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
}
}
},
"pop_17092": {
"type": "attachments",
"id": "pop_17092",
"meta": {
"index": "attachments_1716263798",
"site": "pop",
"id": "17092",
"found": true
},
"parent": 17023,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2015/07/jidenna-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2015/07/jidenna-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2015/07/jidenna.jpg",
"width": 800,
"height": 450
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2015/07/jidenna-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2015/07/jidenna-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2015/07/jidenna-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2015/07/jidenna-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2015/07/jidenna-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/12/2015/07/jidenna-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1436569990,
"modified": 1436571379,
"caption": "Classic Jidenna. (Photo: Sony)",
"description": null,
"title": "jidenna",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10833146": {
"type": "attachments",
"id": "arts_10833146",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10833146",
"found": true
},
"parent": 10833145,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/money_wide-e3b3efa9c39a01b9363b3d9259319ff613917298-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/money_wide-e3b3efa9c39a01b9363b3d9259319ff613917298-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/money_wide-e3b3efa9c39a01b9363b3d9259319ff613917298-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/money_wide-e3b3efa9c39a01b9363b3d9259319ff613917298-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/money_wide-e3b3efa9c39a01b9363b3d9259319ff613917298.jpg",
"width": 1272,
"height": 715
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/money_wide-e3b3efa9c39a01b9363b3d9259319ff613917298-1180x663.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 663
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/money_wide-e3b3efa9c39a01b9363b3d9259319ff613917298-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/money_wide-e3b3efa9c39a01b9363b3d9259319ff613917298-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/money_wide-e3b3efa9c39a01b9363b3d9259319ff613917298-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/money_wide-e3b3efa9c39a01b9363b3d9259319ff613917298-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/money_wide-e3b3efa9c39a01b9363b3d9259319ff613917298-1180x663.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 663
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/money_wide-e3b3efa9c39a01b9363b3d9259319ff613917298-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/money_wide-e3b3efa9c39a01b9363b3d9259319ff613917298-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1436680445,
"modified": 1436680445,
"caption": null,
"description": "M'Lady's Records, a label based in Portland, Ore., has begun discounting sales to women to protest the gender-based wage gap.",
"title": "M'Lady's Records, a label based in Portland, Ore., has begun discounting sales to women to protest the gender-based wage gap.",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10826956": {
"type": "attachments",
"id": "arts_10826956",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10826956",
"found": true
},
"parent": 10826871,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/IMG_444002535-1-e1436635050261-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/IMG_444002535-1-e1436635050261-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/IMG_444002535-1-e1436635050261-960x541.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 541
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/IMG_444002535-1-e1436635050261-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/IMG_444002535-1-e1436635066581.jpg",
"width": 800,
"height": 451
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/IMG_444002535-1-e1436635050261-1180x665.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 665
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/IMG_444002535-1-e1436635050261-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/IMG_444002535-1-e1436635050261-800x451.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 451
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/IMG_444002535-1-e1436635050261-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/IMG_444002535-1-e1436635050261-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/IMG_444002535-1-e1436635050261-1180x665.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 665
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/IMG_444002535-1-e1436635050261-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/IMG_444002535-1-e1436635050261-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1436398728,
"modified": 1436635077,
"caption": "Tim Minchin trying to look as tough as Matilda",
"description": "Tim Minchin trying to look as tough as Matilda",
"title": "IMG_444002535-1",
"credit": "Cy Musiker",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10828546": {
"type": "attachments",
"id": "arts_10828546",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10828546",
"found": true
},
"parent": 10828545,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/08050009_wide-57ef4f02e81211d3807ab2aab02a59d1446faa3e-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/08050009_wide-57ef4f02e81211d3807ab2aab02a59d1446faa3e-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/08050009_wide-57ef4f02e81211d3807ab2aab02a59d1446faa3e-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/08050009_wide-57ef4f02e81211d3807ab2aab02a59d1446faa3e-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/08050009_wide-57ef4f02e81211d3807ab2aab02a59d1446faa3e.jpg",
"width": 2079,
"height": 1170
