kehlani.jpg\" alt=\"Kehlani\" width=\"400\" height=\"400\">\n\u003ch3>1. Kehlani – \u003cem>You Should Be Here\u003c/em>\u003c/h3>\n\u003ch5>(Tsunami Mob/Self-Released)\u003c/h5>\n\u003cp>Originally released as a free download in April, Kehlani’s \u003cem>You Should Be Here\u003c/em> commanded exponential adoration throughout the year, not just from me but from a committed, growing base of fans. With an Oakland upbringing that wasn’t always easy — at a young age, her father was murdered, and later, her mother bounced in and out of jail with drug problems — Kehlani, age 20, brings a no-nonsense realism to her songwriting that feels intimate without being “confessional,” backed by music that feels wholly fresh without falling into the languid trap of “weird R&B.” Most of the songs on \u003cem>You Should Be Here\u003c/em> explore the tenuousness of relationships, be they with friends, lovers, or family: “Jealous” involves a boyfriend who won’t stop posting pictures of their dates, “How That Taste” indicts old friends who believed she wouldn’t make it, and “Bright” is a swing-rhythm affirming message of self-love for young girls and boys alike. But it’s “The Letter,” a song addressed to Kehlani’s absent mother, that cuts the deepest here. “And if you weren’t gonna guide me, why bring me into the light?” she sings, over a spare piano figure, “Must have done something to make you want to run and hide.” By the album’s end, “Alive” feels like jubilant release, a celebration of overcoming all that came before. When I \u003ca href=\"http://ww2.kqed.org/arts/2015/07/28/live-review-kehlani-crests-the-tsunami-of-stardom-at-slims/\" target=\"_blank\" rel=\"noopener\">saw her in July\u003c/a>, I witnessed a room full of young fans communing with one of their own in a way I haven’t seen in years. Kehlani is human. She’s honest. In many ways, this has been her year, and I love more songs on this album than any album I heard in 2015.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Future.jpg\" alt=\"Future\" width=\"400\" height=\"400\">\n\u003ch3>2. Future – \u003cem>DS2\u003c/em> (and \u003cem>56 Nights\u003c/em>)\u003c/h3>\n\u003ch5>(Freebandz/Epic)\u003c/h5>\n\u003cp>The sound of a lost soul pushing through the haze to grasp at any glimmer of light, Future’s \u003cem>DS2\u003c/em> is also the album I listened to more times than any other in 2015. (Make of the connection what you will.) Coming off a string of three mixtapes, and in the wake of his separation from Ciara, Future crafted his first official album since 2014’s \u003cem>Honest\u003c/em> as a delicate balancing act between turn-up mayhem and bubbling-under sorrow. \u003cem>DS2\u003c/em> has his detractors (“It’s terrible,” a colleague told me yesterday, “he’s just mumbling”), and taken at face value, Future’s references to codeine and liquor and sex seem like textbook rap braggadocio — until you listen for the fourth or fifth time and realize they’re escapist props in an ongoing drama against his inner demons. “Tried to make me a pop star, and they made a monster,” Future raps in his gutteral rasp, “I gave up on my conscience, gotta live with it.” The production throughout by Metro Boomin buzzes and clangs as the anxious clamor of the outside world, while Future rattles in his creaking monotone just trying to make it through intact. After the phenomenal mixtape \u003cem>\u003ca href=\"http://www.hotnewhiphop.com/future-and-dj-esco-56-nights-new-mixtape.115764.html\" target=\"_blank\" rel=\"noopener\">56 Nights\u003c/a>\u003c/em>, which yielded songs so resonant they were \u003ca href=\"https://www.youtube.com/watch?v=NktN7GMjNyg\" target=\"_blank\" rel=\"noopener\">covered by university marching bands\u003c/a>, I didn’t know how Future could outdo himself, but he did. I \u003ca href=\"https://twitter.com/MetroBoomin/status/625770497956036610\" target=\"_blank\" rel=\"noopener\">put this album on tape\u003c/a> and listened to it on repeat for months and got lost.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Kendrick-1.jpg\" alt=\"Kendrick Lamar\" width=\"400\" height=\"400\">\n\u003ch3>3. Kendrick Lamar – \u003cem>To Pimp a Butterfly\u003c/em>\u003c/h3>\n\u003ch5>(Top Dawg/Interscope)\u003c/h5>\n\u003cp>We music writers arrange these dumb lists each year by many competing factors. While \u003cem>You Should Be Here\u003c/em> gave me the most hope and \u003cem>DS2\u003c/em> the most repeated listening, objectively \u003cem>To Pimp a Butterfly\u003c/em> is the hands-down album of the year. Riding high from \u003cem>good kid, m.A.A.d city\u003c/em>, Kendrick could have easily made an accessible follow-up with singalong hooks; instead, he employed wild jazz, crying spoken-word, swampy funk and \u003ca href=\"https://youtu.be/afk5PBBM-h8?t=4m27s\" target=\"_blank\" rel=\"noopener\">missives to Oprah about the n-word\u003c/a> into a record that \u003cem>sounds\u003c/em> like 2015 felt — anxious, reflective, confused, angry, and hopeful. Much in the same way film critics know “Oscar contender” when they see it, I walked into the office in March after being blown away by its sheer scope and immediately declared it the album of the year — simultaneously knowing that \u003ca href=\"https://twitter.com/gmeline/status/578280368890982400\" target=\"_blank\" rel=\"noopener\">it’d take a while to process\u003c/a>. The album sparked more serious conversation than any other, and in a year where names like Freddie Gray, Sandra Bland, Terrence Walker and Laquan McDonald populated our Facebook feeds, those conversations are necessary — even while, as I witnessed during his \u003ca href=\"http://ww2.kqed.org/arts/2015/08/09/outside-lands-review-saturdays-music-highlights-and-photo-gallery/\" target=\"_blank\" rel=\"noopener\">performance at Outside Lands\u003c/a>, they occur in the midst of a giant unifying party. Everything about this album is ambitious: lyrically, musically, and in the ambition it has for all of us to be better. \u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/CourtneyBarnett.jpg\" alt=\"Courtney Barnett\" width=\"400\" height=\"400\">\n\u003ch3>4. Courtney Barnett – \u003cem>Sometimes I Sit and Think, Sometimes I Just Sit\u003c/em>\u003c/h3>\n\u003ch5>(Mom + Pop)\u003c/h5>\n\u003cp>Artists do this thing sometimes where they try to sequence a record with a song for each mood, and they usually either fail or the record is unlistenable. \u003cem>Sometimes I Sit and Think\u003c/em> works for every mood, probably because its subject matter is so often seemingly mundane. “I stare at the lawn. It’s Wednesday morning. It needs a cut. But I’ll leave it growing,” opens the seven-minute dirge “Small Poppies” — and then Barnett launches into an indictment of an exploitative lover, a blood-curdling guitar solo, and the line “I used to hate myself but now I think I’m alright.” (The song is only two chords, over and over, a fact that took me months to notice.) But then there’s songs like “Depreston,” which are so evocative of sitting on the porch and drinking tea on an overcast morning that a strange calm comes over me each time I hear it. When I \u003ca href=\"http://ww2.kqed.org/arts/2015/06/01/bottlerock-2015-review-now-on-its-feet-a-festival-in-search-of-an-identity/\" target=\"_blank\" rel=\"noopener\">saw her play this summer\u003c/a>, her fingers skittered around the guitar like fireflies, somehow producing sound but decidedly \u003cem>not\u003c/em> in the usual way. Whenever I couldn’t decide what to put on the stereo at home, I reached for this record, and it never let me down.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/KamasiWashington.jpg\" alt=\"Kamasi Washington\" width=\"400\" height=\"400\">\n\u003ch3>5. Kamasi Washington – \u003cem>The Epic\u003c/em>\u003c/h3>\n\u003ch5>(Brainfeeder)\u003c/h5>\n\u003cp>As a huge fan of the soaring spiritual jazz of the late 1960s and early 1970s, I balked when I heard that \u003cem>The Epic\u003c/em> was “just like an Impulse Records album from 1969.” But the assessment is correct. Revisiting eras of jazz can be dicey: when the new traditionalists of the 1980s led by Wynton Marsalis recreated early bebop, the effect felt like a tribute band. Washington succeeds in this appropriately-titled album (the thing’s almost three hours long) because, along with the sound, he captures the \u003cem>spirit\u003c/em> of a radical jazz revolution of fifty years ago. Probing into outer reaches of the possible, Washington’s 12-piece band is like a thunderstorm, and his compositions are rich and surprising. Released on the Brainfeeder label — home to progressive electronic acts like Flying Lotus and Thundercat — \u003cem>The Epic\u003c/em> has hence turned up on more indie-rock sites and lists than any other jazz record, a crossover album without the watered-down music normally associated with the term. Kudos to Washington for turning on a new generation to what Archie Shepp called “fire music”; this is heat, indeed.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Kreng.jpg\" alt=\"Kreng\" width=\"400\" height=\"400\">\n\u003ch3>6. Kreng – \u003cem>The Summoner\u003c/em>\u003c/h3>\n\u003ch5>(Miasmah)\u003c/h5>\n\u003cp>Pepijn Caudron is a modern Belgian composer whose career has been largely tied to the theatre; specifically, the dark surrealist company \u003ca href=\"http://abattoirferme.tumblr.com/\" target=\"_blank\" rel=\"noopener\">Abattoir Fermé\u003c/a>, based in Mechelen. Recording under the name Kreng, his music has a highly visual quality not unlike Richard Strauss’ tone poems, meant to evoke specific scenes or events. Caudron lost three friends in 2014, all to suicide, and with \u003cem>Summoner\u003c/em> he writes a tone poem for the Kübler-Ross model, commonly known as the five stages of grief. Each track is named accordingly: Denial, Anger, Bargaining, Depression, and Acceptance, and the music matches these stages with alarming precision. “Denial,” for example, is a gloomy soundscape interrupted by occasional bursts of the small orchestra, fingers flailing on the strings and rattling percussion signaling a mourner’s confused realization that their loved one is gone. Within the stages, Kreng adds a sixth: “The Summoning,” which turns into a loud, guitar-drenched blast from doom-metal band Amenra, representative of “an imaginary last talk with my loved lost ones,” as Caudron \u003ca href=\"http://soundsofatiredcity.com/kreng-interview/\" target=\"_blank\" rel=\"noopener\">has stated\u003c/a>. “Acceptance,” a piano elegy, closes the cycle. If Strauss’ \u003cem>Death and Transformation\u003c/em> is about the stages of dying, \u003cem>The Summoner\u003c/em> is its sequel for the living left behind. Each time I listened to this album in 2015, it floored me.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/VinceStaples.jpg\" alt=\"Vince Staples\" width=\"400\" height=\"400\">\n\u003ch3>7. Vince Staples – \u003cem>Summertime ’06\u003c/em>\u003c/h3>\n\u003ch5>(Def Jam)\u003c/h5>\n\u003cp>As a kid growing up in the 1980s, I had to hear adults tell me on a near-daily basis that the rock revolution of the 1960s was the greatest thing to happen in history, and that the invasion of rap was destroying music. I loved 1960s rock music, of course, but something seemed off, like the adults in my world hadn’t heeded their own hero’s advice that the times were a-changin’ and to get out of the new road if they can’t lend a hand. In 2015, of course, we have the next generation of this tiresome cycle instructing us that the so-called “golden era” of rap — the 1990s — is the best era of rap, and the Wolf Gangs and Young Thugs and Fetty Waps of the world are ruining everything. In October, Vince Staples had the guts to \u003ca href=\"http://time.com/4084942/vince-staples-90s-hip-hop-interview/\" target=\"_blank\" rel=\"noopener\">call out this remedial thinking\u003c/a> to \u003cem>Time\u003c/em> magazine, and was subsequently eviscerated for having the gall to be born the year before \u003cem>Ready to Die\u003c/em> came out. I rule in favor of Vince Staples, and his young fearlessness propels \u003cem>Summertime ’06\u003c/em>. In addition to Staples’ smart writing, the production by hip-hop veteran No I.D. knocks hard, bridging the generation gap. I listened to this album in the car and thought about being 22 and hungry.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Disasterpeace.jpg\" alt=\"Disasterpeace\" width=\"400\" height=\"400\">\n\u003ch3>8. Disasterpeace – \u003cem>It Follows OST\u003c/em>\u003c/h3>\n\u003ch5>(Milan)\u003c/h5>\n\u003cp>I ordinarily don’t place soundtracks on these lists, but then this is no ordinary soundtrack. Anyone who’s seen \u003cem>It Follows\u003c/em> knows how \u003ca href=\"https://www.youtube.com/watch?v=W2d4_TgwZQc\" target=\"_blank\" rel=\"noopener\">instrinsic the music is to the film\u003c/a>, the story of a sexually-transmitted virus that manifests intermittently in the form of a slowly pursuing naked body intent on killing its host. (It’s more psychologically harrowing than it sounds.) Scored by Disasterpeace, a.k.a. Berkeley musician Richard Vreeland, the soundtrack stands finely on its own, a combination of electronic pulses and surging, eerie wave forms that call to mind John Carpenter and Trent Reznor. Prior to the film, Vreeland primarily scored video games, and his 8-bit–inspired soundtrack to \u003cem>Fez\u003c/em> caught the attention of writer-director David Robert Mitchell. Interestingly, \u003cem>Fez\u003c/em> often sounds \u003ca href=\"https://www.youtube.com/watch?v=76GnOwHorn0\" target=\"_blank\" rel=\"noopener\">peppy and lively\u003c/a>, while \u003cem>It Follows\u003c/em> plunges head-on into darkness. Between Kreng and Disasterpeace, there’s two first-time film composers on this list. Here’s hoping they land future projects and get the attention they deserve.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/SleaterKinney.jpg\" alt=\"Sleater Kinney\" width=\"400\" height=\"400\">\n\u003ch3>9. Sleater-Kinney – \u003cem>No Cities Left to Love\u003c/em>\u003c/h3>\n\u003ch5>(Sub Pop)\u003c/h5>\n\u003cp>I saw two reunion shows on Nob Hill this year: first, the Replacements, whose reunion was as improbable as it was majestic, and then, after a 10-year absence, Sleater-Kinney, who picked up as if nothing had happened since I last saw them in 2005 at the Great American Music Hall. Of course, plenty had happened (solo projects, \u003cem>Portlandia\u003c/em>, Wild Flag), and in a lot of ways, \u003cem>No Cities Left to Love\u003c/em> sounds like a band starting over again. In a distinct musical language Sleater-Kinney created during their original run, which culminated in the furiously creative 2005 album \u003cem>The Woods\u003c/em>, the songs here are relatively simple and straightforward. That’s not a bad thing, and they get stuck in my head more frequently than anything from \u003cem>The Woods\u003c/em>, much as I love that album too. I sometimes pride myself on not clinging to the music of my past, but I’ll admit that it’s just plain \u003cem>nice\u003c/em> to hear Sleater-Kinney again, and I believe the world is a better place with them around.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Miguel.jpg\" alt=\"Miguel\" width=\"400\" height=\"400\">\n\u003ch3>10. Miguel – \u003cem>Wildheart\u003c/em>\u003c/h3>\n\u003ch5>(RCA)\u003c/h5>\n\u003cp>Miguel’s \u003cem>Kaleidoscope Dream\u003c/em> floored me so hard in 2012 that I bought a last-minute $100 ticket to see him \u003cem>open\u003c/em> for Trey Songz at the Oakland Arena, and friends, it was worth every cent. In the times I’ve seen the R&B singer since, he has a propensity for dazzling up his songs with so many musical rearrangements, drum fills, ad-libs and improvised melodies that the original songs are buried in showmanship. (Granted, it’s showmanship of the highest order, and comparisons to James Brown and Prince are not off the mark.) \u003cem>Wildheart\u003c/em> operates against that process, so intimate that when I first pressed play on album opener “A Beautiful Exit” I thought I must be hearing a demo recording. As evident from the cover, this is a hypersexual record (with “The Valley” and the fantastic “Waves”), but songs like “What’s Normal Anyway” speak to the struggle everyone faces to fit in, and “Hollywood Dreams” picks apart the quest for fame in L.A.’s parasitic atmosphere. I kept returning to \u003cem>Wildheart\u003c/em>, even though it isn’t \u003cem>Kaleidoscope Dream Pt. II\u003c/em> at all, and it’s precisely because of his ever-changing nature that it’s always exciting thinking about what Miguel will do next.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003ch2>More From the Year:\u003c/h2>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/HollyHerndon.jpg\" alt=\"HollyHerndon\" width=\"200\" height=\"200\" class=\"alignleft\">\n\u003ch3>11. Holly Herndon – \u003cem>Platform\u003c/em>\u003c/h3>\n\u003cp>Scattered and glorious, an electronic pastiche of lost memories from yet another San Francisco artist who moved to L.A.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/YoungThug.jpg\" alt=\"YoungThug\" width=\"200\" height=\"200\" class=\"alignleft\">\n\u003ch3>12. Young Thug – \u003cem>Barter 6, Slime Season 1 & 2\u003c/em>, the leaks, etc.\u003c/h3>\n\u003cp>When he’s on, he’s on (see Exhibits \u003ca href=\"https://www.youtube.com/watch?v=HCLT1aJLF4I\" target=\"_blank\" rel=\"noopener\">A\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=xzIGVKEGL1s\" target=\"_blank\" rel=\"noopener\">B\u003c/a>), and following his constant output is thrilling.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/FKATwigsEP.jpg\" alt=\"FKATwigsEP\" width=\"200\" height=\"200\" class=\"alignleft\">\n\u003ch3>13. FKA Twigs – \u003cem>M3LL155X\u003c/em>\u003c/h3>\n\u003cp>A natural continuation of \u003cem>LP1\u003c/em>, my \u003ca href=\"http://ww2.kqed.org/arts/2014/12/23/your-new-music-editors-top-25-albums-of-2014/\" target=\"_blank\" rel=\"noopener\">favorite album of 2014\u003c/a>, it pushes all the boundaries beautifully.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/ChanceSurf.jpg\" alt=\"ChanceSurf\" width=\"200\" height=\"200\" class=\"alignleft\">\n\u003ch3>14. Donnie Trumpet & the Social Experiment – \u003cem>Surf\u003c/em>\u003c/h3>\n\u003cp>Chance the Rapper gives his band the spotlight, with “\u003ca href=\"https://www.youtube.com/watch?v=KMPTDBbsPnc\" target=\"_blank\" rel=\"noopener\">Wanna Be Cool\u003c/a>” and “\u003ca href=\"https://www.youtube.com/watch?v=i4ooH8frBWg\" target=\"_blank\" rel=\"noopener\">Sunday Candy\u003c/a>,” songs your mama could love.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Vijay.jpg\" alt=\"Vijay\" width=\"200\" height=\"200\" class=\"alignleft\">\n\u003ch3>15. Vijay Iyer – \u003cem>Break Stuff\u003c/em>\u003c/h3>\n\u003cp>Drawing inspiration from techno and hip-hop, Iyer explores the “break” and applies it to his fantastic trio.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/FettyWap.jpg\" alt=\"FettyWap\" width=\"200\" height=\"200\" class=\"alignleft\">\n\u003ch3>16. Fetty Wap – \u003cem>Fetty Wap\u003c/em>\u003c/h3>\n\u003cp>No one could escape these songs in 2015 (“Trap Queen,” “My Way,” “679,” “Again”), but I swear, I never got sick of hearing them.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/DrYenLo.jpg\" alt=\"DrYenLo\" width=\"200\" height=\"200\" class=\"alignleft\">\n\u003ch3>17. Dr. Yen Lo – \u003cem>Days With Dr. Yen Lo\u003c/em>\u003c/h3>\n\u003cp>A rapper/firefighter from Brooklyn who toned down his already-subdued hip-hop sound for this near-drumless album.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/CecileMclorin.jpg\" alt=\"CecileMclorin\" width=\"200\" height=\"200\" class=\"alignleft\">\n\u003ch3>18. Cécile McLorin Salvant – \u003cem>For One to Love\u003c/em>\u003c/h3>\n\u003cp>A tremendous jazz vocalist who’s not afraid to wear her influences on her sleeve, with unexpected song choices arranged vividly.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/EzraFurman.jpg\" alt=\"EzraFurman\" width=\"200\" height=\"200\" class=\"alignleft\">\n\u003ch3>19. Ezra Furman – \u003cem>Perpetual Motion People\u003c/em>\u003c/h3>\n\u003cp>Simple rock ‘n’ roll, one of the more memorable live shows I saw this year, and “\u003ca href=\"https://www.youtube.com/watch?v=fvfI6Q5WFT0\" target=\"_blank\" rel=\"noopener\">Lousy Connection\u003c/a>” is a Violent Femmes-meets-Phil Spector gem.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/CarlyRae.jpg\" alt=\"CarlyRae\" width=\"200\" height=\"200\" class=\"alignleft\">\n\u003ch3>20. Carly Rae Jepsen – \u003cem>E.mo.tion\u003c/em>\u003c/h3>\n\u003cp>Justin Bieber, Selena Gomez and Demi Lovato all had great singles in 2015, but Carly Rae Jepsen intentionally created a pop \u003cem>album\u003c/em>, and it’s easily lovable.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/MaxRichter.jpg\" alt=\"MaxRichter\" width=\"200\" height=\"200\" class=\"alignleft\">\n\u003ch3>21. Max Richter – \u003cem>From Sleep\u003c/em>\u003c/h3>\n\u003cp>Richter wrote an eight-hour piece of music to be played while sleeping; the one-hour excerpt is enough, and sublime.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/JamieXX.jpg\" alt=\"JamieXX\" width=\"200\" height=\"200\" class=\"alignleft\">\n\u003ch3>22. Jamie XX – \u003cem>In Colour\u003c/em>\u003c/h3>\n\u003cp>Not as revelatory as his \u003cem>\u003ca href=\"https://en.wikipedia.org/wiki/We're_New_Here\" target=\"_blank\" rel=\"noopener\">We’re New Here\u003c/a>\u003c/em> instrumentals, but rich and rewarding throughout, especially during “\u003ca href=\"https://www.youtube.com/watch?v=BjLBB-TMa84\" target=\"_blank\" rel=\"noopener\">Good Times\u003c/a>.”\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Helm.jpg\" alt=\"Helm\" width=\"200\" height=\"200\" class=\"alignleft\">\n\u003ch3>23. Helm – \u003cem>Olympic Mess\u003c/em>\u003c/h3>\n\u003cp>I can’t begin to understand the mind that creates this jagged noise, but I’ve loved everything it’s produced.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/BadPlus.jpg\" alt=\"BadPlus\" width=\"200\" height=\"200\" class=\"alignleft\">\n\u003ch3>24. The Bad Plus and Joshua Redman – \u003cem>The Bad Plus Joshua Redman\u003c/em>\u003c/h3>\n\u003cp>I love the Bad Plus, and the daring jazz trio pushed Redman so far here that a lone solo of his got \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\u003c/a>.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Mansion.jpg\" alt=\"Mansion\" width=\"200\" height=\"200\" class=\"alignleft\">\n\u003ch3>25. Mansion – \u003cem>Early Life\u003c/em>\u003c/h3>\n\u003cp>Skittering post-punk in the vein of LiLiPUT or Gang of Four from the heart of Oakland, Calif., with Candace Lazarou’s vocal delivery causing chills.\u003c/p>\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>[ad floatright]\u003c/p>\n",