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/08050009_wide-57ef4f02e81211d3807ab2aab02a59d1446faa3e-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/08050009_wide-57ef4f02e81211d3807ab2aab02a59d1446faa3e-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/08050009_wide-57ef4f02e81211d3807ab2aab02a59d1446faa3e-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/08050009_wide-57ef4f02e81211d3807ab2aab02a59d1446faa3e-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/08050009_wide-57ef4f02e81211d3807ab2aab02a59d1446faa3e-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/08050009_wide-57ef4f02e81211d3807ab2aab02a59d1446faa3e-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/08050009_wide-57ef4f02e81211d3807ab2aab02a59d1446faa3e-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/08050009_wide-57ef4f02e81211d3807ab2aab02a59d1446faa3e-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1436471688,
"modified": 1436471688,
"caption": null,
"description": "Makeunder's Hamilton Ulmer",
"title": "Makeunder's Hamilton Ulmer",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10828544": {
"type": "attachments",
"id": "arts_10828544",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10828544",
"found": true
},
"parent": 10820528,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/Makeunder.ClayLancaster-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/Makeunder.ClayLancaster-400x240.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 240
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/Makeunder.ClayLancaster-960x576.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 576
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/Makeunder.ClayLancaster-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/Makeunder.ClayLancaster.jpg",
"width": 1100,
"height": 660
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/Makeunder.ClayLancaster-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/Makeunder.ClayLancaster-800x480.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 480
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/Makeunder.ClayLancaster-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/Makeunder.ClayLancaster-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/Makeunder.ClayLancaster-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/Makeunder.ClayLancaster-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1436471224,
"modified": 1436471535,
"caption": "Makeunder, with Hamilton Ulmer (center, seated), release their new EP on July 17. (Photo: Clay Lancaster)",
"description": "Makeunder, with Hamilton Ulmer (center, seated), release their new EP on July 17. (Photo: Clay Lancaster)",
"title": "Makeunder.ClayLancaster",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10820718": {
"type": "attachments",
"id": "arts_10820718",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10820718",
"found": true
},
"parent": 10820705,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/TheMummies1-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/TheMummies1-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/TheMummies1-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/TheMummies1-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/TheMummies1.jpg",
"width": 1440,
"height": 810
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/TheMummies1-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/TheMummies1-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/TheMummies1-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/TheMummies1-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/TheMummies1-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/TheMummies1-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/TheMummies1-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/TheMummies1-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1436130616,
"modified": 1497331918,
"caption": "Garage punk band The Mummies headlined the July 4 lineup at Burger Boogaloo. ",
"description": "Garage punk band The Mummies headlined the July 4 lineup at Burger Boogaloo.",
"title": "TheMummies1",
"credit": "(Photo: Rebecca Bowe/KQED)",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10817744": {
"type": "attachments",
"id": "arts_10817744",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10817744",
"found": true
},
"parent": 10817743,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/06/albumart_custom-767eeb3772b7b897c692f54d6ca3f0fe9ee1e7b6-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/06/albumart_custom-767eeb3772b7b897c692f54d6ca3f0fe9ee1e7b6-400x200.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 200
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/06/albumart_custom-767eeb3772b7b897c692f54d6ca3f0fe9ee1e7b6-960x480.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 480
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/06/albumart_custom-767eeb3772b7b897c692f54d6ca3f0fe9ee1e7b6-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/06/albumart_custom-767eeb3772b7b897c692f54d6ca3f0fe9ee1e7b6.jpg",
"width": 2250,
"height": 1125
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/06/albumart_custom-767eeb3772b7b897c692f54d6ca3f0fe9ee1e7b6-1180x590.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 590
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/06/albumart_custom-767eeb3772b7b897c692f54d6ca3f0fe9ee1e7b6-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/06/albumart_custom-767eeb3772b7b897c692f54d6ca3f0fe9ee1e7b6-800x400.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 400
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/06/albumart_custom-767eeb3772b7b897c692f54d6ca3f0fe9ee1e7b6-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/06/albumart_custom-767eeb3772b7b897c692f54d6ca3f0fe9ee1e7b6-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/06/albumart_custom-767eeb3772b7b897c692f54d6ca3f0fe9ee1e7b6-1180x590.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 590
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/06/albumart_custom-767eeb3772b7b897c692f54d6ca3f0fe9ee1e7b6-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/06/albumart_custom-767eeb3772b7b897c692f54d6ca3f0fe9ee1e7b6-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1435994171,
"modified": 1435994171,
"caption": null,
"description": "NPR Music's 25 Favorite Albums of 2015 (So Far)",
"title": "NPR Music's 25 Favorite Albums of 2015 (So Far)",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10819680": {
"type": "attachments",
"id": "arts_10819680",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10819680",
"found": true
},
"parent": 10819679,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/ap_0902220345071-05db7b64000a8c18e578b4e2775e6d8cfe64c069-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/ap_0902220345071-05db7b64000a8c18e578b4e2775e6d8cfe64c069-400x300.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 300
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/ap_0902220345071-05db7b64000a8c18e578b4e2775e6d8cfe64c069-960x720.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 720
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/ap_0902220345071-05db7b64000a8c18e578b4e2775e6d8cfe64c069-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/ap_0902220345071-05db7b64000a8c18e578b4e2775e6d8cfe64c069.jpg",
"width": 2664,
"height": 1998
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/ap_0902220345071-05db7b64000a8c18e578b4e2775e6d8cfe64c069-1180x885.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 885
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/ap_0902220345071-05db7b64000a8c18e578b4e2775e6d8cfe64c069-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/ap_0902220345071-05db7b64000a8c18e578b4e2775e6d8cfe64c069-800x600.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 600
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/ap_0902220345071-05db7b64000a8c18e578b4e2775e6d8cfe64c069-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/ap_0902220345071-05db7b64000a8c18e578b4e2775e6d8cfe64c069-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/ap_0902220345071-05db7b64000a8c18e578b4e2775e6d8cfe64c069-1180x885.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 885
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/ap_0902220345071-05db7b64000a8c18e578b4e2775e6d8cfe64c069-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/ap_0902220345071-05db7b64000a8c18e578b4e2775e6d8cfe64c069-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1436082231,
"modified": 1436082231,
"caption": null,
"description": "The first time Tim Burton and Danny Elfman (pictured) collaborated was during the 1985 film \u003cem>Pee-Wee's Big Adventure. \u003c/em>\"There was instant chemistry in terms of what we were into,\" Elfman says.",
"title": "The first time Tim Burton and Danny Elfman (pictured) collaborated was during the 1985 film Pee-Wee's Big Adventure. \"There was instant chemistry in terms of what we were into,\" Elfman says.",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10814968": {
"type": "attachments",
"id": "arts_10814968",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10814968",
"found": true
},
"parent": 10793082,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/Beirut-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/Beirut-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/Beirut-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/Beirut.jpg",
"width": 997,
"height": 561
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/Beirut-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/Beirut-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/Beirut-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/Beirut-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/Beirut-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/Beirut-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1435870710,
"modified": 1435870723,
"caption": "Beirut's Zach Condon.",
"description": "Beirut's Zach Condon.",
"title": "Beirut",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10820709": {
"type": "attachments",
"id": "arts_10820709",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10820709",
"found": true
},
"parent": 10820708,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/Tamaryn-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/Tamaryn-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/Tamaryn.jpg",
"width": 800,
"height": 450
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/Tamaryn-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/Tamaryn-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/Tamaryn-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/Tamaryn-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/Tamaryn-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/Tamaryn-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1436130590,
"modified": 1437638265,
"caption": "Tamaryn.",
"description": "Tamaryn.",
"title": "Tamaryn",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10814793": {
"type": "attachments",
"id": "arts_10814793",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10814793",
"found": true
},
"parent": 10814714,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/RileyIntMAIN.EvanNeff-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/RileyIntMAIN.EvanNeff-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/RileyIntMAIN.EvanNeff-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/RileyIntMAIN.EvanNeff-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/RileyIntMAIN.EvanNeff.jpg",
"width": 1100,
"height": 619
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/RileyIntMAIN.EvanNeff-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/RileyIntMAIN.EvanNeff-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/RileyIntMAIN.EvanNeff-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/RileyIntMAIN.EvanNeff-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/RileyIntMAIN.EvanNeff-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/RileyIntMAIN.EvanNeff-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1435863365,
"modified": 1435863407,
"caption": "Terry Riley performs at his 80th birthday celebration at SFJAZZ Center, June 2015. (Photo: Evan Neff)",