"blocks": [],
"excerpt": "From Oakland R&B and Atlanta hip-hop to Australian indie rock and Belgian classical tone poems, KQED Arts' Music Editor Gabe Meline picks his top albums of 2015.",
"status": "publish",
"parent": 0,
"modified": 1726701850,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 31,
"wordCount": 2966
},
"headData": {
"title": "Listening to the Year: Your Music Editor's Top 25 Albums of 2015 | KQED",
"description": "From Oakland R&B and Atlanta hip-hop to Australian indie rock and Belgian classical tone poems, KQED Arts' Music Editor Gabe Meline picks his top albums of 2015.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Listening to the Year: Your Music Editor's Top 25 Albums of 2015",
"datePublished": "2015-12-18T08:00:21-08:00",
"dateModified": "2024-09-18T16:24:10-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"path": "/arts/11168560/top-25-albums-of-2015",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I turned 40 this year, and instead of throwing in the towel and giving up on new music, I found that I sought out more new sounds than ever. I also put together a \u003ca href=\"http://ww2.kqed.org/arts/2015/10/23/keep-listening-notes-on-turning-40-and-still-seeking-out-new-music/\" target=\"_blank\" rel=\"noopener\">list of tips\u003c/a> for staying excited about new bands and artists, and organized a \u003ca href=\"http://www.commonwealthclub.org/events/2015-08-25/how-we-listen-music\" target=\"_blank\" rel=\"noopener\">Commonwealth Club panel\u003c/a> about the ways we consume recorded music. All of this resulted in weekly surprises on my stereo.\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>Of the 25 albums I loved the most in 2015, most, I find, are mysteries that are a joy to unravel. I liked them all for different reasons, and sorting the top three, in particular, took weeks. For background reference, see my top album lists from the years \u003ca href=\"http://ww2.kqed.org/arts/2014/12/23/your-new-music-editors-top-25-albums-of-2014/\" target=\"_blank\" rel=\"noopener\">2014\u003c/a>, \u003ca href=\"http://citysound.bohemian.com/2013/12/31/gabes-top-25-albums-of-2013/\" target=\"_blank\" rel=\"noopener\">2013\u003c/a>, \u003ca href=\"http://citysound.bohemian.com/2012/12/13/top-25-albums-of-2012/\" target=\"_blank\" rel=\"noopener\">2012\u003c/a>, \u003ca href=\"http://citysound.bohemian.com/2011/12/14/top-25-albums-of-2011/\" target=\"_blank\" rel=\"noopener\">2011\u003c/a>, \u003ca href=\"http://citysound.bohemian.com/2010/12/14/top-25-albums-of-2010/\" target=\"_blank\" rel=\"noopener\">2010\u003c/a>, and lo and behold, the \u003ca href=\"http://citysound.bohemian.com/2009/12/15/the-top-albums-of-the-decade-2000-2009/\" target=\"_blank\" rel=\"noopener\">entire decade from 2000-2009\u003c/a>.\u003c/p>\n\u003cp>Here’s what I loved the most in 2015.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Kehlani.jpg\" alt=\"Kehlani\" width=\"400\" height=\"400\">\n\u003ch3>1. Kehlani – \u003cem>You Should Be Here\u003c/em>\u003c/h3>\n\u003ch5>(Tsunami Mob/Self-Released)\u003c/h5>\n\u003cp>Originally released as a free download in April, Kehlani’s \u003cem>You Should Be Here\u003c/em> commanded exponential adoration throughout the year, not just from me but from a committed, growing base of fans. With an Oakland upbringing that wasn’t always easy — at a young age, her father was murdered, and later, her mother bounced in and out of jail with drug problems — Kehlani, age 20, brings a no-nonsense realism to her songwriting that feels intimate without being “confessional,” backed by music that feels wholly fresh without falling into the languid trap of “weird R&B.” Most of the songs on \u003cem>You Should Be Here\u003c/em> explore the tenuousness of relationships, be they with friends, lovers, or family: “Jealous” involves a boyfriend who won’t stop posting pictures of their dates, “How That Taste” indicts old friends who believed she wouldn’t make it, and “Bright” is a swing-rhythm affirming message of self-love for young girls and boys alike. But it’s “The Letter,” a song addressed to Kehlani’s absent mother, that cuts the deepest here. “And if you weren’t gonna guide me, why bring me into the light?” she sings, over a spare piano figure, “Must have done something to make you want to run and hide.” By the album’s end, “Alive” feels like jubilant release, a celebration of overcoming all that came before. When I \u003ca href=\"http://ww2.kqed.org/arts/2015/07/28/live-review-kehlani-crests-the-tsunami-of-stardom-at-slims/\" target=\"_blank\" rel=\"noopener\">saw her in July\u003c/a>, I witnessed a room full of young fans communing with one of their own in a way I haven’t seen in years. Kehlani is human. She’s honest. In many ways, this has been her year, and I love more songs on this album than any album I heard in 2015.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Future.jpg\" alt=\"Future\" width=\"400\" height=\"400\">\n\u003ch3>2. Future – \u003cem>DS2\u003c/em> (and \u003cem>56 Nights\u003c/em>)\u003c/h3>\n\u003ch5>(Freebandz/Epic)\u003c/h5>\n\u003cp>The sound of a lost soul pushing through the haze to grasp at any glimmer of light, Future’s \u003cem>DS2\u003c/em> is also the album I listened to more times than any other in 2015. (Make of the connection what you will.) Coming off a string of three mixtapes, and in the wake of his separation from Ciara, Future crafted his first official album since 2014’s \u003cem>Honest\u003c/em> as a delicate balancing act between turn-up mayhem and bubbling-under sorrow. \u003cem>DS2\u003c/em> has his detractors (“It’s terrible,” a colleague told me yesterday, “he’s just mumbling”), and taken at face value, Future’s references to codeine and liquor and sex seem like textbook rap braggadocio — until you listen for the fourth or fifth time and realize they’re escapist props in an ongoing drama against his inner demons. “Tried to make me a pop star, and they made a monster,” Future raps in his gutteral rasp, “I gave up on my conscience, gotta live with it.” The production throughout by Metro Boomin buzzes and clangs as the anxious clamor of the outside world, while Future rattles in his creaking monotone just trying to make it through intact. After the phenomenal mixtape \u003cem>\u003ca href=\"http://www.hotnewhiphop.com/future-and-dj-esco-56-nights-new-mixtape.115764.html\" target=\"_blank\" rel=\"noopener\">56 Nights\u003c/a>\u003c/em>, which yielded songs so resonant they were \u003ca href=\"https://www.youtube.com/watch?v=NktN7GMjNyg\" target=\"_blank\" rel=\"noopener\">covered by university marching bands\u003c/a>, I didn’t know how Future could outdo himself, but he did. I \u003ca href=\"https://twitter.com/MetroBoomin/status/625770497956036610\" target=\"_blank\" rel=\"noopener\">put this album on tape\u003c/a> and listened to it on repeat for months and got lost.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Kendrick-1.jpg\" alt=\"Kendrick Lamar\" width=\"400\" height=\"400\">\n\u003ch3>3. Kendrick Lamar – \u003cem>To Pimp a Butterfly\u003c/em>\u003c/h3>\n\u003ch5>(Top Dawg/Interscope)\u003c/h5>\n\u003cp>We music writers arrange these dumb lists each year by many competing factors. While \u003cem>You Should Be Here\u003c/em> gave me the most hope and \u003cem>DS2\u003c/em> the most repeated listening, objectively \u003cem>To Pimp a Butterfly\u003c/em> is the hands-down album of the year. Riding high from \u003cem>good kid, m.A.A.d city\u003c/em>, Kendrick could have easily made an accessible follow-up with singalong hooks; instead, he employed wild jazz, crying spoken-word, swampy funk and \u003ca href=\"https://youtu.be/afk5PBBM-h8?t=4m27s\" target=\"_blank\" rel=\"noopener\">missives to Oprah about the n-word\u003c/a> into a record that \u003cem>sounds\u003c/em> like 2015 felt — anxious, reflective, confused, angry, and hopeful. Much in the same way film critics know “Oscar contender” when they see it, I walked into the office in March after being blown away by its sheer scope and immediately declared it the album of the year — simultaneously knowing that \u003ca href=\"https://twitter.com/gmeline/status/578280368890982400\" target=\"_blank\" rel=\"noopener\">it’d take a while to process\u003c/a>. The album sparked more serious conversation than any other, and in a year where names like Freddie Gray, Sandra Bland, Terrence Walker and Laquan McDonald populated our Facebook feeds, those conversations are necessary — even while, as I witnessed during his \u003ca href=\"http://ww2.kqed.org/arts/2015/08/09/outside-lands-review-saturdays-music-highlights-and-photo-gallery/\" target=\"_blank\" rel=\"noopener\">performance at Outside Lands\u003c/a>, they occur in the midst of a giant unifying party. Everything about this album is ambitious: lyrically, musically, and in the ambition it has for all of us to be better. \u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/CourtneyBarnett.jpg\" alt=\"Courtney Barnett\" width=\"400\" height=\"400\">\n\u003ch3>4. Courtney Barnett – \u003cem>Sometimes I Sit and Think, Sometimes I Just Sit\u003c/em>\u003c/h3>\n\u003ch5>(Mom + Pop)\u003c/h5>\n\u003cp>Artists do this thing sometimes where they try to sequence a record with a song for each mood, and they usually either fail or the record is unlistenable. \u003cem>Sometimes I Sit and Think\u003c/em> works for every mood, probably because its subject matter is so often seemingly mundane. “I stare at the lawn. It’s Wednesday morning. It needs a cut. But I’ll leave it growing,” opens the seven-minute dirge “Small Poppies” — and then Barnett launches into an indictment of an exploitative lover, a blood-curdling guitar solo, and the line “I used to hate myself but now I think I’m alright.” (The song is only two chords, over and over, a fact that took me months to notice.) But then there’s songs like “Depreston,” which are so evocative of sitting on the porch and drinking tea on an overcast morning that a strange calm comes over me each time I hear it. When I \u003ca href=\"http://ww2.kqed.org/arts/2015/06/01/bottlerock-2015-review-now-on-its-feet-a-festival-in-search-of-an-identity/\" target=\"_blank\" rel=\"noopener\">saw her play this summer\u003c/a>, her fingers skittered around the guitar like fireflies, somehow producing sound but decidedly \u003cem>not\u003c/em> in the usual way. Whenever I couldn’t decide what to put on the stereo at home, I reached for this record, and it never let me down.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/KamasiWashington.jpg\" alt=\"Kamasi Washington\" width=\"400\" height=\"400\">\n\u003ch3>5. Kamasi Washington – \u003cem>The Epic\u003c/em>\u003c/h3>\n\u003ch5>(Brainfeeder)\u003c/h5>\n\u003cp>As a huge fan of the soaring spiritual jazz of the late 1960s and early 1970s, I balked when I heard that \u003cem>The Epic\u003c/em> was “just like an Impulse Records album from 1969.” But the assessment is correct. Revisiting eras of jazz can be dicey: when the new traditionalists of the 1980s led by Wynton Marsalis recreated early bebop, the effect felt like a tribute band. Washington succeeds in this appropriately-titled album (the thing’s almost three hours long) because, along with the sound, he captures the \u003cem>spirit\u003c/em> of a radical jazz revolution of fifty years ago. Probing into outer reaches of the possible, Washington’s 12-piece band is like a thunderstorm, and his compositions are rich and surprising. Released on the Brainfeeder label — home to progressive electronic acts like Flying Lotus and Thundercat — \u003cem>The Epic\u003c/em> has hence turned up on more indie-rock sites and lists than any other jazz record, a crossover album without the watered-down music normally associated with the term. Kudos to Washington for turning on a new generation to what Archie Shepp called “fire music”; this is heat, indeed.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Kreng.jpg\" alt=\"Kreng\" width=\"400\" height=\"400\">\n\u003ch3>6. Kreng – \u003cem>The Summoner\u003c/em>\u003c/h3>\n\u003ch5>(Miasmah)\u003c/h5>\n\u003cp>Pepijn Caudron is a modern Belgian composer whose career has been largely tied to the theatre; specifically, the dark surrealist company \u003ca href=\"http://abattoirferme.tumblr.com/\" target=\"_blank\" rel=\"noopener\">Abattoir Fermé\u003c/a>, based in Mechelen. Recording under the name Kreng, his music has a highly visual quality not unlike Richard Strauss’ tone poems, meant to evoke specific scenes or events. Caudron lost three friends in 2014, all to suicide, and with \u003cem>Summoner\u003c/em> he writes a tone poem for the Kübler-Ross model, commonly known as the five stages of grief. Each track is named accordingly: Denial, Anger, Bargaining, Depression, and Acceptance, and the music matches these stages with alarming precision. “Denial,” for example, is a gloomy soundscape interrupted by occasional bursts of the small orchestra, fingers flailing on the strings and rattling percussion signaling a mourner’s confused realization that their loved one is gone. Within the stages, Kreng adds a sixth: “The Summoning,” which turns into a loud, guitar-drenched blast from doom-metal band Amenra, representative of “an imaginary last talk with my loved lost ones,” as Caudron \u003ca href=\"http://soundsofatiredcity.com/kreng-interview/\" target=\"_blank\" rel=\"noopener\">has stated\u003c/a>. “Acceptance,” a piano elegy, closes the cycle. If Strauss’ \u003cem>Death and Transformation\u003c/em> is about the stages of dying, \u003cem>The Summoner\u003c/em> is its sequel for the living left behind. Each time I listened to this album in 2015, it floored me.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/VinceStaples.jpg\" alt=\"Vince Staples\" width=\"400\" height=\"400\">\n\u003ch3>7. Vince Staples – \u003cem>Summertime ’06\u003c/em>\u003c/h3>\n\u003ch5>(Def Jam)\u003c/h5>\n\u003cp>As a kid growing up in the 1980s, I had to hear adults tell me on a near-daily basis that the rock revolution of the 1960s was the greatest thing to happen in history, and that the invasion of rap was destroying music. I loved 1960s rock music, of course, but something seemed off, like the adults in my world hadn’t heeded their own hero’s advice that the times were a-changin’ and to get out of the new road if they can’t lend a hand. In 2015, of course, we have the next generation of this tiresome cycle instructing us that the so-called “golden era” of rap — the 1990s — is the best era of rap, and the Wolf Gangs and Young Thugs and Fetty Waps of the world are ruining everything. In October, Vince Staples had the guts to \u003ca href=\"http://time.com/4084942/vince-staples-90s-hip-hop-interview/\" target=\"_blank\" rel=\"noopener\">call out this remedial thinking\u003c/a> to \u003cem>Time\u003c/em> magazine, and was subsequently eviscerated for having the gall to be born the year before \u003cem>Ready to Die\u003c/em> came out. I rule in favor of Vince Staples, and his young fearlessness propels \u003cem>Summertime ’06\u003c/em>. In addition to Staples’ smart writing, the production by hip-hop veteran No I.D. knocks hard, bridging the generation gap. I listened to this album in the car and thought about being 22 and hungry.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Disasterpeace.jpg\" alt=\"Disasterpeace\" width=\"400\" height=\"400\">\n\u003ch3>8. Disasterpeace – \u003cem>It Follows OST\u003c/em>\u003c/h3>\n\u003ch5>(Milan)\u003c/h5>\n\u003cp>I ordinarily don’t place soundtracks on these lists, but then this is no ordinary soundtrack. Anyone who’s seen \u003cem>It Follows\u003c/em> knows how \u003ca href=\"https://www.youtube.com/watch?v=W2d4_TgwZQc\" target=\"_blank\" rel=\"noopener\">instrinsic the music is to the film\u003c/a>, the story of a sexually-transmitted virus that manifests intermittently in the form of a slowly pursuing naked body intent on killing its host. (It’s more psychologically harrowing than it sounds.) Scored by Disasterpeace, a.k.a. Berkeley musician Richard Vreeland, the soundtrack stands finely on its own, a combination of electronic pulses and surging, eerie wave forms that call to mind John Carpenter and Trent Reznor. Prior to the film, Vreeland primarily scored video games, and his 8-bit–inspired soundtrack to \u003cem>Fez\u003c/em> caught the attention of writer-director David Robert Mitchell. Interestingly, \u003cem>Fez\u003c/em> often sounds \u003ca href=\"https://www.youtube.com/watch?v=76GnOwHorn0\" target=\"_blank\" rel=\"noopener\">peppy and lively\u003c/a>, while \u003cem>It Follows\u003c/em> plunges head-on into darkness. Between Kreng and Disasterpeace, there’s two first-time film composers on this list. Here’s hoping they land future projects and get the attention they deserve.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/SleaterKinney.jpg\" alt=\"Sleater Kinney\" width=\"400\" height=\"400\">\n\u003ch3>9. Sleater-Kinney – \u003cem>No Cities Left to Love\u003c/em>\u003c/h3>\n\u003ch5>(Sub Pop)\u003c/h5>\n\u003cp>I saw two reunion shows on Nob Hill this year: first, the Replacements, whose reunion was as improbable as it was majestic, and then, after a 10-year absence, Sleater-Kinney, who picked up as if nothing had happened since I last saw them in 2005 at the Great American Music Hall. Of course, plenty had happened (solo projects, \u003cem>Portlandia\u003c/em>, Wild Flag), and in a lot of ways, \u003cem>No Cities Left to Love\u003c/em> sounds like a band starting over again. In a distinct musical language Sleater-Kinney created during their original run, which culminated in the furiously creative 2005 album \u003cem>The Woods\u003c/em>, the songs here are relatively simple and straightforward. That’s not a bad thing, and they get stuck in my head more frequently than anything from \u003cem>The Woods\u003c/em>, much as I love that album too. I sometimes pride myself on not clinging to the music of my past, but I’ll admit that it’s just plain \u003cem>nice\u003c/em> to hear Sleater-Kinney again, and I believe the world is a better place with them around.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Miguel.jpg\" alt=\"Miguel\" width=\"400\" height=\"400\">\n\u003ch3>10. Miguel – \u003cem>Wildheart\u003c/em>\u003c/h3>\n\u003ch5>(RCA)\u003c/h5>\n\u003cp>Miguel’s \u003cem>Kaleidoscope Dream\u003c/em> floored me so hard in 2012 that I bought a last-minute $100 ticket to see him \u003cem>open\u003c/em> for Trey Songz at the Oakland Arena, and friends, it was worth every cent. In the times I’ve seen the R&B singer since, he has a propensity for dazzling up his songs with so many musical rearrangements, drum fills, ad-libs and improvised melodies that the original songs are buried in showmanship. (Granted, it’s showmanship of the highest order, and comparisons to James Brown and Prince are not off the mark.) \u003cem>Wildheart\u003c/em> operates against that process, so intimate that when I first pressed play on album opener “A Beautiful Exit” I thought I must be hearing a demo recording. As evident from the cover, this is a hypersexual record (with “The Valley” and the fantastic “Waves”), but songs like “What’s Normal Anyway” speak to the struggle everyone faces to fit in, and “Hollywood Dreams” picks apart the quest for fame in L.A.’s parasitic atmosphere. I kept returning to \u003cem>Wildheart\u003c/em>, even though it isn’t \u003cem>Kaleidoscope Dream Pt. II\u003c/em> at all, and it’s precisely because of his ever-changing nature that it’s always exciting thinking about what Miguel will do next.