"description": "Terry Riley performs at his 80th birthday celebration at SFJAZZ Center, June 2015.",
"title": "RileyIntMAIN.EvanNeff",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
}
},
"audioPlayerReducer": {
"postId": "stream_live",
"isPaused": true,
"isPlaying": false,
"pfsActive": false,
"pledgeModalIsOpen": true,
"playerDrawerIsOpen": false,
"liveAudioPlayStartedAt": 0,
"liveAudioPlayContext": ""
},
"authorsReducer": {
"byline_arts_10833145": {
"type": "authors",
"id": "byline_arts_10833145",
"meta": {
"override": true
},
"slug": "byline_arts_10833145",
"name": "Katie Presley",
"isLoading": false
},
"byline_arts_10828545": {
"type": "authors",
"id": "byline_arts_10828545",
"meta": {
"override": true
},
"slug": "byline_arts_10828545",
"name": "Bob Boilen",
"isLoading": false
},
"byline_arts_10819679": {
"type": "authors",
"id": "byline_arts_10819679",
"meta": {
"override": true
},
"slug": "byline_arts_10819679",
"name": "Daniel Hajek",
"isLoading": false
},
"byline_arts_10814714": {
"type": "authors",
"id": "byline_arts_10814714",
"meta": {
"override": true
},
"slug": "byline_arts_10814714",
"name": "Geeta Dayal",
"isLoading": false
},
"cmusiker": {
"type": "authors",
"id": "32",
"meta": {
"index": "authors_1716337520",
"id": "32",
"found": true
},
"name": "Cy Musiker",
"firstName": "Cy",
"lastName": "Musiker",
"slug": "cmusiker",
"email": "cmusiker@kqed.org",
"display_author_email": false,
"staff_mastheads": [],
"title": "KQED Contributor",
"bio": "Cy Musiker is a former co-host of The Do List and a former reporter covering the arts for KQED News and The California Report. He loves live performance, especially great theater, jazz, roots music, anything by Mahler. Cy has an MJ from UC Berkeley's School of Journalism, and got his BA from Hampshire College. His work has been recognized by the Society for Professional Journalists with their Sigma Delta Chi Award for Public Service in Journalism. When he can, Cy likes to swim in Tomales Bay, run with his dog in the East Bay Hills, and hike the Sierra.",
"avatar": "https://secure.gravatar.com/avatar/05eaba5c5696ce8f062e4ea2df428a43?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"Contributor",
"subscriber"
]
},
{
"site": "news",
"roles": [
"author"
]
},
{
"site": "bayareabites",
"roles": [
"contributor"
]
}
],
"headData": {
"title": "Cy Musiker | KQED",
"description": "KQED Contributor",
"ogImgSrc": "https://secure.gravatar.com/avatar/05eaba5c5696ce8f062e4ea2df428a43?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/05eaba5c5696ce8f062e4ea2df428a43?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/cmusiker"
},
"kqedarts": {
"type": "authors",
"id": "92",
"meta": {
"index": "authors_1716337520",
"id": "92",
"found": true
},
"name": "KQED Arts",
"firstName": "KQED",
"lastName": "Arts",
"slug": "kqedarts",
"email": "arts@kqed.org",
"display_author_email": false,
"staff_mastheads": [],
"title": "KQED Staff",
"bio": null,
"avatar": "https://secure.gravatar.com/avatar/321c9ebfeb7736f9e55366a6d3399ab0?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": "https://www.instagram.com/kqed_arts/",
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"contributor"
]
},
{
"site": "pop",
"roles": [
"contributor"
]
},
{
"site": "science",
"roles": [
"author"
]
},
{
"site": "food",
"roles": [
"contributor"
]
}
],
"headData": {
"title": "KQED Arts | KQED",
"description": "KQED Staff",
"ogImgSrc": "https://secure.gravatar.com/avatar/321c9ebfeb7736f9e55366a6d3399ab0?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/321c9ebfeb7736f9e55366a6d3399ab0?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/kqedarts"
},
"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"
},
"noisepop": {
"type": "authors",
"id": "177",
"meta": {
"index": "authors_1716337520",
"id": "177",
"found": true
},
"name": "Noise Pop",
"firstName": "Noise",
"lastName": "Pop",
"slug": "noisepop",
"email": "dawson@noisepop.com",
"display_author_email": false,
"staff_mastheads": [],
"title": null,
"bio": "The Noise Pop Podcast is a bi-monthly series that showcases the most noteworthy and soon-to-be-buzzing music. Hosts, Olivia LaRoche and Dawson Ludwig provide witty and interesting context behind the songs played on the podcast.",
"avatar": "https://secure.gravatar.com/avatar/5f453b166405b70819c53d7e1ef223bc?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"contributor"
]
}
],
"headData": {
"title": "Noise Pop | KQED",
"description": null,
"ogImgSrc": "https://secure.gravatar.com/avatar/5f453b166405b70819c53d7e1ef223bc?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/5f453b166405b70819c53d7e1ef223bc?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/noisepop"
},
"baybridged": {
"type": "authors",
"id": "178",
"meta": {
"index": "authors_1716337520",
"id": "178",
"found": true
},
"name": "The Bay Bridged",
"firstName": null,
"lastName": null,
"slug": "baybridged",
"email": "thebaybridged@gmail.com",
"display_author_email": false,
"staff_mastheads": [],
"title": null,
"bio": null,
"avatar": "https://secure.gravatar.com/avatar/e3aa062cc38c56b4a0b5a11d6c10527d?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"contributor"
]
}
],
"headData": {
"title": "The Bay Bridged | KQED",
"description": null,
"ogImgSrc": "https://secure.gravatar.com/avatar/e3aa062cc38c56b4a0b5a11d6c10527d?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/e3aa062cc38c56b4a0b5a11d6c10527d?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/baybridged"
},
"mlevenson": {
"type": "authors",
"id": "6624",
"meta": {
"index": "authors_1716337520",
"id": "6624",
"found": true
},
"name": "Max Savage Levenson",
"firstName": "Max",
"lastName": "Savage Levenson",
"slug": "mlevenson",
"email": "m.savagelevenson@gmail.com",
"display_author_email": false,
"staff_mastheads": [],
"title": null,
"bio": null,
"avatar": "https://secure.gravatar.com/avatar/e7f998073c1ba6fec822d9f7dcd8c272?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"contributor"
]
},
{
"site": "news",
"roles": [
"author"
]
}
],
"headData": {
"title": "Max Savage Levenson | KQED",