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003ch2>More From the Year:\u003c/h2>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/HollyHerndon.jpg\" alt=\"HollyHerndon\" width=\"200\" height=\"200\" class=\"alignleft\">\n\u003ch3>11. Holly Herndon – \u003cem>Platform\u003c/em>\u003c/h3>\n\u003cp>Scattered and glorious, an electronic pastiche of lost memories from yet another San Francisco artist who moved to L.A.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/YoungThug.jpg\" alt=\"YoungThug\" width=\"200\" height=\"200\" class=\"alignleft\">\n\u003ch3>12. Young Thug – \u003cem>Barter 6, Slime Season 1 & 2\u003c/em>, the leaks, etc.\u003c/h3>\n\u003cp>When he’s on, he’s on (see Exhibits \u003ca href=\"https://www.youtube.com/watch?v=HCLT1aJLF4I\" target=\"_blank\" rel=\"noopener\">A\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=xzIGVKEGL1s\" target=\"_blank\" rel=\"noopener\">B\u003c/a>), and following his constant output is thrilling.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/FKATwigsEP.jpg\" alt=\"FKATwigsEP\" width=\"200\" height=\"200\" class=\"alignleft\">\n\u003ch3>13. FKA Twigs – \u003cem>M3LL155X\u003c/em>\u003c/h3>\n\u003cp>A natural continuation of \u003cem>LP1\u003c/em>, my \u003ca href=\"http://ww2.kqed.org/arts/2014/12/23/your-new-music-editors-top-25-albums-of-2014/\" target=\"_blank\" rel=\"noopener\">favorite album of 2014\u003c/a>, it pushes all the boundaries beautifully.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/ChanceSurf.jpg\" alt=\"ChanceSurf\" width=\"200\" height=\"200\" class=\"alignleft\">\n\u003ch3>14. Donnie Trumpet & the Social Experiment – \u003cem>Surf\u003c/em>\u003c/h3>\n\u003cp>Chance the Rapper gives his band the spotlight, with “\u003ca href=\"https://www.youtube.com/watch?v=KMPTDBbsPnc\" target=\"_blank\" rel=\"noopener\">Wanna Be Cool\u003c/a>” and “\u003ca href=\"https://www.youtube.com/watch?v=i4ooH8frBWg\" target=\"_blank\" rel=\"noopener\">Sunday Candy\u003c/a>,” songs your mama could love.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Vijay.jpg\" alt=\"Vijay\" width=\"200\" height=\"200\" class=\"alignleft\">\n\u003ch3>15. Vijay Iyer – \u003cem>Break Stuff\u003c/em>\u003c/h3>\n\u003cp>Drawing inspiration from techno and hip-hop, Iyer explores the “break” and applies it to his fantastic trio.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/FettyWap.jpg\" alt=\"FettyWap\" width=\"200\" height=\"200\" class=\"alignleft\">\n\u003ch3>16. Fetty Wap – \u003cem>Fetty Wap\u003c/em>\u003c/h3>\n\u003cp>No one could escape these songs in 2015 (“Trap Queen,” “My Way,” “679,” “Again”), but I swear, I never got sick of hearing them.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/DrYenLo.jpg\" alt=\"DrYenLo\" width=\"200\" height=\"200\" class=\"alignleft\">\n\u003ch3>17. Dr. Yen Lo – \u003cem>Days With Dr. Yen Lo\u003c/em>\u003c/h3>\n\u003cp>A rapper/firefighter from Brooklyn who toned down his already-subdued hip-hop sound for this near-drumless album.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/CecileMclorin.jpg\" alt=\"CecileMclorin\" width=\"200\" height=\"200\" class=\"alignleft\">\n\u003ch3>18. Cécile McLorin Salvant – \u003cem>For One to Love\u003c/em>\u003c/h3>\n\u003cp>A tremendous jazz vocalist who’s not afraid to wear her influences on her sleeve, with unexpected song choices arranged vividly.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/EzraFurman.jpg\" alt=\"EzraFurman\" width=\"200\" height=\"200\" class=\"alignleft\">\n\u003ch3>19. Ezra Furman – \u003cem>Perpetual Motion People\u003c/em>\u003c/h3>\n\u003cp>Simple rock ‘n’ roll, one of the more memorable live shows I saw this year, and “\u003ca href=\"https://www.youtube.com/watch?v=fvfI6Q5WFT0\" target=\"_blank\" rel=\"noopener\">Lousy Connection\u003c/a>” is a Violent Femmes-meets-Phil Spector gem.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/CarlyRae.jpg\" alt=\"CarlyRae\" width=\"200\" height=\"200\" class=\"alignleft\">\n\u003ch3>20. Carly Rae Jepsen – \u003cem>E.mo.tion\u003c/em>\u003c/h3>\n\u003cp>Justin Bieber, Selena Gomez and Demi Lovato all had great singles in 2015, but Carly Rae Jepsen intentionally created a pop \u003cem>album\u003c/em>, and it’s easily lovable.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/MaxRichter.jpg\" alt=\"MaxRichter\" width=\"200\" height=\"200\" class=\"alignleft\">\n\u003ch3>21. Max Richter – \u003cem>From Sleep\u003c/em>\u003c/h3>\n\u003cp>Richter wrote an eight-hour piece of music to be played while sleeping; the one-hour excerpt is enough, and sublime.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/JamieXX.jpg\" alt=\"JamieXX\" width=\"200\" height=\"200\" class=\"alignleft\">\n\u003ch3>22. Jamie XX – \u003cem>In Colour\u003c/em>\u003c/h3>\n\u003cp>Not as revelatory as his \u003cem>\u003ca href=\"https://en.wikipedia.org/wiki/We're_New_Here\" target=\"_blank\" rel=\"noopener\">We’re New Here\u003c/a>\u003c/em> instrumentals, but rich and rewarding throughout, especially during “\u003ca href=\"https://www.youtube.com/watch?v=BjLBB-TMa84\" target=\"_blank\" rel=\"noopener\">Good Times\u003c/a>.”\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Helm.jpg\" alt=\"Helm\" width=\"200\" height=\"200\" class=\"alignleft\">\n\u003ch3>23. Helm – \u003cem>Olympic Mess\u003c/em>\u003c/h3>\n\u003cp>I can’t begin to understand the mind that creates this jagged noise, but I’ve loved everything it’s produced.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/BadPlus.jpg\" alt=\"BadPlus\" width=\"200\" height=\"200\" class=\"alignleft\">\n\u003ch3>24. The Bad Plus and Joshua Redman – \u003cem>The Bad Plus Joshua Redman\u003c/em>\u003c/h3>\n\u003cp>I love the Bad Plus, and the daring jazz trio pushed Redman so far here that a lone solo of his got \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\u003c/a>.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Mansion.jpg\" alt=\"Mansion\" width=\"200\" height=\"200\" class=\"alignleft\">\n\u003ch3>25. Mansion – \u003cem>Early Life\u003c/em>\u003c/h3>\n\u003cp>Skittering post-punk in the vein of LiLiPUT or Gang of Four from the heart of Oakland, Calif., with Candace Lazarou’s vocal delivery causing chills.\u003c/p>\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11168560/top-25-albums-of-2015",
"authors": [
"185"
],
"categories": [
"arts_69"
],
"tags": [
"arts_1118",
"arts_596"
],
"featImg": "arts_11171740",
"label": "arts"
},
"pop_19557": {
"type": "posts",
"id": "pop_19557",
"meta": {
"index": "posts_1716263798",
"site": "pop",
"id": "19557",
"score": null,
"sort": [
1450482727000
]
},
"parent": 0,
"labelTerm": {
"site": "pop"
},
"blocks": [],
"publishDate": 1450482727,
"format": "standard",
"disqusTitle": "The 6 Most Ridiculously Sexual Lyrics from Ariana Grande's 'Christmas & Chill' EP",
"title": "The 6 Most Ridiculously Sexual Lyrics from Ariana Grande's 'Christmas & Chill' EP",
"headTitle": "KQED Pop | KQED Arts",
"content": "\u003cp>It's no secret that Ariana Grande has been trying to emulate \u003ca href=\"http://ww2.kqed.org/pop/2015/08/12/all-64-mariah-carey-music-videos-ranked-from-worst-to-best/\" target=\"_blank\">Mariah Carey\u003c/a>'s fame trajectory for some time, so it makes sense that she's trying to give us a Christmas classic à la \"All I Want for Christmas Is You.\" It's been 20+ years since Mariah graced us with that miracle of a song and a lot has changed: mainly that subtlety is dead and buried, paving the way for even songs about Santa to be all about having dirty, dirty sex.\u003c/p>\n\u003cp>I present you with the most ridiculously sexual lyrics from Ariana's holiday EP, \u003cem>Christmas & Chill \u003c/em>(yes, she went there):\u003c/p>\n\u003col>\n\u003cli>\"Are you down for some of these milk and cookies?\"\u003c/li>\n\u003c/ol>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/12/chang.gif\" rel=\"attachment wp-att-19558\">\u003cimg class=\"aligncenter size-full wp-image-19558\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/12/chang.gif\" alt=\"chang\" width=\"500\" height=\"269\">\u003c/a>\u003c/p>\n\u003cp>2. \"You'll be my drummer boy,\u003cbr>\nAnd I'm the only drum that you gonna play.\"\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/12/f8cGqyT.gif\" rel=\"attachment wp-att-19563\">\u003cimg class=\"aligncenter size-full wp-image-19563\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/12/f8cGqyT.gif\" alt=\"f8cGqyT\" width=\"266\" height=\"197\">\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>3. \"And whatever is on your list, I'll do it,\u003cbr>\nBoy, whatever it is, you know I'll do it.\"\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/12/tumblr_msrnsjcIjN1sfirr4o1_250.gif\" rel=\"attachment wp-att-19560\">\u003cimg class=\"aligncenter size-full wp-image-19560\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/12/tumblr_msrnsjcIjN1sfirr4o1_250.gif\" alt=\"tumblr_msrnsjcIjN1sfirr4o1_250\" width=\"245\" height=\"170\">\u003c/a>\u003c/p>\n\u003cp>4. \"Merry Christmas, here I am, boy\u003cbr>\nI'm the present and you know it, boy.\"\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/12/anigif_enhanced-27650-1444930009-2.gif\" rel=\"attachment wp-att-19561\">\u003cimg class=\"aligncenter size-full wp-image-19561\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/12/anigif_enhanced-27650-1444930009-2.gif\" alt=\"anigif_enhanced-27650-1444930009-2\" width=\"500\" height=\"255\">\u003c/a>\u003c/p>\n\u003cp>5. \"I'll give you the fire I keep inside,\u003cbr>\nGuide you all the way down, be your nightlight.\"\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/12/tumblr_lflihdHhDo1qenzwto1_500.gif\" rel=\"attachment wp-att-19562\">\u003cimg class=\"aligncenter size-full wp-image-19562\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/12/tumblr_lflihdHhDo1qenzwto1_500.gif\" alt=\"tumblr_lflihdHhDo1qenzwto1_500\" width=\"500\" height=\"321\">\u003c/a>\u003c/p>\n\u003cp>6. \"We don't need no presents, we don't need the kitchen,\u003cbr>\nWe don't need them recipes,\u003cbr>\nYou know I'm tasty like a candy cane or gingerbread.\"\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/12/anigif_enhanced-29189-1410206494-20.gif\" rel=\"attachment wp-att-19559\">\u003cimg class=\"aligncenter size-full wp-image-19559\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/12/anigif_enhanced-29189-1410206494-20.gif\" alt=\"anigif_enhanced-29189-1410206494-20\" width=\"500\" height=\"245\">\u003c/a>\u003c/p>\n\u003cp>If you want to hear Ariana earnestly sing these lyrics, listen to her EP:\u003c/p>\n\u003cp>https://open.spotify.com/album/6yi7FjzeCHGVJJAdWRYAmk\u003c/p>\n\u003cp>Or skip that and watch this instead:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=yXQViqx6GMY\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Happy holidays!\u003c/p>\n\n",
"disqusIdentifier": "19557 http://ww2.kqed.org/pop/?p=19557",
"disqusUrl": "https://ww2.kqed.org/pop/2015/12/18/the-6-most-ridiculously-sexual-lyrics-from-ariana-grandes-christmas-chill-ep/",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 265,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 18
},
"modified": 1450482727,
"excerpt": "Ariana Grande's new EP is about the holidays...and dirty, dirty sex.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Ariana Grande's new EP is about the holidays...and dirty, dirty sex.",
"title": "The 6 Most Ridiculously Sexual Lyrics from Ariana Grande's 'Christmas & Chill' EP | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "The 6 Most Ridiculously Sexual Lyrics from Ariana Grande's 'Christmas & Chill' EP",
"datePublished": "2015-12-18T15:52:07-08:00",
"dateModified": "2015-12-18T15:52:07-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "the-6-most-ridiculously-sexual-lyrics-from-ariana-grandes-christmas-chill-ep",
"status": "publish",
"path": "/pop/19557/the-6-most-ridiculously-sexual-lyrics-from-ariana-grandes-christmas-chill-ep",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It's no secret that Ariana Grande has been trying to emulate \u003ca href=\"http://ww2.kqed.org/pop/2015/08/12/all-64-mariah-carey-music-videos-ranked-from-worst-to-best/\" target=\"_blank\">Mariah Carey\u003c/a>'s fame trajectory for some time, so it makes sense that she's trying to give us a Christmas classic à la \"All I Want for Christmas Is You.\" It's been 20+ years since Mariah graced us with that miracle of a song and a lot has changed: mainly that subtlety is dead and buried, paving the way for even songs about Santa to be all about having dirty, dirty sex.\u003c/p>\n\u003cp>I present you with the most ridiculously sexual lyrics from Ariana's holiday EP, \u003cem>Christmas & Chill \u003c/em>(yes, she went there):\u003c/p>\n\u003col>\n\u003cli>\"Are you down for some of these milk and cookies?\"\u003c/li>\n\u003c/ol>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/12/chang.gif\" rel=\"attachment wp-att-19558\">\u003cimg class=\"aligncenter size-full wp-image-19558\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/12/chang.gif\" alt=\"chang\" width=\"500\" height=\"269\">\u003c/a>\u003c/p>\n\u003cp>2. \"You'll be my drummer boy,\u003cbr>\nAnd I'm the only drum that you gonna play.\"\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/12/f8cGqyT.gif\" rel=\"attachment wp-att-19563\">\u003cimg class=\"aligncenter size-full wp-image-19563\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/12/f8cGqyT.gif\" alt=\"f8cGqyT\" width=\"266\" height=\"197\">\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>3. \"And whatever is on your list, I'll do it,\u003cbr>\nBoy, whatever it is, you know I'll do it.\"\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/12/tumblr_msrnsjcIjN1sfirr4o1_250.gif\" rel=\"attachment wp-att-19560\">\u003cimg class=\"aligncenter size-full wp-image-19560\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/12/tumblr_msrnsjcIjN1sfirr4o1_250.gif\" alt=\"tumblr_msrnsjcIjN1sfirr4o1_250\" width=\"245\" height=\"170\">\u003c/a>\u003c/p>\n\u003cp>4. \"Merry Christmas, here I am, boy\u003cbr>\nI'm the present and you know it, boy.\"\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/12/anigif_enhanced-27650-1444930009-2.gif\" rel=\"attachment wp-att-19561\">\u003cimg class=\"aligncenter size-full wp-image-19561\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/12/anigif_enhanced-27650-1444930009-2.gif\" alt=\"anigif_enhanced-27650-1444930009-2\" width=\"500\" height=\"255\">\u003c/a>\u003c/p>\n\u003cp>5. \"I'll give you the fire I keep inside,\u003cbr>\nGuide you all the way down, be your nightlight.\"\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/12/tumblr_lflihdHhDo1qenzwto1_500.gif\" rel=\"attachment wp-att-19562\">\u003cimg class=\"aligncenter size-full wp-image-19562\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/12/tumblr_lflihdHhDo1qenzwto1_500.gif\" alt=\"tumblr_lflihdHhDo1qenzwto1_500\" width=\"500\" height=\"321\">\u003c/a>\u003c/p>\n\u003cp>6. \"We don't need no presents, we don't need the kitchen,\u003cbr>\nWe don't need them recipes,\u003cbr>\nYou know I'm tasty like a candy cane or gingerbread.\"\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/12/anigif_enhanced-29189-1410206494-20.gif\" rel=\"attachment wp-att-19559\">\u003cimg class=\"aligncenter size-full wp-image-19559\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/12/anigif_enhanced-29189-1410206494-20.gif\" alt=\"anigif_enhanced-29189-1410206494-20\" width=\"500\" height=\"245\">\u003c/a>\u003c/p>\n\u003cp>If you want to hear Ariana earnestly sing these lyrics, listen to her EP:\u003c/p>\n\u003cp>https://open.spotify.com/album/6yi7FjzeCHGVJJAdWRYAmk\u003c/p>\n\u003cp>Or skip that and watch this instead:\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/yXQViqx6GMY'\n title='//www.youtube.com/embed/yXQViqx6GMY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>Happy holidays!\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/pop/19557/the-6-most-ridiculously-sexual-lyrics-from-ariana-grandes-christmas-chill-ep",
"authors": [
"27"
],
"categories": [
"pop_4"
],
"tags": [
"pop_1680",
"pop_259",
"pop_258"
],
"featImg": "pop_19564",
"label": "pop"
},
"arts_11171307": {
"type": "posts",
"id": "arts_11171307",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11171307",
"score": null,
"sort": [
1450407632000
]
},
"guestAuthors": [],
"slug": "cy-and-davids-picks-the-last-great-shows-of-2015-and-a-taste-of-2016",
"title": "Cy and David's Picks: The Last Great Shows of 2015, and a Taste of 2016",
"publishDate": 1450407632,
"format": "standard",
"headTitle": "Cy and David’s Picks: The Last Great Shows of 2015, and a Taste of 2016 | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003caside class=\"aligncenter\">\n\u003ch4>Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/h4>\n\u003cp>http://www.kqed.org/.stream/anon/radio/thedolist/2015/12/TDL20151218.mp3\u003c/p>\n\u003c/aside>\n\u003cp>\u003cstrong>Now through Jan. 2nd:\u003c/strong> Jane Austen’s 1815 novel \u003cem>Emma\u003c/em> inspired the hit teen movie \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=RS0KyTZ3Ie4\" target=\"_blank\" rel=\"noopener\">Clueless\u003c/a>, \u003c/em>so a musical adaptation for the stage is hardly radical. Paul Gordon wrote the music and book, and it became the biggest hit ever for \u003ca href=\"http://www.theatreworks.org/\" target=\"_blank\" rel=\"noopener\">Theatreworks\u003c/a> in Palo Alto in 2007. This remounting features the original leads, Lianne Marie Dobbs as the pushy matchmaker, Emma, and Timothy Gulan as Mr. Knightly, but adaptor Gordon has\u003cspan style=\"line-height: 1.5\"> added some new material, and it’s as charming as the first time. Details\u003ca href=\"http://www.theatreworks.org/shows/1516-season/emma\" target=\"_blank\" rel=\"noopener\"> here.\u003c/a>\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11171315\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11171315 size-large\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Emma-Kevin-Berne-1180x785.jpg\" alt=\"Emma Woodhouse (Lianne Marie Dobbs) with family and friends in TheatreWorks production of 'Jane Austen’s Emma'\" width=\"640\" height=\"426\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Emma-Kevin-Berne-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Emma-Kevin-Berne-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Emma-Kevin-Berne-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Emma-Kevin-Berne-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Emma-Kevin-Berne-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Emma-Kevin-Berne-960x639.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Emma Woodhouse (Lianne Marie Dobbs) is surrounded by family and friends in TheatreWorks production of ‘Jane Austen’s Emma’ \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Dec. 19 & 20: \u003c/strong>Two musical organizations, both celebrating big anniversaries, are teaming up for this holiday gift to the South Bay. The forty voice \u003ca href=\"http://www.choralproject.org/\" target=\"_blank\" rel=\"noopener\">Choral Project\u003c/a> has been together 20 years, and the \u003ca href=\"http://www.sjco.org/SJCO/index.html\" target=\"_blank\" rel=\"noopener\">San José Chamber Orchestra\u003c/a> is celebrating 25 years. They’re teaming up for their 12th annual \u003ca href=\"http://www.choralproject.org/concerts/\" target=\"_blank\" rel=\"noopener\">Winter’s Gifts concert\u003c/a>. They’re doing a world premiere commission by Richard Burchard, something new from Choral Project director Daniel Hughes, and music by Ennio Moricone of spaghetti western fame. The concerts are Dec. 19th at First Presbyterian Church in Palo Alto, and Dec. 20th at Mission Santa Clara de Asis. Details \u003ca href=\"http://www.sjco.org/SJCO/next-season.html\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11171598\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11171598\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/The-Choral-Project-1180x769.jpg\" alt=\"The Choral Project\" width=\"640\" height=\"417\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/The-Choral-Project-1180x769.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/The-Choral-Project-400x261.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/The-Choral-Project-800x522.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/The-Choral-Project-768x501.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/The-Choral-Project-1920x1252.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/The-Choral-Project-960x626.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The Choral Project \u003ccite>(Photo Courtesy of The Choral Project)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Dec. 18 & 22:\u003c/strong> I’m not so in love with the lo-fi aesthetics, but San Francisco’s \u003ca href=\"https://www.facebook.com/sarahbethenelson\" target=\"_blank\" rel=\"noopener\">Sarah Bethe Nelson\u003c/a> writes killer songs. “Paying\u003cem>,” \u003c/em>off her album \u003cem>\u003ca href=\"http://burgerrecords.11spot.com/sarah-bethe-nelson-fast-moving-clouds.html\" target=\"_blank\" rel=\"noopener\">Fast Moving Clouds\u003c/a> \u003c/em>(Burger Records)\u003cem>,\u003c/em> is one of \u003ca href=\"http://americansongwriter.com/2015/12/american-songwriter-top50-songs-of-2015/\" target=\"_blank\" rel=\"noopener\">\u003cem>American Songwriter\u003c/em>’s Top 50 Songs of 2015\u003c/a>. It’s about shutting down an ex-boyfriend who once got free drinks when she was bartending, and Nelson’s flat delivery is devastating. She plays \u003ca href=\"http://www.hemlocktavern.com/calendar/sarah-bethe-nelson-yea-ming-the-rumours/\" target=\"_blank\" rel=\"noopener\">The Hemlock Tavern\u003c/a> Dec. 18, and \u003ca href=\"http://amnesiathebar.com/newp/calendar/\" target=\"_blank\" rel=\"noopener\">Amnesia\u003c/a> Dec. 22nd.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=iW1rKms_WRU\u003c/p>\n\u003cp>\u003cstrong>Far Out!\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>We’re inaugurating a new feature this week. With Far Out!, we’re looking ahead a few weeks or months to events so big, so cool they could sell out before you even hear about them. We’re starting with the fifteenth annual \u003ca href=\"http://sfsketchfest.com/\" target=\"_blank\" rel=\"noopener\">Sketchfest\u003c/a>, running Jan. 7th-24. Lots of good choices this year, including the host of \u003ca href=\"http://www.cc.com/shows/drunk-history\" target=\"_blank\" rel=\"noopener\">Drunk History\u003c/a>, and a tribute to Christopher Guest’s \u003cem>\u003ca href=\"http://www.imdb.com/title/tt0118111/\" target=\"_blank\" rel=\"noopener\">Waiting for Guffman\u003c/a>\u003c/em>, and we’ll talk more about Sketchfest in January, but note that shows featuring Jon Hamm are (no surprise) selling out.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=P5xMrMnVsGo\u003c/p>\n\u003cp>\u003cstrong>New Year’s Eve:\u003c/strong>\u003c/p>\n\u003cp>There’s so much pressure to have the best time of your life on New Year’s Eve, maybe it’s better to stay home with your cat or dog. But if you’re venturing out, we have a few ideas:\u003c/p>\n\u003cp>\u003cstrong>Dec. 31:\u003c/strong> \u003ca href=\"http://www.michaelfeinstein.com/\" target=\"_blank\" rel=\"noopener\">Michael Feinstein\u003c/a> knows the American songbook like few others, and he’s flying in from New York for \u003ca href=\"http://www.ticketweb.com/t3/sale/SaleEventDetail?dispatch=loadSelectionData&eventId=6281265\" target=\"_blank\" rel=\"noopener\">2 shows \u003c/a> at his own club, \u003ca href=\"http://www.hotelnikkosf.com/feinsteins.aspx\" target=\"_blank\" rel=\"noopener\">Feinstein’s at the Nikko\u003c/a>. He told us he has a good antidote to the “best time ever” pressure, “it’s all about celebrating and the more casual it is, the more fun it is. The key is just really connecting into the vibe and going with it.”\u003c/p>\n\u003cp>\u003cstrong>Dec. 31:\u003c/strong> We love eclectic, and so we love \u003ca href=\"http://www.decemberists.com/\" target=\"_blank\" rel=\"noopener\">The Decemberists\u003c/a>, who range-from folk-pop to rock opera. Their new album is \u003cem>What a Terrible World, What a Beautiful World\u003c/em>. Plus local Thao & the Get Down Stay Down open the show. at \u003ca href=\"http://sfmasonic.com/event/the-decemberists/\" target=\"_blank\" rel=\"noopener\">The Masonic\u003c/a>. Sounds like the “best time ever.”\u003c/p>\n\u003cp>\u003cstrong>Dec. 30 & 31:\u003c/strong> Get your disco on at \u003ca href=\"http://www.yoshis.com/search/?q=JODY%20WATLEY%20feat.%20Shalamar%20%22Reloaded%22\" target=\"_blank\" rel=\"noopener\">Yoshi’s\u003c/a> with Jody Watley (singer, songwriter, producer) and her old band, renamed Shalamar “Reloaded.” Don’t forget your platform shoes.\u003c/p>\n\u003cp>\u003cstrong>Dec. 30 & 31:\u003c/strong> \u003ca href=\"http://www.thebandconbrio.com/home/\" target=\"_blank\" rel=\"noopener\">Con Brio,\u003c/a> our absolutely favorite local, live, R&B group, is doing two nights at \u003ca href=\"http://www.thechapelsf.com/\" target=\"_blank\" rel=\"noopener\">The Chapel\u003c/a>. Lead singer Ziek McCarter twists and shouts, and the band is as tight as they come.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ZbXqBhP1WT0\u003c/p>\n\u003cp>\u003cstrong>Dec. 31:\u003c/strong> Laughing the year away might be the best therapy for a lot of us. The ribald \u003ca href=\"http://www.brava.org/current-shows/current-shows/bravas-4th-annual-new-years-eve-comedy-fiesta-w-marga-gome/#.VnNUafkrKJA\" target=\"_blank\" rel=\"noopener\">Marga Gomez hosts a comedy show at the Brava Theater\u003c/a> with an all Latino lineup. The Republican Presidential field can expect no mercy.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Dec. 31-Jan. 3:\u003c/strong> We finish with a saxophonist who is the essence of funk. \u003ca href=\"http://maceoparker.com/itinerary.html\" target=\"_blank\" rel=\"noopener\">Maceo Parker \u003c/a>does a New Year’s Eve show at \u003ca href=\"https://www.sfjazz.org/events-calendar\" target=\"_blank\" rel=\"noopener\">SFJAZZ\u003c/a>, but if you’re home with your dog or cat, you can enjoy this former James Brown sideman on one of three more nights.\u003c/p>\n\n",
"blocks": [],
"excerpt": "Cy Musiker and David Wiegand share their picks for Bay Area arts this week and New Year's Eve.",
"status": "publish",
"parent": 0,
"modified": 1726788293,
"stats": {
"hasAudio": true,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 15,
"wordCount": 856
},
"headData": {
"title": "Cy and David's Picks: The Last Great Shows of 2015, and a Taste of 2016 | KQED",
"description": "Cy Musiker and David Wiegand share their picks for Bay Area arts this week and New Year's Eve.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Cy and David's Picks: The Last Great Shows of 2015, and a Taste of 2016",
"datePublished": "2015-12-17T19:00:32-08:00",
"dateModified": "2024-09-19T16:24:53-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"path": "/arts/11171307/cy-and-davids-picks-the-last-great-shows-of-2015-and-a-taste-of-2016",
"audioUrl": "http://www.kqed.org/.stream/anon/radio/thedolist/2015/12/TDL20151218.mp3",
"audioDuration": null,
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"aligncenter\">\n\u003ch4>Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/h4>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "audioLink",
"attributes": {
"named": {
"src": "http://www.kqed.org/.stream/anon/radio/thedolist/2015/12/TDL20151218.mp3"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/aside>\n\u003cp>\u003cstrong>Now through Jan. 2nd:\u003c/strong> Jane Austen’s 1815 novel \u003cem>Emma\u003c/em> inspired the hit teen movie \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=RS0KyTZ3Ie4\" target=\"_blank\" rel=\"noopener\">Clueless\u003c/a>, \u003c/em>so a musical adaptation for the stage is hardly radical. Paul Gordon wrote the music and book, and it became the biggest hit ever for \u003ca href=\"http://www.theatreworks.org/\" target=\"_blank\" rel=\"noopener\">Theatreworks\u003c/a> in Palo Alto in 2007. This remounting features the original leads, Lianne Marie Dobbs as the pushy matchmaker, Emma, and Timothy Gulan as Mr. Knightly, but adaptor Gordon has\u003cspan style=\"line-height: 1.5\"> added some new material, and it’s as charming as the first time. Details\u003ca href=\"http://www.theatreworks.org/shows/1516-season/emma\" target=\"_blank\" rel=\"noopener\"> here.\u003c/a>\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11171315\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11171315 size-large\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Emma-Kevin-Berne-1180x785.jpg\" alt=\"Emma Woodhouse (Lianne Marie Dobbs) with family and friends in TheatreWorks production of 'Jane Austen’s Emma'\" width=\"640\" height=\"426\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Emma-Kevin-Berne-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Emma-Kevin-Berne-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Emma-Kevin-Berne-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Emma-Kevin-Berne-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Emma-Kevin-Berne-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Emma-Kevin-Berne-960x639.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Emma Woodhouse (Lianne Marie Dobbs) is surrounded by family and friends in TheatreWorks production of ‘Jane Austen’s Emma’ \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Dec. 19 & 20: \u003c/strong>Two musical organizations, both celebrating big anniversaries, are teaming up for this holiday gift to the South Bay. The forty voice \u003ca href=\"http://www.choralproject.org/\" target=\"_blank\" rel=\"noopener\">Choral Project\u003c/a> has been together 20 years, and the \u003ca href=\"http://www.sjco.org/SJCO/index.html\" target=\"_blank\" rel=\"noopener\">San José Chamber Orchestra\u003c/a> is celebrating 25 years. They’re teaming up for their 12th annual \u003ca href=\"http://www.choralproject.org/concerts/\" target=\"_blank\" rel=\"noopener\">Winter’s Gifts concert\u003c/a>. They’re doing a world premiere commission by Richard Burchard, something new from Choral Project director Daniel Hughes, and music by Ennio Moricone of spaghetti western fame. The concerts are Dec. 19th at First Presbyterian Church in Palo Alto, and Dec. 20th at Mission Santa Clara de Asis. Details \u003ca href=\"http://www.sjco.org/SJCO/next-season.html\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11171598\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11171598\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/The-Choral-Project-1180x769.jpg\" alt=\"The Choral Project\" width=\"640\" height=\"417\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/The-Choral-Project-1180x769.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/The-Choral-Project-400x261.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/The-Choral-Project-800x522.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/The-Choral-Project-768x501.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/The-Choral-Project-1920x1252.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/The-Choral-Project-960x626.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The Choral Project \u003ccite>(Photo Courtesy of The Choral Project)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Dec. 18 & 22:\u003c/strong> I’m not so in love with the lo-fi aesthetics, but San Francisco’s \u003ca href=\"https://www.facebook.com/sarahbethenelson\" target=\"_blank\" rel=\"noopener\">Sarah Bethe Nelson\u003c/a> writes killer songs. “Paying\u003cem>,” \u003c/em>off her album \u003cem>\u003ca href=\"http://burgerrecords.11spot.com/sarah-bethe-nelson-fast-moving-clouds.html\" target=\"_blank\" rel=\"noopener\">Fast Moving Clouds\u003c/a> \u003c/em>(Burger Records)\u003cem>,\u003c/em> is one of \u003ca href=\"http://americansongwriter.com/2015/12/american-songwriter-top50-songs-of-2015/\" target=\"_blank\" rel=\"noopener\">\u003cem>American Songwriter\u003c/em>’s Top 50 Songs of 2015\u003c/a>. It’s about shutting down an ex-boyfriend who once got free drinks when she was bartending, and Nelson’s flat delivery is devastating. She plays \u003ca href=\"http://www.hemlocktavern.com/calendar/sarah-bethe-nelson-yea-ming-the-rumours/\" target=\"_blank\" rel=\"noopener\">The Hemlock Tavern\u003c/a> Dec. 18, and \u003ca href=\"http://amnesiathebar.com/newp/calendar/\" target=\"_blank\" rel=\"noopener\">Amnesia\u003c/a> Dec. 22nd.\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/iW1rKms_WRU'\n title='//www.youtube.com/embed/iW1rKms_WRU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Far Out!\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>We’re inaugurating a new feature this week. With Far Out!, we’re looking ahead a few weeks or months to events so big, so cool they could sell out before you even hear about them. We’re starting with the fifteenth annual \u003ca href=\"http://sfsketchfest.com/\" target=\"_blank\" rel=\"noopener\">Sketchfest\u003c/a>, running Jan. 7th-24. Lots of good choices this year, including the host of \u003ca href=\"http://www.cc.com/shows/drunk-history\" target=\"_blank\" rel=\"noopener\">Drunk History\u003c/a>, and a tribute to Christopher Guest’s \u003cem>\u003ca href=\"http://www.imdb.com/title/tt0118111/\" target=\"_blank\" rel=\"noopener\">Waiting for Guffman\u003c/a>\u003c/em>, and we’ll talk more about Sketchfest in January, but note that shows featuring Jon Hamm are (no surprise) selling out.\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/P5xMrMnVsGo'\n title='//www.youtube.com/embed/P5xMrMnVsGo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>New Year’s Eve:\u003c/strong>\u003c/p>\n\u003cp>There’s so much pressure to have the best time of your life on New Year’s Eve, maybe it’s better to stay home with your cat or dog. But if you’re venturing out, we have a few ideas:\u003c/p>\n\u003cp>\u003cstrong>Dec. 31:\u003c/strong> \u003ca href=\"http://www.michaelfeinstein.com/\" target=\"_blank\" rel=\"noopener\">Michael Feinstein\u003c/a> knows the American songbook like few others, and he’s flying in from New York for \u003ca href=\"http://www.ticketweb.com/t3/sale/SaleEventDetail?dispatch=loadSelectionData&eventId=6281265\" target=\"_blank\" rel=\"noopener\">2 shows \u003c/a> at his own club, \u003ca href=\"http://www.hotelnikkosf.com/feinsteins.aspx\" target=\"_blank\" rel=\"noopener\">Feinstein’s at the Nikko\u003c/a>. He told us he has a good antidote to the “best time ever” pressure, “it’s all about celebrating and the more casual it is, the more fun it is. The key is just really connecting into the vibe and going with it.”\u003c/p>\n\u003cp>\u003cstrong>Dec. 31:\u003c/strong> We love eclectic, and so we love \u003ca href=\"http://www.decemberists.com/\" target=\"_blank\" rel=\"noopener\">The Decemberists\u003c/a>, who range-from folk-pop to rock opera. Their new album is \u003cem>What a Terrible World, What a Beautiful World\u003c/em>. Plus local Thao & the Get Down Stay Down open the show. at \u003ca href=\"http://sfmasonic.com/event/the-decemberists/\" target=\"_blank\" rel=\"noopener\">The Masonic\u003c/a>. Sounds like the “best time ever.”\u003c/p>\n\u003cp>\u003cstrong>Dec. 30 & 31:\u003c/strong> Get your disco on at \u003ca href=\"http://www.yoshis.com/search/?q=JODY%20WATLEY%20feat.%20Shalamar%20%22Reloaded%22\" target=\"_blank\" rel=\"noopener\">Yoshi’s\u003c/a> with Jody Watley (singer, songwriter, producer) and her old band, renamed Shalamar “Reloaded.” Don’t forget your platform shoes.\u003c/p>\n\u003cp>\u003cstrong>Dec. 30 & 31:\u003c/strong> \u003ca href=\"http://www.thebandconbrio.com/home/\" target=\"_blank\" rel=\"noopener\">Con Brio,\u003c/a> our absolutely favorite local, live, R&B group, is doing two nights at \u003ca href=\"http://www.thechapelsf.com/\" target=\"_blank\" rel=\"noopener\">The Chapel\u003c/a>. Lead singer Ziek McCarter twists and shouts, and the band is as tight as they come.\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/ZbXqBhP1WT0'\n title='//www.youtube.com/embed/ZbXqBhP1WT0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Dec. 31:\u003c/strong> Laughing the year away might be the best therapy for a lot of us. The ribald \u003ca href=\"http://www.brava.org/current-shows/current-shows/bravas-4th-annual-new-years-eve-comedy-fiesta-w-marga-gome/#.VnNUafkrKJA\" target=\"_blank\" rel=\"noopener\">Marga Gomez hosts a comedy show at the Brava Theater\u003c/a> with an all Latino lineup. The Republican Presidential field can expect no mercy.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Dec. 31-Jan. 3:\u003c/strong> We finish with a saxophonist who is the essence of funk. \u003ca href=\"http://maceoparker.com/itinerary.html\" target=\"_blank\" rel=\"noopener\">Maceo Parker \u003c/a>does a New Year’s Eve show at \u003ca href=\"https://www.sfjazz.org/events-calendar\" target=\"_blank\" rel=\"noopener\">SFJAZZ\u003c/a>, but if you’re home with your dog or cat, you can enjoy this former James Brown sideman on one of three more nights.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11171307/cy-and-davids-picks-the-last-great-shows-of-2015-and-a-taste-of-2016",
"authors": [
"32"
],
"programs": [
"arts_140"
],
"categories": [
"arts_968",
"arts_69",
"arts_235",
"arts_75",
"arts_967"
],
"tags": [
"arts_1254",
"arts_596",
"arts_626"
],
"featImg": "arts_11171730",
"label": "arts_140"
},
"arts_11171454": {
"type": "posts",
"id": "arts_11171454",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11171454",
"score": null,
"sort": [
1450392964000
]
},
"guestAuthors": [],
"slug": "n-w-a-joins-quartet-of-1970s-hit-makers-in-rock-hof",
"title": "N.W.A. Joins Quartet of 1970s Hit-Makers in Rock HOF",
"publishDate": 1450392964,
"format": "standard",
"headTitle": "N.W.A. Joins Quartet of 1970s Hit-Makers in Rock HOF | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>The groundbreaking Los Angeles rap act N.W.A. will join a quartet of 1970s era FM radio rockers — Chicago, Cheap Trick, Deep Purple and Steve Miller — as 2016 inductees into the Rock and Roll Hall of Fame.\u003c/p>\n\u003cp>N.W.A., led by Dr. Dre and Ice Cube, was elected after three unsuccessful nominations in a year when a movie about the group’s career, \u003cem>Straight Outta Compton\u003c/em>, was a box-office hit. Their hard-core tales of life on the street on songs like “F— the Police” made them a provocative chart presence in the late 1980s and influenced an empire of other acts.\u003c/p>\n\u003cp>Both Miller and Cheap Trick made it during their first year on the ballot.\u003c/p>\n\u003cp>The induction ceremony for the Cleveland-based hall will be held April 8 in Brooklyn’s Barclays Center. HBO will televise highlights later in the spring.\u003c/p>\n\u003cp>Guitarist Miller came out of the San Francisco rock scene and became a dependable maker of pop hits like “Take the Money and Run,” “Fly Like an Eagle,” “Jet Airliner” and “Jungle Love.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Midwestern favorites Cheap Trick succeeded with a highly amped version of Beatles-influenced melodies on hits “Surrender” and “Dream Police.” Their \u003cem>Live at Budokan\u003c/em> album is one of rock’s best-known live sets. Guitarist Rick Nielsen and rumpled drummer Bun E. Carlos gave them an indelible live presence.\u003c/p>\n\u003cp>Cheap Trick moved swiftly to capitalize on the honor, announcing Thursday they had signed a new deal with Taylor Swift’s label, Big Machine Records. The band will release its 17th studio album a week before its induction.\u003c/p>\n\u003cp>“Thanks to all the fans who have supported us for all these years and to the Hall of Fame members who cast their votes,” said bass player Tom Petersson. “We are excited and honored.”\u003c/p>\n\u003cp>The guitar riff for Deep Purple’s “Smoke on the Water” remains one of the most recognizable in rock history. Guitarist Ritchie Blackmore was a stalwart in a hard rock act that competed with Led Zeppelin and Black Sabbath for the loyalty of metalheads.\u003c/p>\n\u003cp>Before shortening its name from the Chicago Transit Authority, Chicago was known for its jazz-rock fusion. The band had a string of pop hits including “Saturday in the Park,” “25 or 6 to 4,” “If You Leave Me Now” and “Does Anyone Really Know What Time it Is?”\u003c/p>\n\u003cp>More than 800 voters of the Rock and Roll Hall of Fame Foundation selected the inductees.\u003c/p>\n\u003cp>The influential disco-era band Chic is becoming the Susan Lucci of music, failing to win induction in its 10th year as a nominee. Janet Jackson, The Cars, Los Lobos and Yes were among the other nominees rejected.\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>Follow David Bauder at twitter.com/dbauder. His work can be found at \u003ca href=\"http://bigstory.ap.org/content/david-bauder\" target=\"_blank\" rel=\"noopener\">bigstory.ap.org/content/david-bauder.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2015 The Associated Press. All rights reserved.\u003c/p>\n\n",
"blocks": [],
"excerpt": null,
"status": "publish",
"parent": 0,
"modified": 1726763804,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 17,
"wordCount": 512
},
"headData": {
"title": "N.W.A. Joins Quartet of 1970s Hit-Makers in Rock HOF | KQED",
"description": "The groundbreaking Los Angeles rap act N.W.A. will join a quartet of 1970s era FM radio rockers — Chicago, Cheap Trick, Deep Purple and Steve Miller — as 2016 inductees into the Rock and Roll Hall of Fame. N.W.A., led by Dr. Dre and Ice Cube, was elected after three unsuccessful nominations in a year when a movie about the group's career, Straight Outta Compton, was a box-office hit. Their hard-core tales of life on the street on songs like "F--- the Police" made them a provocative chart presence in the late 1980s and influenced an empire of other acts.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "N.W.A. Joins Quartet of 1970s Hit-Makers in Rock HOF",
"datePublished": "2015-12-17T14:56:04-08:00",
"dateModified": "2024-09-19T09:36:44-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprByline": "Associated Press",