"description": null,
"ogImgSrc": "https://secure.gravatar.com/avatar/e7f998073c1ba6fec822d9f7dcd8c272?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/e7f998073c1ba6fec822d9f7dcd8c272?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/mlevenson"
},
"jamedra": {
"type": "authors",
"id": "8661",
"meta": {
"index": "authors_1716337520",
"id": "8661",
"found": true
},
"name": "Jamedra Brown Fleischman",
"firstName": "Jamedra",
"lastName": "Brown Fleischman",
"slug": "jamedra",
"email": "jbrown@kqed.org",
"display_author_email": false,
"staff_mastheads": [],
"title": "KQED Contributor",
"bio": "Jamedra Brown Fleischman is the Social Media & Distribution Specialist for KQED Arts. In her spare time she enjoys most things mommyhood, fashion and pop culture.",
"avatar": "https://secure.gravatar.com/avatar/eeab858f83facfa305df13238e2e6e83?s=600&d=mm&r=g",
"twitter": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"author"
]
},
{
"site": "pop",
"roles": [
"subscriber"
]
},
{
"site": "about",
"roles": [
"subscriber"
]
},
{
"site": "education",
"roles": []
}
],
"headData": {
"title": "Jamedra Brown Fleischman | KQED",
"description": "KQED Contributor",
"ogImgSrc": "https://secure.gravatar.com/avatar/eeab858f83facfa305df13238e2e6e83?s=600&d=mm&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/eeab858f83facfa305df13238e2e6e83?s=600&d=mm&r=g"
},
"isLoading": false,
"link": "/author/jamedra"
}
},
"pagesReducer": {
"arts_category_music": {
"type": "terms",
"id": "arts_69",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "69",
"score": 10.847853
},
"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": 332
},
"blocks": [
{
"blockName": "kqed/post-list",
"attrs": {
"layout": "cardArticle2",
"query": "posts/arts?category=music",
"seeMore": false,
"paginated": true,
"page": 332
}
},
{
"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": "/"
}
},
"pop_17023": {
"type": "posts",
"id": "pop_17023",
"meta": {
"index": "posts_1716263798",
"site": "pop",
"id": "17023",
"score": null,
"sort": [
1436792500000
]
},
"parent": 0,
"labelTerm": {
"site": "pop"
},
"blocks": [],
"publishDate": 1436792500,
"format": "standard",
"disqusTitle": "Meet Jidenna, Your Favorite New Rapper with Bay Area Ties",
"title": "Meet Jidenna, Your Favorite New Rapper with Bay Area Ties",
"headTitle": "KQED Pop | KQED Arts",
"content": "\u003cp>By now I’m certain you’ve heard the infectious earworm \"Classic Man.\" If not, I invite you to promptly roll the rock from atop your body, brush yourself off and listen below. I’ll wait.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=nsiN0W15w0U\u003c/p>\n\u003cp>Now that you’re up to speed, let’s continue, shall we?\u003c/p>\n\u003cp>Fashion-forward frontman Jidenna has seemingly burst from obscurity with a sound and style that promises to shake things up. His swanky anthem strikes the perfect balance between fun and braggart, and its anchoring theme of “you can be mean when you look this clean” brings the song as close to pre-party perfection as you can get.\u003c/p>\n\u003cp>So who is this Jidenna fellow, and why should you care? I’m glad you asked.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>He’s Got Bay Area Ties\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_17094\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/07/jidenna-2.jpg\">\u003cimg class=\"size-medium wp-image-17094\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/07/jidenna-2-800x450.jpg\" alt=\"(Photo: Sony)\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2015/07/jidenna-2.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2015/07/jidenna-2-400x225.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">(Photo: Sony)\u003c/figcaption>\u003c/figure>\n\u003cp>With connections to Nigeria, Wisconsin and Boston, Jidenna began developing his artistry in the Bay Area, performing in East Palo Alto and Oakland and frequenting popular East Bay music venue the New Parish. While performing at a masquerade ball in Oakland, he met Janelle Monáe and was later signed to her Wondaland Records label. In a recent\u003ca href=\"https://www.youtube.com/watch?v=ze8uWjOs2Eo\">\u003cem> Complex\u003c/em> interview\u003c/a>, he spoke of his time as a self-described demonstrator bringing attention to high incarceration rates of black and Latino youth in San Quentin prison. And he's a Stanford graduate; he studied engineering and “Ritual Arts,” a major he created.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>His Unique Fashion Has a Backstory\u003c/strong>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe width=\"560\" height=\"315\" src=\"https://www.youtube.com/embed/B8cvZzTR0Rc\" frameborder=\"0\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Citing Malcolm X and English fashion designer Ozwald Boateng as inspiration, Jidenna has explained how he refined his thrift store style, born out of financial necessity, to embody “what was going on in the old Jim Crow.” In multiple interviews, the newcomer has echoed the cry of civil rights activists like Michelle Alexander (\u003ca href=\"http://newjimcrow.com/\">\u003cem>The New Jim Crow: Mass Incarceration in the Age of Colorblindnes\u003c/em>\u003c/a>), citing the spike in rates of incarceration and vigilantism. “This is the new Jim Crow era and I want to dress according to the fashion of the times.”\u003c/p>\n\u003cp>\u003cstrong>He’s Three Degrees of Separation from Beyoncé\u003c/strong>\u003c/p>\n\u003cp>https://instagram.com/p/vfFjnTPwxH/?taken-by=beyonce\u003c/p>\n\u003cp>Remember those oh-so-amazing Solange Knowles nuptial photos? Here’s a few degrees of separation to decode: The \"Classic Man\" music video was directed by Alan Ferguson, who is now married to Solange Knowles, which makes him Beyonce’s brother-in-law, which means Jidenna is kinda sorta family? One \u003cem>could \u003c/em>say they’re practically play cousins. Well, at the very least if he DM’ed Beyoncé or Jay-Z, they would likely respond.\u003c/p>\n\u003cp>\u003cem>Full disclosure:\u003c/em> I just needed an excuse to pour over these wedding shots once more. Magnifique!