"path": "/arts/11171454/n-w-a-joins-quartet-of-1970s-hit-makers-in-rock-hof",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The groundbreaking Los Angeles rap act N.W.A. will join a quartet of 1970s era FM radio rockers — Chicago, Cheap Trick, Deep Purple and Steve Miller — as 2016 inductees into the Rock and Roll Hall of Fame.\u003c/p>\n\u003cp>N.W.A., led by Dr. Dre and Ice Cube, was elected after three unsuccessful nominations in a year when a movie about the group’s career, \u003cem>Straight Outta Compton\u003c/em>, was a box-office hit. Their hard-core tales of life on the street on songs like “F— the Police” made them a provocative chart presence in the late 1980s and influenced an empire of other acts.\u003c/p>\n\u003cp>Both Miller and Cheap Trick made it during their first year on the ballot.\u003c/p>\n\u003cp>The induction ceremony for the Cleveland-based hall will be held April 8 in Brooklyn’s Barclays Center. HBO will televise highlights later in the spring.\u003c/p>\n\u003cp>Guitarist Miller came out of the San Francisco rock scene and became a dependable maker of pop hits like “Take the Money and Run,” “Fly Like an Eagle,” “Jet Airliner” and “Jungle Love.”\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>Midwestern favorites Cheap Trick succeeded with a highly amped version of Beatles-influenced melodies on hits “Surrender” and “Dream Police.” Their \u003cem>Live at Budokan\u003c/em> album is one of rock’s best-known live sets. Guitarist Rick Nielsen and rumpled drummer Bun E. Carlos gave them an indelible live presence.\u003c/p>\n\u003cp>Cheap Trick moved swiftly to capitalize on the honor, announcing Thursday they had signed a new deal with Taylor Swift’s label, Big Machine Records. The band will release its 17th studio album a week before its induction.\u003c/p>\n\u003cp>“Thanks to all the fans who have supported us for all these years and to the Hall of Fame members who cast their votes,” said bass player Tom Petersson. “We are excited and honored.”\u003c/p>\n\u003cp>The guitar riff for Deep Purple’s “Smoke on the Water” remains one of the most recognizable in rock history. Guitarist Ritchie Blackmore was a stalwart in a hard rock act that competed with Led Zeppelin and Black Sabbath for the loyalty of metalheads.\u003c/p>\n\u003cp>Before shortening its name from the Chicago Transit Authority, Chicago was known for its jazz-rock fusion. The band had a string of pop hits including “Saturday in the Park,” “25 or 6 to 4,” “If You Leave Me Now” and “Does Anyone Really Know What Time it Is?”\u003c/p>\n\u003cp>More than 800 voters of the Rock and Roll Hall of Fame Foundation selected the inductees.\u003c/p>\n\u003cp>The influential disco-era band Chic is becoming the Susan Lucci of music, failing to win induction in its 10th year as a nominee. Janet Jackson, The Cars, Los Lobos and Yes were among the other nominees rejected.\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>Follow David Bauder at twitter.com/dbauder. His work can be found at \u003ca href=\"http://bigstory.ap.org/content/david-bauder\" target=\"_blank\" rel=\"noopener\">bigstory.ap.org/content/david-bauder.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2015 The Associated Press. All rights reserved.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11171454/n-w-a-joins-quartet-of-1970s-hit-makers-in-rock-hof",
"authors": [
"byline_arts_11171454"
],
"categories": [
"arts_69",
"arts_235"
],
"tags": [
"arts_1254"
],
"featImg": "arts_11171465",
"label": "arts"
},
"arts_11155384": {
"type": "posts",
"id": "arts_11155384",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11155384",
"score": null,
"sort": [
1450391213000
]
},
"guestAuthors": [],
"slug": "do-your-part-support-the-local-music-scene-with-these-2015-releases",
"title": "Do Your Part: Support the Local Music Scene With These 2015 Releases",
"publishDate": 1450391213,
"format": "standard",
"headTitle": "Do Your Part: Support the Local Music Scene With These 2015 Releases | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\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>The Bay Area will always be a musical petri dish, growing all types of unique voices and sounds — in incredibly close proximity to one another, no less.\u003c/p>\n\u003cp>But it’s not easy making music here, as local musicians all have to deal with the high cost of living and the shrinking number of practice and performance spaces, not to mention the current issues with making a living in the music business, no matter where you live. So if you or a loved one appreciate the music coming out of the Bay Area, why not do your part and direct some of your gift money toward local music, be it the new record from a current group or an archival release?\u003c/p>\n\u003cp>While all of these gift ideas might not be from local groups, they are all excuses for supporting local music stores — and in one case, a local music journalist. Most importantly, they all help fuel creativity and support those still making it work here, just for the sake of the music.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11170920\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-11170920\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/EE-Lost-Weekend-400x400.jpg\" alt=\"Erase Errata, 'Lost Weekend'\" width=\"400\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/EE-Lost-Weekend-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/EE-Lost-Weekend-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/EE-Lost-Weekend-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/EE-Lost-Weekend-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/EE-Lost-Weekend-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/EE-Lost-Weekend-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/EE-Lost-Weekend-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/EE-Lost-Weekend.jpg 658w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Erase Errata, ‘Lost Weekend’\u003c/figcaption>\u003c/figure>\n\u003ch3>Erase Errata, \u003cem>Lost Weekend\u003c/em>\u003c/h3>\n\u003cp>If I were being a grump, I’d say this 2015 record — a reemergence from one of San Francisco’s best-loved post-punk outfits, some nine years after their last album — is a marker of just how much the city’s changed. The angles of a needling guitar riff, the cool bluntless of singer Jenny Hoyston’s delivery, the inherent grit of a noisy three-piece making artful, self-aware noise: they paint a picture of a crowded, sweaty basement show, the kind that used to land bands opening spots on Le Tigre tours…and the kind San Francisco has all but obliterated over the past decade. I won’t be a grump, though, because this record was a much-needed breath of fresh air in 2015, from the dancey groove of “History of Handclaps” to the urgent social commentary of “Don’t Sit/Lie.” The album’s title, a nod to the long-beleaguered-but-hanging-in-there Mission District video store of the same name (where the band’s been known to practice), also helps this album feel like a triumphant final bow as opposed to a fade out: Erase Errata called it quits for good just nine months after this release. – \u003ci>E.S.\u003c/i>\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11171036\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-11171036\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/sunra_bk_1024x1024-400x460.jpg\" alt=\"Sun Ra - 'Space Is The Place'\" width=\"400\" height=\"460\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/sunra_bk_1024x1024-400x460.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/sunra_bk_1024x1024-522x600.jpg 522w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/sunra_bk_1024x1024.jpg 600w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Sun Ra – ‘Space Is The Place’\u003c/figcaption>\u003c/figure>\n\u003ch3>Sun Ra, \u003ci>Space is Place\u003c/i> (2015 Reissue)\u003c/h3>\n\u003ch5>Harte Recordings\u003c/h5>\n\u003cp>Afrofuturism is undergoing a resurgence in Oakland at the moment. The vision of an idyll for liberated black men and women as seen through a science-fiction lens, Afrofuturism runs in the work of DJ \u003ca href=\"http://ww2.kqed.org/arts/2015/10/30/selam-bekele-and-the-resurgence-of-bay-area-afrofuturism/\" target=\"_blank\" rel=\"noopener\">Selam Bekele\u003c/a>, artist \u003ca href=\"http://www.mahader.com/\" target=\"_blank\" rel=\"noopener\">Mahader Tesfai\u003c/a>, the collective \u003ca href=\"http://qilombo.org/\" target=\"_blank\" rel=\"noopener\">Qilombo\u003c/a> and many others. So it’s a timely gift from above that Sun Ra’s \u003cem>Space is the Place\u003c/em>, the groundbreaking Afrofuturistic film shot in Oakland, saw a deluxe reissue this year. Sun Ra was no stranger to extraterrestrial ideas — he claimed to have been born on Saturn — and his wildly original jazz compositions reflected such ideology. But \u003cem>Space is the Place\u003c/em> brought his philosophy down to the street level, and the scenes of Sun Ra recruiting young black Oaklanders to leave Earth in his spaceship are a must-see for any Bay Area music fan. Harte Recordings’ reissue includes both edits of the film, a CD soundtrack, and a marvelous 125-page full-color hardcover book. — \u003cem>G.M.\u003c/em>\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11171040\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-11171040\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Life-Stinks-cover-400x400.jpg\" alt=\"Life Stinks, 'You'll Never Make It'\" width=\"400\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Life-Stinks-cover-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Life-Stinks-cover-599x600.jpg 599w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Life-Stinks-cover-768x769.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Life-Stinks-cover.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Life-Stinks-cover-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Life-Stinks-cover-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Life-Stinks-cover-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Life-Stinks-cover-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Life-Stinks-cover-75x75.jpg 75w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Life Stinks, ‘You’ll Never Make It’\u003c/figcaption>\u003c/figure>\n\u003ch3>Life Stinks, \u003ci>You’ll Never Make It\u003c/i>\u003c/h3>\n\u003ch5>S.S. Records\u003c/h5>\n\u003cp>It feels weird suggesting something this punk to a KQED audience but this music, both difficult to hear and easy to malign for so many, can be intoxicating for those who know they \u003ci>need\u003c/i> it in their lives. For me, punk rock has always been a venue for releasing energy. The combination of bouncing drums, buzzsaw guitars and a singer with something angry or crazy to yell about can still take over my mental state — no matter what it is — and make me want to pump my fists and yell along.\u003c/p>\n\u003cp>As I’ve gotten older, I’ve moved away from the fast-as-possible, make-you-want-to-run-around-in-circles version of punk. Now I pursue output from groups that still fit under the punk rock umbrella but have also figured out that songs don’t need to played at breakneck speeds to be powerful. Flipper, Pissed Jeans and especially San Francisco’s Life Stinks — they make the kind of music that makes you want to sway side-to-side instead of punching someone in the face. Life Stinks has the added bonus of being fronted by Chad Kawamura, a Hemingway of misanthropic lyrics, who even manages to insert some melody on \u003ci>You’ll Never Make It\u003c/i> in standout tracks like “Anchor” and “In a Place.” — \u003ci>K.J.\u003c/i>\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11171049\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-11171049\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/double-duchess-400x400.jpg\" alt=\"Double Duchess, 'All Eyes On Me'\" width=\"400\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/double-duchess-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/double-duchess-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/double-duchess-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/double-duchess-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/double-duchess-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/double-duchess-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/double-duchess-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/double-duchess.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Double Duchess, ‘All Eyes On Me’\u003c/figcaption>\u003c/figure>\n\u003ch3>Double Duchess, \u003ci>All Eyes on Me\u003c/i>\u003c/h3>\n\u003ch5>\u003ca href=\"http://doubleduchess.com/albums/all-eyes-on-me/\" target=\"_blank\" rel=\"noopener\">self released\u003c/a>\u003c/h5>\n\u003cp>One of the great injustices, if you’re an artist known for putting on a tremendously engaging live show, is that a tremendously engaging live show is tremendously tough to translate into a record. If it weren’t? The queer electro/dance/hip-hop duo Double Duchess might have been famous five years ago. As it stands, they’re at least locally famous for their stage presence (which is a rather tame way of saying booty-popping) as much as for their gleefully raw club bangers. Their 2015 EP, the duo’s third, has the highest production value we’ve seen yet from the Duchess — and may (maybe? hopefully?) help push them into more mainstream pop realms. If you’ve got a friend in need of some new dance grooves and they’re anything but conservative, this is a good bet. – \u003ci>E.S.\u003c/i>\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11171161\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-11171161\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/VU-matrix-tapes-400x400.jpg\" alt=\"Velvet Undergound, 'The Matrix Tapes'\" width=\"400\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/VU-matrix-tapes-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/VU-matrix-tapes-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/VU-matrix-tapes-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/VU-matrix-tapes-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/VU-matrix-tapes-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/VU-matrix-tapes-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/VU-matrix-tapes.jpg 500w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Velvet Undergound, ‘The Matrix Tapes’\u003c/figcaption>\u003c/figure>\n\u003ch3>The Velvet Underground, \u003ci>The Matrix Tapes\u003c/i>\u003c/h3>\n\u003ch5>Polydor\u003c/h5>\n\u003cp>‘Tis the year of the complete master tapes. Bruce Springsteen just announced a tour themed around his completist 4-CD/3-DVD box set \u003cem>The Ties That Bind: The River Collection\u003c/em>, and Bob Dylan’s massive 18-CD box \u003cem>The Cutting Edge 1965-1966: The Bootleg Series Vol. 12\u003c/em> contains a CD with \u003cem>seventeen\u003c/em> takes of “Like a Rolling Stone.” So when it comes to \u003cem>The Matrix Tapes\u003c/em> from the Velvet Underground, recorded at San Francisco’s Matrix club on Fillmore, well, four CDs sounds downright manageable. And despite multiple versions of songs, the set is eminently listenable, if for no other reason than the band was so improvisatory and unpredictable that each of the four versions here of “Heroin,” for example, go in totally different directions. Fans will already own the cream of this crop, issued by Mercury Records in the double album \u003cem>1969: The Velvet Underground Live\u003c/em>, but for diehards (and/or those who remember when the Marina was more accepting of crazy freaks like Lou Reed), this set is pure bliss. — \u003cem>G.M.\u003c/em>\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11171164\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-11171164\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Owen-Maercks-400x400.jpg\" alt=\"Owen Maercks, 'Teenage Sex Therapist'\" width=\"400\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Owen-Maercks-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Owen-Maercks-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Owen-Maercks-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Owen-Maercks-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Owen-Maercks-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Owen-Maercks-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Owen-Maercks-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Owen-Maercks-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Owen-Maercks-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Owen-Maercks.jpg 968w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Owen Maercks, ‘Teenage Sex Therapist’\u003c/figcaption>\u003c/figure>\n\u003ch3>Owen Maercks, \u003ci>Teenage Sex Therapist\u003c/i> (2015 reissue)\u003c/h3>\n\u003ch5>Feeding Tube Records\u003c/h5>\n\u003cp>There’s plenty to hate the Internet for — comments on YouTube alone are worth shutting the whole thing down — but it’s been a fantastic tool for unearthing lost works of musical genius and providing them to the masses. \u003ci>Teenage Sex Therapist\u003c/i> is a prime example of a record that practically no one knew about until just a few years ago; when it was first released in 1978, \u003ca href=\"http://www.sfgate.com/music/article/Avant-garde-rocker-Owen-Maercks-finds-an-audience-5714193.php\" target=\"_blank\" rel=\"noopener\">Owen Maercks managed to avoid selling a single copy\u003c/a>. This album speaks to fans of early Talking Heads, Devo and other New Wave bands, but it also deserves the attention of those who enjoy Velvet Underground, Frank Zappa and Captain Beefheart. It’s catchy but unpredictable, and features some smoking guitar work by a young Henry Kaiser. And though it might not always sound like your thing, by the time you want to move the needle, it’s jumped into another genre. Worth hunting down just for the ride you take during that first listen. — \u003ci>K.J.\u003c/i>\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11171168\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-11171168\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Zion-I-Oaklandia-400x400.jpg\" alt=\"Zion I, 'The Rapture: Live from Oaklandia'\" width=\"400\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Zion-I-Oaklandia-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Zion-I-Oaklandia-599x600.jpg 599w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Zion-I-Oaklandia-768x769.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Zion-I-Oaklandia-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Zion-I-Oaklandia-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Zion-I-Oaklandia-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Zion-I-Oaklandia-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Zion-I-Oaklandia-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Zion-I-Oaklandia.jpg 933w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Zion I, ‘The Rapture: Live from Oaklandia’\u003c/figcaption>\u003c/figure>\n\u003ch3>Zion I, \u003cem>The Rapture: Live From Oaklandia \u003c/em>\u003c/h3>\n\u003ch5>Mind Over Matter\u003c/h5>\n\u003cp>Oakland’s underground hip-hop scene is a sprawling, storied thing, and to reduce it to two camps would be, well, reductive. But it’s true that many people see East Bay rap as either the stuff of mean streets — the pavement from which the hyphy movement sprung — or conscious, activist hip-hop, with nary a misogynist slur or drug reference in sight. Zion I, a duo that burst onto the scene with a critically acclaimed debut in 2000, has managed in the 15 years since to skirt that easy categorization: Their lyrics are fiercely intelligent, sometimes literary, with a strain of social uprising never far from the surface of a song — but never preachy, and there’s certainly never been a question about their street cred. This live album, recorded at an intimate show in October (in Santa Cruz, but we’ll let that go) serves two purposes: As a best-of, it’s a compilation of fan favorites — their performance of “The Bay,” in particular, was a thing to behold at this year’s Hiero Day — but it also serves as a farewell (for now), as the duo announced in February of this year that they’d be parting ways. I’m curious what’ll come next for each individual artist, but this’ll do fine for now. — \u003ci>E.S.\u003c/i>\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11171171\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-11171171\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Inflatable-Boy-Clams-400x400.jpg\" alt='Inflatable Boy Clams 2x7\"' width=\"400\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Inflatable-Boy-Clams-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Inflatable-Boy-Clams.