\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>He’s Endorsed by the Electric Lady\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_17093\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/07/rsz_wondaland_records.jpg\">\u003cimg class=\"size-medium wp-image-17093\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/07/rsz_wondaland_records-800x600.jpg\" alt=\"The Wonderland crew. (Photo: Marc Baptiste)\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2015/07/rsz_wondaland_records-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2015/07/rsz_wondaland_records-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2015/07/rsz_wondaland_records-1440x1080.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/12/2015/07/rsz_wondaland_records-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2015/07/rsz_wondaland_records-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2015/07/rsz_wondaland_records.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Wondaland crew. (Photo: Marc Baptiste)\u003c/figcaption>\u003c/figure>\n\u003cp>Signed to Wondaland Records, Jidenna is part of an artist collective handpicked by the Electric Lady herself, Janelle Monáe. Alongside a roster of young, gifted and black talent, including Monáe and fresh talent St. Beauty, Deep Cotton and Roman GianArthur, the group is slated to deliver a five track compilation, \u003cem>EEHPUS\u003c/em> (a baseball term meaning slow motion pitch), that Monáe assures will be a music industry game changer.\u003c/p>\n\u003cp>If the second single off the EP —\u003ca href=\"https://www.youtube.com/watch?v=0OkB6p_FZAw\"> \"Yoga\u003c/a>\" by Monáe and featuring Jidenna — is any indication, it would seem she’s making good on that promise.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>He’s Bringing Sexy Back (Again)\u003c/strong>\u003c/p>\n\u003cp style=\"text-align: left\">\n\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe width=\"560\" height=\"315\" src=\"https://www.youtube.com/embed/7BufatLFvcA\" frameborder=\"0\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\n\u003c/p>\n\u003cp>With over 40 candles planted on hip hop’s birthday cake, Jidenna has made no secret of his plans to usher the art form into a new era he refers to as Swank. Inspired by Biggie, Nas and Tupac, the 30-year-old rapper exudes an air of Harlem Renaissance meets \u003ca href=\"https://en.wikipedia.org/wiki/Trap_music\">trap music\u003c/a> and harkens back to the peaceful and free flowing days of KRS-One and Afrika Bambaataa. Challenging hip hop norms and stereotypes, Jidenna breathes fresh energy into a saturated space, effortlessly weaving between gritty lyrics and his affinity for yoga and tailored suits, while unabashedly discussing social issues impacting communities of color.\u003c/p>\n\u003cp>Will his unique mixture of social consciousness, unflinching creativity and catchy hooks amount to a game-changing ripple in hip hop’s next evolution? Pose that question to the newly formed Jenerals (think Beyoncé’s Beyhive, Nicki Minaj’s Barbz and Taylor’s Swifties) and I’m certain you’ll be met with a resounding \u003cem>yes\u003c/em>!\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>While we’re on the topic of earworms like \"Classic Man\", what’s your song of the summer? Tweet @KQEDPop and share the tune you can’t enough of.\u003c/p>\n\n",
"disqusIdentifier": "17023 http://ww2.kqed.org/pop/?p=17023",
"disqusUrl": "https://ww2.kqed.org/pop/2015/07/13/who-is-jidenna-and-why-should-you-care/",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 810,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 17
},
"modified": 1488232877,
"excerpt": "You're going to want to know who he is.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "You're going to want to know who he is.",
"title": "Meet Jidenna, Your Favorite New Rapper with Bay Area Ties | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Meet Jidenna, Your Favorite New Rapper with Bay Area Ties",
"datePublished": "2015-07-13T06:01:40-07:00",
"dateModified": "2017-02-27T14:01:17-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "who-is-jidenna-and-why-should-you-care",
"status": "publish",
"path": "/pop/17023/who-is-jidenna-and-why-should-you-care",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>By now I’m certain you’ve heard the infectious earworm \"Classic Man.\" If not, I invite you to promptly roll the rock from atop your body, brush yourself off and listen below. I’ll wait.\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/nsiN0W15w0U'\n title='//www.youtube.com/embed/nsiN0W15w0U'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Now that you’re up to speed, let’s continue, shall we?\u003c/p>\n\u003cp>Fashion-forward frontman Jidenna has seemingly burst from obscurity with a sound and style that promises to shake things up. His swanky anthem strikes the perfect balance between fun and braggart, and its anchoring theme of “you can be mean when you look this clean” brings the song as close to pre-party perfection as you can get.\u003c/p>\n\u003cp>So who is this Jidenna fellow, and why should you care? I’m glad you asked.\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 style=\"text-align: center\">\u003cstrong>He’s Got Bay Area Ties\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_17094\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/07/jidenna-2.jpg\">\u003cimg class=\"size-medium wp-image-17094\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/07/jidenna-2-800x450.jpg\" alt=\"(Photo: Sony)\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2015/07/jidenna-2.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2015/07/jidenna-2-400x225.