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Inflatable-Boy-Clams-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Inflatable-Boy-Clams-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Inflatable-Boy-Clams-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Inflatable-Boy-Clams-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Inflatable-Boy-Clams-75x75.jpg 75w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Inflatable Boy Clams 2×7″\u003c/figcaption>\u003c/figure>\n\u003ch3>Inflatable Boy Clams, s/t 2×7” (2015 Reissue)\u003c/h3>\n\u003ch5>Superior Viaduct\u003c/h5>\n\u003cp>These days it’s impossible to discover music untainted by outside influences — or, for that matter, to \u003cem>create\u003c/em> music untainted by outside influences. But in 1981, before the internet and other forms of media inundated our daily life, four young women calling themselves the Inflatable Boy Clams recorded one of the strangest and purest releases in Bay Area history. Though musically, the songs come across as unapologetically untrained, the Clams’ concepts are wonderfully honed. “Marin” is a satirical dig at the relaxed, entitled atmosphere across the bridge, while “I’m Sorry” predates Riot Grrrl’s in-your-face detail with spoken-word vignettes of menstruation and incest. More than anything, this double 7-inch is a document of anything-goes innocence and the true DIY spirit. This faithful reissue comes courtesy of Superior Viaduct (who concurrently reissued the only LP by the members’ other, more new-wavey band, Pink Section). — \u003cem>G.M.\u003c/em>\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11171175\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-11171175\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Unknown-Legends-400x640.jpg\" alt=\"Richie Unterberger, 'Unknown Legends of Rock 'N' Roll'\" width=\"400\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Unknown-Legends-400x640.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Unknown-Legends-375x600.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Unknown-Legends-768x1228.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Unknown-Legends-738x1180.jpg 738w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Unknown-Legends-1180x1887.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Unknown-Legends-960x1536.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Unknown-Legends.jpg 1563w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Richie Unterberger, ‘Unknown Legends of Rock ‘N’ Roll’\u003c/figcaption>\u003c/figure>\n\u003ch3>Richie Unterberger, \u003ci>Unknown Legends of Rock ‘N’ Roll\u003c/i> (Expanded E-book)\u003c/h3>\n\u003ch5>self-published\u003c/h5>\n\u003cp>Richie Unterberger is a Bay Area music journalist who, years before the theory of “\u003ca href=\"http://www.thelongtail.com/about.html\" target=\"_blank\" rel=\"noopener\">The Long Tail\u003c/a>” of the internet (1998), researched and published one of the best primers of outsider rock ‘n’ roll for burgeoning record-crate diggers like myself, \u003ci>Unknown Legends of Rock ‘N’ Roll\u003c/i>. The book was packed to the brim with essays about lost garage pop geniuses like Skip Spence, Lee Hazelwood and Syd Barrett, and foreign rock masters who just couldn’t break into the mainstream American market, including krautrock kings Can and anarcho-punks Crass. Sometimes the band’s story was better than their musical output — my expectations for the Misunderstood were impossible to meet after I read about the band’s British debut — but Unterberger’s profiles made me want to hunt down a release from each of the 60 bands he wrote about.\u003c/p>\n\u003cp>Now over a decade old, Unterberger has returned to his underground music encyclopedia, releasing a new e-Book version that adds profiles of 15 more bands and tops out at just under 350,000 words. If you love music and learning about groups outside of the mainstream, this is a must-read. — \u003ci>K.J.\u003c/i>\u003c/p>\n\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>[ad floatright]\u003c/p>\n",
"blocks": [],
"excerpt": "If you or a loved one appreciate the music coming out of the Bay Area, why not do your part and direct some of your gift money toward local music?",
"status": "publish",
"parent": 0,
"modified": 1726701872,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 16,
"wordCount": 2087
},
"headData": {
"title": "Do Your Part: Support the Local Music Scene With These 2015 Releases | KQED",
"description": "If you or a loved one appreciate the music coming out of the Bay Area, why not do your part and direct some of your gift money toward local music?",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Do Your Part: Support the Local Music Scene With These 2015 Releases",
"datePublished": "2015-12-17T14:26:53-08:00",
"dateModified": "2024-09-18T16:24:32-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"path": "/arts/11155384/do-your-part-support-the-local-music-scene-with-these-2015-releases",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\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>The Bay Area will always be a musical petri dish, growing all types of unique voices and sounds — in incredibly close proximity to one another, no less.\u003c/p>\n\u003cp>But it’s not easy making music here, as local musicians all have to deal with the high cost of living and the shrinking number of practice and performance spaces, not to mention the current issues with making a living in the music business, no matter where you live. So if you or a loved one appreciate the music coming out of the Bay Area, why not do your part and direct some of your gift money toward local music, be it the new record from a current group or an archival release?\u003c/p>\n\u003cp>While all of these gift ideas might not be from local groups, they are all excuses for supporting local music stores — and in one case, a local music journalist. Most importantly, they all help fuel creativity and support those still making it work here, just for the sake of the music.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11170920\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-11170920\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/EE-Lost-Weekend-400x400.jpg\" alt=\"Erase Errata, 'Lost Weekend'\" width=\"400\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/EE-Lost-Weekend-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/EE-Lost-Weekend-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/EE-Lost-Weekend-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/EE-Lost-Weekend-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/EE-Lost-Weekend-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/EE-Lost-Weekend-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/EE-Lost-Weekend-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/EE-Lost-Weekend.jpg 658w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Erase Errata, ‘Lost Weekend’\u003c/figcaption>\u003c/figure>\n\u003ch3>Erase Errata, \u003cem>Lost Weekend\u003c/em>\u003c/h3>\n\u003cp>If I were being a grump, I’d say this 2015 record — a reemergence from one of San Francisco’s best-loved post-punk outfits, some nine years after their last album — is a marker of just how much the city’s changed. The angles of a needling guitar riff, the cool bluntless of singer Jenny Hoyston’s delivery, the inherent grit of a noisy three-piece making artful, self-aware noise: they paint a picture of a crowded, sweaty basement show, the kind that used to land bands opening spots on Le Tigre tours…and the kind San Francisco has all but obliterated over the past decade. I won’t be a grump, though, because this record was a much-needed breath of fresh air in 2015, from the dancey groove of “History of Handclaps” to the urgent social commentary of “Don’t Sit/Lie.” The album’s title, a nod to the long-beleaguered-but-hanging-in-there Mission District video store of the same name (where the band’s been known to practice), also helps this album feel like a triumphant final bow as opposed to a fade out: Erase Errata called it quits for good just nine months after this release. – \u003ci>E.S.\u003c/i>\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11171036\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-11171036\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/sunra_bk_1024x1024-400x460.jpg\" alt=\"Sun Ra - 'Space Is The Place'\" width=\"400\" height=\"460\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/sunra_bk_1024x1024-400x460.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/sunra_bk_1024x1024-522x600.jpg 522w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/sunra_bk_1024x1024.jpg 600w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Sun Ra – ‘Space Is The Place’\u003c/figcaption>\u003c/figure>\n\u003ch3>Sun Ra, \u003ci>Space is Place\u003c/i> (2015 Reissue)\u003c/h3>\n\u003ch5>Harte Recordings\u003c/h5>\n\u003cp>Afrofuturism is undergoing a resurgence in Oakland at the moment. The vision of an idyll for liberated black men and women as seen through a science-fiction lens, Afrofuturism runs in the work of DJ \u003ca href=\"http://ww2.kqed.org/arts/2015/10/30/selam-bekele-and-the-resurgence-of-bay-area-afrofuturism/\" target=\"_blank\" rel=\"noopener\">Selam Bekele\u003c/a>, artist \u003ca href=\"http://www.mahader.com/\" target=\"_blank\" rel=\"noopener\">Mahader Tesfai\u003c/a>, the collective \u003ca href=\"http://qilombo.org/\" target=\"_blank\" rel=\"noopener\">Qilombo\u003c/a> and many others. So it’s a timely gift from above that Sun Ra’s \u003cem>Space is the Place\u003c/em>, the groundbreaking Afrofuturistic film shot in Oakland, saw a deluxe reissue this year. Sun Ra was no stranger to extraterrestrial ideas — he claimed to have been born on Saturn — and his wildly original jazz compositions reflected such ideology. But \u003cem>Space is the Place\u003c/em> brought his philosophy down to the street level, and the scenes of Sun Ra recruiting young black Oaklanders to leave Earth in his spaceship are a must-see for any Bay Area music fan. Harte Recordings’ reissue includes both edits of the film, a CD soundtrack, and a marvelous 125-page full-color hardcover book. — \u003cem>G.M.\u003c/em>\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11171040\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-11171040\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Life-Stinks-cover-400x400.jpg\" alt=\"Life Stinks, 'You'll Never Make It'\" width=\"400\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Life-Stinks-cover-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Life-Stinks-cover-599x600.jpg 599w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Life-Stinks-cover-768x769.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Life-Stinks-cover.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Life-Stinks-cover-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Life-Stinks-cover-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Life-Stinks-cover-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Life-Stinks-cover-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Life-Stinks-cover-75x75.jpg 75w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Life Stinks, ‘You’ll Never Make It’\u003c/figcaption>\u003c/figure>\n\u003ch3>Life Stinks, \u003ci>You’ll Never Make It\u003c/i>\u003c/h3>\n\u003ch5>S.S. Records\u003c/h5>\n\u003cp>It feels weird suggesting something this punk to a KQED audience but this music, both difficult to hear and easy to malign for so many, can be intoxicating for those who know they \u003ci>need\u003c/i> it in their lives. For me, punk rock has always been a venue for releasing energy. The combination of bouncing drums, buzzsaw guitars and a singer with something angry or crazy to yell about can still take over my mental state — no matter what it is — and make me want to pump my fists and yell along.\u003c/p>\n\u003cp>As I’ve gotten older, I’ve moved away from the fast-as-possible, make-you-want-to-run-around-in-circles version of punk. Now I pursue output from groups that still fit under the punk rock umbrella but have also figured out that songs don’t need to played at breakneck speeds to be powerful. Flipper, Pissed Jeans and especially San Francisco’s Life Stinks — they make the kind of music that makes you want to sway side-to-side instead of punching someone in the face. Life Stinks has the added bonus of being fronted by Chad Kawamura, a Hemingway of misanthropic lyrics, who even manages to insert some melody on \u003ci>You’ll Never Make It\u003c/i> in standout tracks like “Anchor” and “In a Place.” — \u003ci>K.J.\u003c/i>\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11171049\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-11171049\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/double-duchess-400x400.jpg\" alt=\"Double Duchess, 'All Eyes On Me'\" width=\"400\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/double-duchess-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/double-duchess-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/double-duchess-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/double-duchess-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/double-duchess-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/double-duchess-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/double-duchess-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/double-duchess.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Double Duchess, ‘All Eyes On Me’\u003c/figcaption>\u003c/figure>\n\u003ch3>Double Duchess, \u003ci>All Eyes on Me\u003c/i>\u003c/h3>\n\u003ch5>\u003ca href=\"http://doubleduchess.com/albums/all-eyes-on-me/\" target=\"_blank\" rel=\"noopener\">self released\u003c/a>\u003c/h5>\n\u003cp>One of the great injustices, if you’re an artist known for putting on a tremendously engaging live show, is that a tremendously engaging live show is tremendously tough to translate into a record. If it weren’t? The queer electro/dance/hip-hop duo Double Duchess might have been famous five years ago. As it stands, they’re at least locally famous for their stage presence (which is a rather tame way of saying booty-popping) as much as for their gleefully raw club bangers. Their 2015 EP, the duo’s third, has the highest production value we’ve seen yet from the Duchess — and may (maybe? hopefully?) help push them into more mainstream pop realms. If you’ve got a friend in need of some new dance grooves and they’re anything but conservative, this is a good bet. – \u003ci>E.S.\u003c/i>\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11171161\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-11171161\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/VU-matrix-tapes-400x400.jpg\" alt=\"Velvet Undergound, 'The Matrix Tapes'\" width=\"400\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/VU-matrix-tapes-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/VU-matrix-tapes-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/VU-matrix-tapes-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/VU-matrix-tapes-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/VU-matrix-tapes-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/VU-matrix-tapes-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/VU-matrix-tapes.jpg 500w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Velvet Undergound, ‘The Matrix Tapes’\u003c/figcaption>\u003c/figure>\n\u003ch3>The Velvet Underground, \u003ci>The Matrix Tapes\u003c/i>\u003c/h3>\n\u003ch5>Polydor\u003c/h5>\n\u003cp>‘Tis the year of the complete master tapes. Bruce Springsteen just announced a tour themed around his completist 4-CD/3-DVD box set \u003cem>The Ties That Bind: The River Collection\u003c/em>, and Bob Dylan’s massive 18-CD box \u003cem>The Cutting Edge 1965-1966: The Bootleg Series Vol. 12\u003c/em> contains a CD with \u003cem>seventeen\u003c/em> takes of “Like a Rolling Stone.” So when it comes to \u003cem>The Matrix Tapes\u003c/em> from the Velvet Underground, recorded at San Francisco’s Matrix club on Fillmore, well, four CDs sounds downright manageable. And despite multiple versions of songs, the set is eminently listenable, if for no other reason than the band was so improvisatory and unpredictable that each of the four versions here of “Heroin,” for example, go in totally different directions. Fans will already own the cream of this crop, issued by Mercury Records in the double album \u003cem>1969: The Velvet Underground Live\u003c/em>, but for diehards (and/or those who remember when the Marina was more accepting of crazy freaks like Lou Reed), this set is pure bliss. — \u003cem>G.M.\u003c/em>\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11171164\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-11171164\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Owen-Maercks-400x400.jpg\" alt=\"Owen Maercks, 'Teenage Sex Therapist'\" width=\"400\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Owen-Maercks-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Owen-Maercks-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Owen-Maercks-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Owen-Maercks-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Owen-Maercks-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Owen-Maercks-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Owen-Maercks-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Owen-Maercks-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Owen-Maercks-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Owen-Maercks.jpg 968w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Owen Maercks, ‘Teenage Sex Therapist’\u003c/figcaption>\u003c/figure>\n\u003ch3>Owen Maercks, \u003ci>Teenage Sex Therapist\u003c/i> (2015 reissue)\u003c/h3>\n\u003ch5>Feeding Tube Records\u003c/h5>\n\u003cp>There’s plenty to hate the Internet for — comments on YouTube alone are worth shutting the whole thing down — but it’s been a fantastic tool for unearthing lost works of musical genius and providing them to the masses. \u003ci>Teenage Sex Therapist\u003c/i> is a prime example of a record that practically no one knew about until just a few years ago; when it was first released in 1978, \u003ca href=\"http://www.sfgate.com/music/article/Avant-garde-rocker-Owen-Maercks-finds-an-audience-5714193.php\" target=\"_blank\" rel=\"noopener\">Owen Maercks managed to avoid selling a single copy\u003c/a>. This album speaks to fans of early Talking Heads, Devo and other New Wave bands, but it also deserves the attention of those who enjoy Velvet Underground, Frank Zappa and Captain Beefheart. It’s catchy but unpredictable, and features some smoking guitar work by a young Henry Kaiser. And though it might not always sound like your thing, by the time you want to move the needle, it’s jumped into another genre. Worth hunting down just for the ride you take during that first listen. — \u003ci>K.J.\u003c/i>\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11171168\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-11171168\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Zion-I-Oaklandia-400x400.jpg\" alt=\"Zion I, 'The Rapture: Live from Oaklandia'\" width=\"400\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Zion-I-Oaklandia-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Zion-I-Oaklandia-599x600.jpg 599w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Zion-I-Oaklandia-768x769.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Zion-I-Oaklandia-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Zion-I-Oaklandia-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Zion-I-Oaklandia-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Zion-I-Oaklandia-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Zion-I-Oaklandia-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Zion-I-Oaklandia.jpg 933w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Zion I, ‘The Rapture: Live from Oaklandia’\u003c/figcaption>\u003c/figure>\n\u003ch3>Zion I, \u003cem>The Rapture: Live From Oaklandia \u003c/em>\u003c/h3>\n\u003ch5>Mind Over Matter\u003c/h5>\n\u003cp>Oakland’s underground hip-hop scene is a sprawling, storied thing, and to reduce it to two camps would be, well, reductive. But it’s true that many people see East Bay rap as either the stuff of mean streets — the pavement from which the hyphy movement sprung — or conscious, activist hip-hop, with nary a misogynist slur or drug reference in sight. Zion I, a duo that burst onto the scene with a critically acclaimed debut in 2000, has managed in the 15 years since to skirt that easy categorization: Their lyrics are fiercely intelligent, sometimes literary, with a strain of social uprising never far from the surface of a song — but never preachy, and there’s certainly never been a question about their street cred. This live album, recorded at an intimate show in October (in Santa Cruz, but we’ll let that go) serves two purposes: As a best-of, it’s a compilation of fan favorites — their performance of “The Bay,” in particular, was a thing to behold at this year’s Hiero Day — but it also serves as a farewell (for now), as the duo announced in February of this year that they’d be parting ways. I’m curious what’ll come next for each individual artist, but this’ll do fine for now. — \u003ci>E.S.\u003c/i>\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11171171\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-11171171\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Inflatable-Boy-Clams-400x400.jpg\" alt='Inflatable Boy Clams 2x7\"' width=\"400\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Inflatable-Boy-Clams-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Inflatable-Boy-Clams.