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">(Photo: Sony)\u003c/figcaption>\u003c/figure>\n\u003cp>With connections to Nigeria, Wisconsin and Boston, Jidenna began developing his artistry in the Bay Area, performing in East Palo Alto and Oakland and frequenting popular East Bay music venue the New Parish. While performing at a masquerade ball in Oakland, he met Janelle Monáe and was later signed to her Wondaland Records label. In a recent\u003ca href=\"https://www.youtube.com/watch?v=ze8uWjOs2Eo\">\u003cem> Complex\u003c/em> interview\u003c/a>, he spoke of his time as a self-described demonstrator bringing attention to high incarceration rates of black and Latino youth in San Quentin prison. And he's a Stanford graduate; he studied engineering and “Ritual Arts,” a major he created.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>His Unique Fashion Has a Backstory\u003c/strong>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe width=\"560\" height=\"315\" src=\"https://www.youtube.com/embed/B8cvZzTR0Rc\" frameborder=\"0\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Citing Malcolm X and English fashion designer Ozwald Boateng as inspiration, Jidenna has explained how he refined his thrift store style, born out of financial necessity, to embody “what was going on in the old Jim Crow.” In multiple interviews, the newcomer has echoed the cry of civil rights activists like Michelle Alexander (\u003ca href=\"http://newjimcrow.com/\">\u003cem>The New Jim Crow: Mass Incarceration in the Age of Colorblindnes\u003c/em>\u003c/a>), citing the spike in rates of incarceration and vigilantism. “This is the new Jim Crow era and I want to dress according to the fashion of the times.”\u003c/p>\n\u003cp>\u003cstrong>He’s Three Degrees of Separation from Beyoncé\u003c/strong>\u003c/p>\n\u003cp>https://instagram.com/p/vfFjnTPwxH/?taken-by=beyonce\u003c/p>\n\u003cp>Remember those oh-so-amazing Solange Knowles nuptial photos? Here’s a few degrees of separation to decode: The \"Classic Man\" music video was directed by Alan Ferguson, who is now married to Solange Knowles, which makes him Beyonce’s brother-in-law, which means Jidenna is kinda sorta family? One \u003cem>could \u003c/em>say they’re practically play cousins. Well, at the very least if he DM’ed Beyoncé or Jay-Z, they would likely respond.\u003c/p>\n\u003cp>\u003cem>Full disclosure:\u003c/em> I just needed an excuse to pour over these wedding shots once more. Magnifique!\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>He’s Endorsed by the Electric Lady\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_17093\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/07/rsz_wondaland_records.jpg\">\u003cimg class=\"size-medium wp-image-17093\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/07/rsz_wondaland_records-800x600.jpg\" alt=\"The Wonderland crew. (Photo: Marc Baptiste)\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2015/07/rsz_wondaland_records-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2015/07/rsz_wondaland_records-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2015/07/rsz_wondaland_records-1440x1080.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/12/2015/07/rsz_wondaland_records-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2015/07/rsz_wondaland_records-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2015/07/rsz_wondaland_records.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Wondaland crew. (Photo: Marc Baptiste)\u003c/figcaption>\u003c/figure>\n\u003cp>Signed to Wondaland Records, Jidenna is part of an artist collective handpicked by the Electric Lady herself, Janelle Monáe. Alongside a roster of young, gifted and black talent, including Monáe and fresh talent St. Beauty, Deep Cotton and Roman GianArthur, the group is slated to deliver a five track compilation, \u003cem>EEHPUS\u003c/em> (a baseball term meaning slow motion pitch), that Monáe assures will be a music industry game changer.\u003c/p>\n\u003cp>If the second single off the EP —\u003ca href=\"https://www.youtube.com/watch?v=0OkB6p_FZAw\"> \"Yoga\u003c/a>\" by Monáe and featuring Jidenna — is any indication, it would seem she’s making good on that promise.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cstrong>He’s Bringing Sexy Back (Again)\u003c/strong>\u003c/p>\n\u003cp style=\"text-align: left\">\n\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe width=\"560\" height=\"315\" src=\"https://www.youtube.com/embed/7BufatLFvcA\" frameborder=\"0\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\n\u003c/p>\n\u003cp>With over 40 candles planted on hip hop’s birthday cake, Jidenna has made no secret of his plans to usher the art form into a new era he refers to as Swank. Inspired by Biggie, Nas and Tupac, the 30-year-old rapper exudes an air of Harlem Renaissance meets \u003ca href=\"https://en.wikipedia.org/wiki/Trap_music\">trap music\u003c/a> and harkens back to the peaceful and free flowing days of KRS-One and Afrika Bambaataa. Challenging hip hop norms and stereotypes, Jidenna breathes fresh energy into a saturated space, effortlessly weaving between gritty lyrics and his affinity for yoga and tailored suits, while unabashedly discussing social issues impacting communities of color.\u003c/p>\n\u003cp>Will his unique mixture of social consciousness, unflinching creativity and catchy hooks amount to a game-changing ripple in hip hop’s next evolution? Pose that question to the newly formed Jenerals (think Beyoncé’s Beyhive, Nicki Minaj’s Barbz and Taylor’s Swifties) and I’m certain you’ll be met with a resounding \u003cem>yes\u003c/em>!\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>While we’re on the topic of earworms like \"Classic Man\", what’s your song of the summer? Tweet @KQEDPop and share the tune you can’t enough of.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/pop/17023/who-is-jidenna-and-why-should-you-care",
"authors": [
"8661"
],
"categories": [
"pop_4"
],
"tags": [
"pop_2770"
],
"featImg": "pop_17092",
"label": "pop"
},
"arts_10833145": {
"type": "posts",
"id": "arts_10833145",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "10833145",
"score": null,
"sort": [
1436713241000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1436713241,
"format": "standard",
"title": "Portland Record Label Offers Women a Pay-Gap Discount",