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Inflatable-Boy-Clams-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Inflatable-Boy-Clams-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Inflatable-Boy-Clams-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Inflatable-Boy-Clams-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Inflatable-Boy-Clams-75x75.jpg 75w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Inflatable Boy Clams 2×7″\u003c/figcaption>\u003c/figure>\n\u003ch3>Inflatable Boy Clams, s/t 2×7” (2015 Reissue)\u003c/h3>\n\u003ch5>Superior Viaduct\u003c/h5>\n\u003cp>These days it’s impossible to discover music untainted by outside influences — or, for that matter, to \u003cem>create\u003c/em> music untainted by outside influences. But in 1981, before the internet and other forms of media inundated our daily life, four young women calling themselves the Inflatable Boy Clams recorded one of the strangest and purest releases in Bay Area history. Though musically, the songs come across as unapologetically untrained, the Clams’ concepts are wonderfully honed. “Marin” is a satirical dig at the relaxed, entitled atmosphere across the bridge, while “I’m Sorry” predates Riot Grrrl’s in-your-face detail with spoken-word vignettes of menstruation and incest. More than anything, this double 7-inch is a document of anything-goes innocence and the true DIY spirit. This faithful reissue comes courtesy of Superior Viaduct (who concurrently reissued the only LP by the members’ other, more new-wavey band, Pink Section). — \u003cem>G.M.\u003c/em>\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11171175\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-11171175\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Unknown-Legends-400x640.jpg\" alt=\"Richie Unterberger, 'Unknown Legends of Rock 'N' Roll'\" width=\"400\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Unknown-Legends-400x640.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Unknown-Legends-375x600.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Unknown-Legends-768x1228.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Unknown-Legends-738x1180.jpg 738w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Unknown-Legends-1180x1887.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Unknown-Legends-960x1536.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Unknown-Legends.jpg 1563w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Richie Unterberger, ‘Unknown Legends of Rock ‘N’ Roll’\u003c/figcaption>\u003c/figure>\n\u003ch3>Richie Unterberger, \u003ci>Unknown Legends of Rock ‘N’ Roll\u003c/i> (Expanded E-book)\u003c/h3>\n\u003ch5>self-published\u003c/h5>\n\u003cp>Richie Unterberger is a Bay Area music journalist who, years before the theory of “\u003ca href=\"http://www.thelongtail.com/about.html\" target=\"_blank\" rel=\"noopener\">The Long Tail\u003c/a>” of the internet (1998), researched and published one of the best primers of outsider rock ‘n’ roll for burgeoning record-crate diggers like myself, \u003ci>Unknown Legends of Rock ‘N’ Roll\u003c/i>. The book was packed to the brim with essays about lost garage pop geniuses like Skip Spence, Lee Hazelwood and Syd Barrett, and foreign rock masters who just couldn’t break into the mainstream American market, including krautrock kings Can and anarcho-punks Crass. Sometimes the band’s story was better than their musical output — my expectations for the Misunderstood were impossible to meet after I read about the band’s British debut — but Unterberger’s profiles made me want to hunt down a release from each of the 60 bands he wrote about.\u003c/p>\n\u003cp>Now over a decade old, Unterberger has returned to his underground music encyclopedia, releasing a new e-Book version that adds profiles of 15 more bands and tops out at just under 350,000 words. If you love music and learning about groups outside of the mainstream, this is a must-read. — \u003ci>K.J.\u003c/i>\u003c/p>\n\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11155384/do-your-part-support-the-local-music-scene-with-these-2015-releases",
"authors": [
"93",
"7237",
"185"
],
"categories": [
"arts_69"
],
"tags": [
"arts_1118",
"arts_1006",
"arts_596"
],
"featImg": "arts_11171177",
"label": "arts"
}
},
"podcastsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"podcasts": {}
},
"radioProgramsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"radioPrograms": {}
},
"radioSearchSegmentsReducer": {},
"programsReducer": {
"all-things-considered": {
"id": "all-things-considered",
"title": "All Things Considered",
"info": "Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. Michel Martin hosts on the weekends.",
"airtime": "MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/all-things-considered/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/all-things-considered"
},
"american-suburb-podcast": {
"id": "american-suburb-podcast",
"title": "American Suburb: The Podcast",
"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg",
"officialWebsiteLink": "/news/series/american-suburb-podcast",
"meta": {
"site": "news",
"source": "kqed",
"order": 19
},
"link": "/news/series/american-suburb-podcast/",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/RBrW",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328",
"tuneIn": "https://tunein.com/radio/American-Suburb-p1086805/",
"rss": "https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"
}
},
"baycurious": {
"id": "baycurious",
"title": "Bay Curious",
"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Bay Curious",
"officialWebsiteLink": "/news/series/baycurious",
"meta": {
"site": "news",
"source": "kqed",
"order": 3
},
"link": "/podcasts/baycurious",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/bay-curious/id1172473406",
"npr": "https://www.npr.org/podcasts/500557090/bay-curious",
"rss": "https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast",
"amazon": "https://music.amazon.com/podcasts/9a90d476-aa04-455d-9a4c-0871ed6216d4/bay-curious",
"stitcher": "https://www.stitcher.com/podcast/kqed/bay-curious",
"spotify": "https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"
}
},
"bbc-world-service": {
"id": "bbc-world-service",
"title": "BBC World Service",
"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
"airtime": "MON-FRI 9pm-10pm, TUE-FRI 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.bbc.co.uk/sounds/play/live:bbc_world_service",
"meta": {
"site": "news",
"source": "BBC World Service"
},
"link": "/radio/program/bbc-world-service",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2",
"tuneIn": "https://tunein.com/radio/BBC-World-Service-p455581/",
"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report",
"officialWebsiteLink": "/californiareport",
"meta": {
"site": "news",
"source": "kqed",
"order": 8
},
"link": "/californiareport",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-the-california-report/id79681292",
"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
"npr": "https://www.npr.org/podcasts/432285393/the-california-report",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-the-california-report-podcast-8838",
"rss": "https://ww2.kqed.org/news/tag/tcram/feed/podcast"
}
},
"californiareportmagazine": {
"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Magazine-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report Magazine",
"officialWebsiteLink": "/californiareportmagazine",
"meta": {
"site": "news",
"source": "kqed",
"order": 10
},
"link": "/californiareportmagazine",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-california-report-magazine/id1314750545",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
"npr": "https://www.npr.org/podcasts/564733126/the-california-report-magazine",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-california-report-magazine",
"rss": "https://ww2.kqed.org/news/tag/tcrmag/feed/podcast"
}
},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
"tagline": "Your irreverent guide to the trends redefining our world",
"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/02/CAT_2_Tile-scaled.jpg",
"imageAlt": "KQED Close All Tabs",
"officialWebsiteLink": "/podcasts/closealltabs",
"meta": {
"site": "news",
"source": "kqed",
"order": 1
},
"link": "/podcasts/closealltabs",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/close-all-tabs/id214663465",
"rss": "https://feeds.megaphone.fm/KQINC6993880386",
"amazon": "https://music.amazon.com/podcasts/92d9d4ac-67a3-4eed-b10a-fb45d45b1ef2/close-all-tabs",
"spotify": "https://open.spotify.com/show/6LAJFHnGK1pYXYzv6SIol6?si=deb0cae19813417c"
}
},
"code-switch-life-kit": {
"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
"airtime": "SUN 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/code-switch-life-kit",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
"spotify": "https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV",
"rss": "https://feeds.npr.org/510312/podcast.xml"
}
},
"commonwealth-club": {
"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
"tuneIn": "https://tunein.com/radio/Commonwealth-Club-of-California-p1060/"
}
},
"forum": {
"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
"officialWebsiteLink": "/forum",
"meta": {
"site": "news",
"source": "kqed",
"order": 9
},
"link": "/forum",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-forum/id73329719",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
"npr": "https://www.npr.org/podcasts/432307980/forum",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-forum-podcast",
"rss": "https://feeds.megaphone.fm/KQINC9557381633"
}
},
"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
"airtime": "MON-FRI 7pm-8pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Fresh-Air-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/fresh-air/",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/fresh-air",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Fresh-Air-p17/",
"rss": "https://feeds.npr.org/381444908/podcast.xml"
}
},
"here-and-now": {
"id": "here-and-now",
"title": "Here & Now",
"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
"airtime": "MON-THU 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Here-And-Now-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://www.wbur.org/hereandnow",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/here-and-now",
"subsdcribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=426698661",
"tuneIn": "https://tunein.com/radio/Here--Now-p211/",
"rss": "https://feeds.npr.org/510051/podcast.xml"
}
},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/hiddenbrain.jpg",
"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/hidden-brain/id1028908750?mt=2",
"tuneIn": "https://tunein.com/podcasts/Science-Podcasts/Hidden-Brain-p787503/",
"rss": "https://feeds.npr.org/510308/podcast.xml"
}
},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
"tuneIn": "https://tunein.com/podcasts/Arts--Culture-Podcasts/How-I-Built-This-p910896/",
"rss": "https://feeds.npr.org/510313/podcast.xml"
}
},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
"site": "news",
"source": "kqed",
"order": 15
},
"link": "/podcasts/hyphenacion",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/hyphenaci%C3%B3n/id1191591838",
"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
"youtube": "https://www.youtube.com/c/kqedarts",
"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
"site": "news",
"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
"subscribe": {
"npr": "https://www.npr.org/podcasts/790253322/the-political-mind-of-jerry-brown",
"apple": "https://itunes.apple.com/us/podcast/id1492194549",
"rss": "https://ww2.kqed.org/news/series/jerrybrown/feed/podcast/",
"tuneIn": "http://tun.in/pjGcK",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-political-mind-of-jerry-brown",
"spotify": "https://open.spotify.com/show/54C1dmuyFyKMFttY6X2j6r?si=K8SgRCoISNK6ZbjpXrX5-w",
"amazon": "https://music.amazon.com/podcasts/44420f75-3b0e-4301-ab3b-16da6b09e543/the-political-mind-of-jerry-brown"
}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/xtTd",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Latino-USA-p621/",
"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201853034&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/APM-Marketplace-p88/",
"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
"site": "news",
"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
"spotify": "https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"
}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
"npr": "https://rpb3r.app.goo.gl/onourwatch",
"spotify": "https://open.spotify.com/show/0OLWoyizopu6tY1XiuX70x",
"tuneIn": "https://tunein.com/radio/On-Our-Watch-p1436229/",
"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
"site": "news",
"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
"site": "radio",
"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
}
},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
"site": "radio",
"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/political-breakdown/id1327641087",
"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
"stitcher": "https://www.stitcher.com/podcast/kqed/political-breakdown",
"spotify": "https://open.spotify.com/show/07RVyIjIdk2WDuVehvBMoN",
"rss": "https://ww2.kqed.org/news/tag/political-breakdown/feed/podcast"
}
},
"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
"meta": {
"site": "news",
"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/possible/id1677184070",
"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
}
},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pri.org/programs/the-world",
"meta": {
"site": "news",
"source": "PRI"
},
"link": "/radio/program/pri-the-world",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pris-the-world-latest-edition/id278196007?mt=2",
"tuneIn": "https://tunein.com/podcasts/News--Politics-Podcasts/PRIs-The-World-p24/",
"rss": "http://feeds.feedburner.com/pri/theworld"
}
},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
"airtime": "SUN 12am-1am, SAT 2pm-3pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/radiolab1400.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/radiolab/",
"meta": {
"site": "science",
"source": "WNYC"
},
"link": "/radio/program/radiolab",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/radiolab/id152249110?mt=2",
"tuneIn": "https://tunein.com/radio/RadioLab-p68032/",
"rss": "https://feeds.wnyc.org/radiolab"
}
},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png",
"officialWebsiteLink": "https://www.revealnews.org/episodes/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/reveal",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/reveal/id886009669",
"tuneIn": "https://tunein.com/radio/Reveal-p679597/",
"rss": "http://feeds.revealradio.org/revealpodcast"
}
},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Rightnowish-Podcast-Tile-500x500-1.jpg",
"imageAlt": "KQED Rightnowish with Pendarvis Harshaw",
"officialWebsiteLink": "/podcasts/rightnowish",
"meta": {
"site": "arts",
"source": "kqed",
"order": 16
},
"link": "/podcasts/rightnowish",
"subscribe": {
"npr": "https://www.npr.org/podcasts/721590300/rightnowish",
"rss": "https://ww2.kqed.org/arts/programs/rightnowish/feed/podcast",
"apple": "https://podcasts.apple.com/us/podcast/rightnowish/id1482187648",
"stitcher": "https://www.stitcher.com/podcast/kqed/rightnowish",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMxMjU5MTY3NDc4",
"spotify": "https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I"
}
},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
"airtime": "FRI 11am-1pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Science-Friday-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/science-friday",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/science-friday",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=73329284&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Science-Friday-p394/",
"rss": "http://feeds.wnyc.org/science-friday"
}
},
"snap-judgment": {
"id": "snap-judgment",
"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
"airtime": "SAT 1pm-2pm, 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/05/Snap-Judgment-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Snap Judgment",
"officialWebsiteLink": "https://snapjudgment.org",
"meta": {
"site": "arts",
"source": "kqed",
"order": 4
},
"link": "https://snapjudgment.org",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/snap-judgment/id283657561",
"npr": "https://www.npr.org/podcasts/449018144/snap-judgment",
"stitcher": "https://www.pandora.com/podcast/snap-judgment/PC:241?source=stitcher-sunset",
"spotify": "https://open.spotify.com/show/3Cct7ZWmxHNAtLgBTqjC5v",
"rss": "https://snap.feed.snapjudgment.org/"
}
},
"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Sold-Out-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Sold Out: Rethinking Housing in America",
"officialWebsiteLink": "/podcasts/soldout",
"meta": {
"site": "news",
"source": "kqed",
"order": 13
},
"link": "/podcasts/soldout",
"subscribe": {
"npr": "https://www.npr.org/podcasts/911586047/s-o-l-d-o-u-t-a-new-future-for-housing",
"apple": "https://podcasts.apple.com/us/podcast/introducing-sold-out-rethinking-housing-in-america/id1531354937",
"rss": "https://feeds.megaphone.fm/soldout",
"spotify": "https://open.spotify.com/show/38dTBSk2ISFoPiyYNoKn1X",
"stitcher": "https://www.stitcher.com/podcast/kqed/sold-out-rethinking-housing-in-america",
"tunein": "https://tunein.com/radio/SOLD-OUT-Rethinking-Housing-in-America-p1365871/"
}
},
"spooked": {
"id": "spooked",
"title": "Spooked",
"tagline": "True-life supernatural stories",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/10/Spooked-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Spooked",
"officialWebsiteLink": "https://spookedpodcast.org/",
"meta": {
"site": "news",
"source": "kqed",
"order": 7
},
"link": "https://spookedpodcast.org/",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/spooked/id1279361017",
"npr": "https://www.npr.org/podcasts/549547848/snap-judgment-presents-spooked",
"spotify": "https://open.spotify.com/show/76571Rfl3m7PLJQZKQIGCT",
"rss": "https://feeds.simplecast.com/TBotaapn"
}
},
"tech-nation": {
"id": "tech-nation",
"title": "Tech Nation Radio Podcast",
"info": "Tech Nation is a weekly public radio program, hosted by Dr. Moira Gunn. Founded in 1993, it has grown from a simple interview show to a multi-faceted production, featuring conversations with noted technology and science leaders, and a weekly science and technology-related commentary.",
"airtime": "FRI 10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Tech-Nation-Radio-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://technation.podomatic.com/",
"meta": {
"site": "science",
"source": "Tech Nation Media"
},
"link": "/radio/program/tech-nation",
"subscribe": {
"rss": "https://technation.podomatic.com/rss2.xml"
}
},
"ted-radio-hour": {
"id": "ted-radio-hour",
"title": "TED Radio Hour",
"info": "The TED Radio Hour is a journey through fascinating ideas, astonishing inventions, fresh approaches to old problems, and new ways to think and create.",
"airtime": "SUN 3pm-4pm, SAT 10pm-11pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/tedRadioHour.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/ted-radio-hour/?showDate=2018-06-22",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/ted-radio-hour",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/8vsS",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=523121474&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/TED-Radio-Hour-p418021/",
"rss": "https://feeds.npr.org/510298/podcast.xml"
}
},
"thebay": {
"id": "thebay",
"title": "The Bay",
"tagline": "Local news to keep you rooted",
"info": "Host Devin Katayama walks you through the biggest story of the day with reporters and newsmakers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Bay-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Bay",
"officialWebsiteLink": "/podcasts/thebay",
"meta": {
"site": "radio",
"source": "kqed",
"order": 2
},
"link": "/podcasts/thebay",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-bay/id1350043452",
"amazon": "https://music.amazon.com/podcasts/d800ea4c-7a2c-42f2-b861-edaf78a5db0b/the-bay",
"npr": "https://www.npr.org/podcasts/586725995/the-bay",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-bay",
"spotify": "https://open.spotify.com/show/4BIKBKIujizLHlIlBNaAqQ",
"rss": "https://feeds.megaphone.fm/KQINC8259786327"
}
},
"thelatest": {
"id": "thelatest",
"title": "The Latest",
"tagline": "Trusted local news in real time",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/05/The-Latest-2025-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Latest",
"officialWebsiteLink": "/thelatest",
"meta": {
"site": "news",
"source": "kqed",
"order": 6
},
"link": "/thelatest",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-latest-from-kqed/id1197721799",
"npr": "https://www.npr.org/podcasts/1257949365/the-latest-from-k-q-e-d",
"spotify": "https://open.spotify.com/show/5KIIXMgM9GTi5AepwOYvIZ?si=bd3053fec7244dba",
"rss": "https://feeds.megaphone.fm/KQINC9137121918"
}
},
"theleap": {
"id": "theleap",
"title": "The Leap",
"tagline": "What if you closed your eyes, and jumped?",
"info": "Stories about people making dramatic, risky changes, told by award-winning public radio reporter Judy Campbell.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Leap-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Leap",
"officialWebsiteLink": "/podcasts/theleap",
"meta": {
"site": "news",
"source": "kqed",
"order": 17
},
"link": "/podcasts/theleap",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-leap/id1046668171",
"npr": "https://www.npr.org/podcasts/447248267/the-leap",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-leap",
"spotify": "https://open.spotify.com/show/3sSlVHHzU0ytLwuGs1SD1U",
"rss": "https://ww2.kqed.org/news/programs/the-leap/feed/podcast"
}
},
"the-moth-radio-hour": {
"id": "the-moth-radio-hour",
"title": "The Moth Radio Hour",
"info": "Since its launch in 1997, The Moth has presented thousands of true stories, told live and without notes, to standing-room-only crowds worldwide. Moth storytellers stand alone, under a spotlight, with only a microphone and a roomful of strangers. The storyteller and the audience embark on a high-wire act of shared experience which is both terrifying and exhilarating. Since 2008, The Moth podcast has featured many of our favorite stories told live on Moth stages around the country. For information on all of our programs and live events, visit themoth.org.",
"airtime": "SAT 8pm-9pm and SUN 11am-12pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/theMoth.jpg",
"officialWebsiteLink": "https://themoth.org/",
"meta": {
"site": "arts",
"source": "prx"
},
"link": "/radio/program/the-moth-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/the-moth-podcast/id275699983?mt=2",
"tuneIn": "https://tunein.com/radio/The-Moth-p273888/",
"rss": "http://feeds.themoth.org/themothpodcast"
}
},
"the-new-yorker-radio-hour": {
"id": "the-new-yorker-radio-hour",
"title": "The New Yorker Radio Hour",
"info": "The New Yorker Radio Hour is a weekly program presented by the magazine's editor, David Remnick, and produced by WNYC Studios and The New Yorker. Each episode features a diverse mix of interviews, profiles, storytelling, and an occasional burst of humor inspired by the magazine, and shaped by its writers, artists, and editors. This isn't a radio version of a magazine, but something all its own, reflecting the rich possibilities of audio storytelling and conversation. Theme music for the show was composed and performed by Merrill Garbus of tUnE-YArDs.",
"airtime": "SAT 10am-11am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-New-Yorker-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/tnyradiohour",
"meta": {
"site": "arts",
"source": "WNYC"
},
"link": "/radio/program/the-new-yorker-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/id1050430296",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/New-Yorker-Radio-Hour-p803804/",
"rss": "https://feeds.feedburner.com/newyorkerradiohour"
}
},
"the-sam-sanders-show": {
"id": "the-sam-sanders-show",
"title": "The Sam Sanders Show",
"info": "One of public radio's most dynamic voices, Sam Sanders helped launch The NPR Politics Podcast and hosted NPR's hit show It's Been A Minute. Now, the award-winning host returns with something brand new, The Sam Sanders Show. Every week, Sam Sanders and friends dig into the culture that shapes our lives: what's driving the biggest trends, how artists really think, and even the memes you can't stop scrolling past. Sam is beloved for his way of unpacking the world and bringing you up close to fresh currents and engaging conversations. The Sam Sanders Show is smart, funny and always a good time.",
"airtime": "FRI 12-1pm AND SAT 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/11/The-Sam-Sanders-Show-Podcast-Tile-400x400-1.jpg",
"officialWebsiteLink": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"meta": {
"site": "arts",
"source": "KCRW"
},
"link": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"subscribe": {
"rss": "https://feed.cdnstream1.com/zjb/feed/download/ac/28/59/ac28594c-e1d0-4231-8728-61865cdc80e8.xml"
}
},
"the-splendid-table": {
"id": "the-splendid-table",
"title": "The Splendid Table",
"info": "\u003cem>The Splendid Table\u003c/em> hosts our nation's conversations about cooking, sustainability and food culture.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Splendid-Table-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.splendidtable.org/",
"airtime": "SUN 10-11 pm",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/the-splendid-table"
},
"this-american-life": {
"id": "this-american-life",
"title": "This American Life",
"info": "This American Life is a weekly public radio show, heard by 2.2 million people on more than 500 stations. Another 2.5 million people download the weekly podcast. It is hosted by Ira Glass, produced in collaboration with Chicago Public Media, delivered to stations by PRX The Public Radio Exchange, and has won all of the major broadcasting awards.",
"airtime": "SAT 12pm-1pm, 7pm-8pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/thisAmericanLife.png",
"officialWebsiteLink": "https://www.thisamericanlife.org/",
"meta": {
"site": "news",
"source": "wbez"
},
"link": "/radio/program/this-american-life",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201671138&at=11l79Y&ct=nprdirectory",
"rss": "https://www.thisamericanlife.org/podcast/rss.xml"
}
},
"tinydeskradio": {
"id": "tinydeskradio",
"title": "Tiny Desk Radio",
"info": "We're bringing the best of Tiny Desk to the airwaves, only on public radio.",
"airtime": "SUN 8pm and SAT 9pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/04/300x300-For-Member-Station-Logo-Tiny-Desk-Radio-@2x.png",
"officialWebsiteLink": "https://www.npr.org/series/g-s1-52030/tiny-desk-radio",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/tinydeskradio",
"subscribe": {
"rss": "https://feeds.npr.org/g-s1-52030/rss.xml"
}
},
"wait-wait-dont-tell-me": {
"id": "wait-wait-dont-tell-me",
"title": "Wait Wait... Don't Tell Me!",
"info": "Peter Sagal and Bill Kurtis host the weekly NPR News quiz show alongside some of the best and brightest news and entertainment personalities.",
"airtime": "SUN 10am-11am, SAT 11am-12pm, SAT 6pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Wait-Wait-Podcast-Tile-300x300-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/wait-wait-dont-tell-me/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/wait-wait-dont-tell-me",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/Xogv",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=121493804&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Wait-Wait-Dont-Tell-Me-p46/",
"rss": "https://feeds.npr.org/344098539/podcast.xml"
}
},
"weekend-edition-saturday": {
"id": "weekend-edition-saturday",
"title": "Weekend Edition Saturday",
"info": "Weekend Edition Saturday wraps up the week's news and offers a mix of analysis and features on a wide range of topics, including arts, sports, entertainment, and human interest stories. The two-hour program is hosted by NPR's Peabody Award-winning Scott Simon.",
"airtime": "SAT 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-saturday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-saturday"
},
"weekend-edition-sunday": {
"id": "weekend-edition-sunday",
"title": "Weekend Edition Sunday",
"info": "Weekend Edition Sunday features interviews with newsmakers, artists, scientists, politicians, musicians, writers, theologians and historians. The program has covered news events from Nelson Mandela's 1990 release from a South African prison to the capture of Saddam Hussein.",
"airtime": "SUN 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-sunday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-sunday"
}
},
"racesReducer": {},
"racesGenElectionReducer": {},
"racesGenElection2026Reducer": {},
"racesGenElection2026PresidentialReducer": {},
"radioSchedulesReducer": {},
"listsReducer": {
"posts/arts?category=music": {
"isFetching": false,
"latestQuery": {
"from": 3756,
"size": 12
},
"vitalsOnly": false,
"totalRequested": 12,
"isLoading": false,
"isLoadingMore": true,
"total": {
"value": 4930,
"relation": "eq"
},
"items": [
"arts_11184852",
"arts_11184267",
"pop_19600",
"arts_11174293",
"arts_11182237",
"pop_19503",
"news_10799417",
"arts_11168560",
"pop_19557",
"arts_11171307",
"arts_11171454",
"arts_11155384"
],
"complete": true
}
},
"recallGuideReducer": {
"intros": {},
"policy": {},
"candidates": {}
},
"savedArticleReducer": {
"articles": [],
"status": {}
},
"newslettersReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"newsletters": {},
"isSubscribing": false,
"isUnsubscribing": false,
"subscribedNewsletters": {}
},
"termsReducer": {
"about": {
"name": "About",
"type": "terms",
"id": "about",
"slug": "about",
"link": "/about",
"taxonomy": "site"
},
"arts": {
"name": "Arts & Culture",
"grouping": [
"arts",
"pop",
"trulyca"
],
"description": "KQED Arts provides daily in-depth coverage of the Bay Area's music, art, film, performing arts, literature and arts news, as well as cultural commentary and criticism.",
"type": "terms",
"id": "arts",
"slug": "arts",
"link": "/arts",
"taxonomy": "site"
},
"artschool": {
"name": "Art School",
"parent": "arts",
"type": "terms",
"id": "artschool",
"slug": "artschool",
"link": "/artschool",
"taxonomy": "site"
},
"bayareabites": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"parent": "food",
"type": "terms",
"id": "bayareabites",
"slug": "bayareabites",
"link": "/food",
"taxonomy": "site"
},
"bayareahiphop": {
"name": "Bay Area Hiphop",
"type": "terms",
"id": "bayareahiphop",
"slug": "bayareahiphop",
"link": "/bayareahiphop",
"taxonomy": "site"
},
"campaign21": {
"name": "Campaign 21",
"type": "terms",
"id": "campaign21",
"slug": "campaign21",
"link": "/campaign21",
"taxonomy": "site"
},
"careers": {
"name": "Careers",
"type": "terms",
"id": "careers",
"slug": "careers",
"link": "/careers",
"taxonomy": "site"
},
"checkplease": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"parent": "food",
"type": "terms",
"id": "checkplease",
"slug": "checkplease",
"link": "/food",
"taxonomy": "site"
},
"education": {
"name": "Education",
"grouping": [
"education"
],
"type": "terms",
"id": "education",
"slug": "education",
"link": "/education",
"taxonomy": "site"
},
"elections": {
"name": "Elections",
"type": "terms",
"id": "elections",
"slug": "elections",
"link": "/elections",
"taxonomy": "site"
},
"events": {
"name": "Events",
"type": "terms",
"id": "events",
"slug": "events",
"link": "/events",
"taxonomy": "site"
},
"event": {
"name": "Event",
"alias": "events",
"type": "terms",
"id": "event",
"slug": "event",
"link": "/event",
"taxonomy": "site"
},
"filmschoolshorts": {
"name": "Film School Shorts",
"type": "terms",
"id": "filmschoolshorts",
"slug": "filmschoolshorts",
"link": "/filmschoolshorts",
"taxonomy": "site"
},
"food": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"type": "terms",
"id": "food",
"slug": "food",
"link": "/food",
"taxonomy": "site"
},
"forum": {
"name": "Forum",
"relatedContentQuery": "posts/forum?",
"parent": "news",
"type": "terms",
"id": "forum",
"slug": "forum",
"link": "/forum",
"taxonomy": "site"
},
"futureofyou": {
"name": "Future of You",
"grouping": [
"science",
"futureofyou"
],
"parent": "science",
"type": "terms",
"id": "futureofyou",
"slug": "futureofyou",
"link": "/futureofyou",
"taxonomy": "site"
},
"jpepinheart": {
"name": "KQED food",
"relatedContentQuery": "posts/food,bayareabites,checkplease",
"parent": "food",
"type": "terms",
"id": "jpepinheart",
"slug": "jpepinheart",
"link": "/food",
"taxonomy": "site"
},
"liveblog": {
"name": "Live Blog",
"type": "terms",
"id": "liveblog",
"slug": "liveblog",
"link": "/liveblog",
"taxonomy": "site"
},
"livetv": {
"name": "Live TV",
"parent": "tv",
"type": "terms",
"id": "livetv",
"slug": "livetv",
"link": "/livetv",
"taxonomy": "site"
},
"lowdown": {
"name": "The Lowdown",
"relatedContentQuery": "posts/lowdown?",
"parent": "news",
"type": "terms",
"id": "lowdown",
"slug": "lowdown",
"link": "/lowdown",
"taxonomy": "site"
},
"mindshift": {
"name": "Mindshift",
"parent": "news",
"description": "MindShift explores the future of education by highlighting the innovative – and sometimes counterintuitive – ways educators and parents are helping all children succeed.",
"type": "terms",
"id": "mindshift",
"slug": "mindshift",
"link": "/mindshift",
"taxonomy": "site"
},
"news": {
"name": "News",
"grouping": [
"news",
"forum"
],
"type": "terms",
"id": "news",
"slug": "news",
"link": "/news",
"taxonomy": "site"
},
"newsletters": {
"name": "newsletters",
"type": "terms",
"id": "newsletters",
"slug": "newsletters",
"link": "/newsletters",
"taxonomy": "site"
},
"perspectives": {
"name": "Perspectives",
"parent": "radio",
"type": "terms",
"id": "perspectives",
"slug": "perspectives",
"link": "/perspectives",
"taxonomy": "site"
},
"podcasts": {
"name": "Podcasts",
"type": "terms",
"id": "podcasts",
"slug": "podcasts",
"link": "/podcasts",
"taxonomy": "site"
},
"pop": {
"name": "Pop",
"parent": "arts",
"type": "terms",
"id": "pop",
"slug": "pop",
"link": "/pop",
"taxonomy": "site"
},
"pressroom": {
"name": "Pressroom",
"type": "terms",
"id": "pressroom",
"slug": "pressroom",
"link": "/pressroom",
"taxonomy": "site"
},
"quest": {
"name": "Quest",
"parent": "science",
"type": "terms",
"id": "quest",
"slug": "quest",
"link": "/quest",
"taxonomy": "site"
},
"radio": {
"name": "Radio",
"grouping": [
"forum",
"perspectives"
],
"description": "Listen to KQED Public Radio – home of Forum and The California Report – on 88.5 FM in San Francisco, 89.3 FM in Sacramento, 88.3 FM in Santa Rosa and 88.1 FM in Martinez.",
"type": "terms",
"id": "radio",
"slug": "radio",
"link": "/radio",
"taxonomy": "site"
},
"root": {
"name": "KQED",
"image": "https://ww2.kqed.org/app/uploads/2020/02/KQED-OG-Image@1x.png",
"imageWidth": 1200,
"imageHeight": 630,
"headData": {
"title": "KQED | News, Radio, Podcasts, TV | Public Media for Northern California",
"description": "KQED provides public radio, television, and independent reporting on issues that matter to the Bay Area. We’re the NPR and PBS member station for Northern California."
},
"type": "terms",
"id": "root",
"slug": "root",
"link": "/root",
"taxonomy": "site"
},
"science": {
"name": "Science",
"grouping": [
"science",
"futureofyou"
],
"description": "KQED Science brings you award-winning science and environment coverage from the Bay Area and beyond.",
"type": "terms",
"id": "science",
"slug": "science",
"link": "/science",
"taxonomy": "site"
},
"stateofhealth": {
"name": "State of Health",
"parent": "science",
"type": "terms",
"id": "stateofhealth",
"slug": "stateofhealth",
"link": "/stateofhealth",
"taxonomy": "site"
},
"support": {
"name": "Support",
"type": "terms",
"id": "support",
"slug": "support",
"link": "/support",
"taxonomy": "site"
},
"thedolist": {
"name": "The Do List",
"parent": "arts",
"type": "terms",
"id": "thedolist",
"slug": "thedolist",
"link": "/thedolist",
"taxonomy": "site"
},
"trulyca": {
"name": "Truly CA",
"grouping": [
"arts",
"pop",
"trulyca"
],
"parent": "arts",
"type": "terms",
"id": "trulyca",
"slug": "trulyca",
"link": "/trulyca",
"taxonomy": "site"
},
"tv": {
"name": "TV",
"type": "terms",
"id": "tv",
"slug": "tv",
"link": "/tv",
"taxonomy": "site"
},
"voterguide": {
"name": "Voter Guide",
"parent": "elections",
"alias": "elections",
"type": "terms",
"id": "voterguide",
"slug": "voterguide",
"link": "/voterguide",
"taxonomy": "site"
},
"guiaelectoral": {
"name": "Guia Electoral",
"parent": "elections",
"alias": "elections",
"type": "terms",
"id": "guiaelectoral",
"slug": "guiaelectoral",
"link": "/guiaelectoral",
"taxonomy": "site"
},
"arts_category_music": {
"isLoading": true
},
"arts_69": {
"type": "terms",
"id": "arts_69",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "69",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Music",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Music Archives | KQED Arts",
"ogDescription": null
},
"ttid": 70,
"slug": "music",
"isLoading": false,
"link": "/arts/category/music"
},
"arts_1118": {
"type": "terms",
"id": "arts_1118",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1118",
"found": true
},
"relationships": {},
"featImg": null,
"name": "featured",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "featured Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1135,
"slug": "featured",
"isLoading": false,
"link": "/arts/tag/featured"
},
"arts_596": {
"type": "terms",
"id": "arts_596",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "596",
"found": true
},
"relationships": {},
"featImg": null,
"name": "ntv",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "ntv Archives | KQED Arts",
"ogDescription": null
},
"ttid": 602,
"slug": "ntv",
"isLoading": false,
"link": "/arts/tag/ntv"
},
"arts_140": {
"type": "terms",
"id": "arts_140",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "140",
"found": true
},
"relationships": {},
"name": "The Do List",
"slug": "the-do-list",
"taxonomy": "program",
"description": null,
"featImg": "https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/The-Do-LIst-logo-2014-horizontal-015.png",
"headData": {
"title": "The Do List Archives | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 141,
"isLoading": false,
"link": "/arts/program/the-do-list"
},
"arts_1": {
"type": "terms",
"id": "arts_1",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Arts",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Arts Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1,
"slug": "arts",
"isLoading": false,
"link": "/arts/category/arts"
},
"arts_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_74": {
"type": "terms",
"id": "arts_74",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "74",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Movies",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Movies Archives | KQED Arts",
"ogDescription": null
},
"ttid": 75,
"slug": "movies",
"isLoading": false,
"link": "/arts/category/movies"
},
"arts_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"
},
"pop_2793": {
"type": "terms",
"id": "pop_2793",
"meta": {
"index": "terms_1716263798",
"site": "pop",
"id": "2793",
"found": true
},
"relationships": {},
"featImg": "https://ww2.kqed.org/app/uploads/sites/12/2015/09/thecoolerlogo_BW_400.png",
"name": "The Cooler",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "The Cooler Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2793,
"slug": "the-cooler",
"isLoading": false,
"link": "/pop/category/the-cooler"
},
"pop_259": {
"type": "terms",
"id": "pop_259",
"meta": {
"index": "terms_1716263798",
"site": "pop",
"id": "259",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Christmas",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Christmas Archives | KQED Arts",
"ogDescription": null
},
"ttid": 259,
"slug": "christmas",
"isLoading": false,
"link": "/pop/tag/christmas"
},
"pop_258": {
"type": "terms",
"id": "pop_258",
"meta": {
"index": "terms_1716263798",
"site": "pop",
"id": "258",
"found": true
},
"relationships": {},
"featImg": null,
"name": "holidays",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "holidays Archives | KQED Arts",
"ogDescription": null
},
"ttid": 258,
"slug": "holidays",
"isLoading": false,
"link": "/pop/tag/holidays"
},
"arts_75": {
"type": "terms",
"id": "arts_75",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "75",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Pop Culture",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Pop Culture Archives | KQED Arts",
"ogDescription": null
},
"ttid": 76,
"slug": "popculture",
"isLoading": false,
"link": "/arts/category/popculture"
},
"arts_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_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"
},
"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_8": {
"type": "terms",
"id": "news_8",
"meta": {
"index": "terms_1716263798",
"site": "news",
"id": "8",
"found": true
},
"relationships": {},
"featImg": null,
"name": "News",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "News Archives | KQED News",
"ogDescription": null
},
"ttid": 8,
"slug": "news",
"isLoading": false,
"link": "/news/category/news"
},
"news_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"
},
"pop_1680": {
"type": "terms",
"id": "pop_1680",
"meta": {
"index": "terms_1716263798",
"site": "pop",
"id": "1680",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Ariana Grande",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Ariana Grande Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1685,
"slug": "ariana-grande",
"isLoading": false,
"link": "/pop/tag/ariana-grande"
},
"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_1254": {
"type": "terms",
"id": "arts_1254",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1254",
"found": true
},
"relationships": {},
"featImg": null,
"name": "exclude",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "exclude Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1266,
"slug": "exclude",
"isLoading": false,
"link": "/arts/tag/exclude"
},
"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
},
"requestOutcomesReducer": {
"notFound": []
}
}