"headTitle": "Portland Record Label Offers Women a Pay-Gap Discount | KQED",
"content": "\u003cp>Earlier this week, Portland, Ore. record company M’lady’s Records announced a new policy. Starting today, women will pay 77 percent of list price for all of their mail orders.\u003c/p>\n\u003cp>That number might sound familiar: The U.S. Bureau of Labor Statistics \u003ca href=\"http://www.bls.gov/opub/reports/cps/highlights-of-womens-earnings-in-2013.pdf\" target=\"_blank\" rel=\"noopener\">reports\u003c/a> that among full-time employees, women still make less than men. The oft quoted ratio is $0.77 for ever ydollar made by a man. (Though there are \u003ca href=\"http://www.slate.com/articles/double_x/doublex/2013/08/gender_pay_gap_the_familiar_line_that_women_make_77_cents_to_every_man_s.html\" target=\"_blank\" rel=\"noopener\">different ways to interpret\u003c/a> the precise disparity.)\u003c/p>\n\u003cp>M’lady’s is not the first company to instate such a policy: A Brooklyn bar and a \u003ca href=\"http://lessthan100.org/\" target=\"_blank\" rel=\"noopener\">Pittsburgh pop-up boutique\u003c/a> have both recently drawn attention for charging based on the same price structure. “This number gets hotly debated all the time,” says M’lady’s Records’ Brett Lyman. “But it’s a good place to start, I reckon.”\u003c/p>\n\u003cp>But M’lady’s did not make the change for a day, as the bar did, and is not a traveling project aimed at education, as the boutiqu’se is. It’s a small record company, self-described as “radical[ly] feminist and willfully obstinate,” and is reliant on sales to survive. M’lady’s Records says it will keep the change in place “until that number gets tuned up and/or we go down in flames.”\u003c/p>\n\u003cp>After the announcement of the new policy, we sent a few questions to Lyman. His answers were prompt, passionate and colorful.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Had this plan been cooking for a while, or was it a sudden decision?\u003c/strong>\u003c/p>\n\u003cp>A bit of both; we’re just tired of record labels being these petit bourgeois institutions that don’t really have much impact on their communities. Most just seem inert to me; vague curatorial exercises largely rooted in making money or pacifying some parochial sub-culture (the latter is particularly popular here in the Pacific Northwest). One could (almost) be forgiven for buying into all that Silicon Valley garbage that we don’t need curators or organizers anymore … which is complete silliness, and really more of a reflection of the Randian solipsism that has infected most of so-called underground culture. Record labels have historically been hugely influential in creating context, the most neglected of artistic values currently … as the great British stand-up Stewart Lee is fond of saying, “context is not a myth” … It’s rare enough these days to see labels operate with an ethos, and rarer still to see that ethos extended to how they conduct their non-creative affairs. So … time to start lobbing some (admittedly tiny) grenades into the lobby. Hopefully it’ll ruin someone’s brunch plans.\u003c/p>\n\u003cp>\u003cstrong>How much will this discount affect M’LR’s bottom line?\u003c/strong>\u003c/p>\n\u003cp>At the risk of sounding flippant … don’t care much. The bottom line for this label is about engaging with this amorphous and elusive community some people call “the underground.” That bottom line has kept us going through the growing pains of trying to manage a self-financed DIY record outfit. If we were in this to stay fiscally sound, it would have been abandoned before it even started. We’d just go make espresso in a food truck … and grow a beard.\u003c/p>\n\u003cp>\u003cstrong>Were you inspired by other shops or companies? \u003c/strong>\u003c/p>\n\u003cp>Sort of, but only in opposition. The cost and valuation of music has been under siege for almost 20 years now, and I think it’s led to a very safe counterculture, wherein people are less likely to be insane or unpopular, lest the show offers/sync licenses dry up. Can’t get 20 seconds of your song into a Cheetos ad unless you play the game, rigged as it is. All of this ties into a larger concern of ours to do with the ancillary music professions (publicists, licensing departments) really becoming the new curators. Unlike labels, these companies are really just “cool” proxies/conduits for advertising. And f*** advertising, especially in its current state.\u003c/p>\n\u003cp>\u003cstrong>How’s the announcement gone over with your audience? \u003c/strong>\u003c/p>\n\u003cp>Very well received, no complaints, though this may have something to do with announcing that any fellas that did grouse would have to pay double. Since we don’t advertise in any real way or hire publicists to spiel for us, we’ve been afforded the greatest luxury of choosing who we wanna communicate with, and slowly refining that audience over the past few years. Thusly … not a lot of antagonists in the mix, at least not via the communication channels we employ (mailing list, “social” media, etc).\u003c/p>\n\u003cp>\u003cstrong>How do you verify who’s placing these mail orders?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Well, most of our orders are paid for via online payment services where one would need an account and verify their identity that way … if anyone’s gonna go to the trouble of conjuring a fake identity and getting fake credit cards in their name just so they can order some punk records from li’l old us, fair play — that 23 percent has been EARNED. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Portland+Record+Label+Offers+Women+A+Pay-Gap+Discount&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 895,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 17
},
"modified": 1705046787,
"excerpt": "M'lady's Records will charge women 77 percent of the list price for every purchase made from its website, \"to reflect the current gap in wage equality.\"",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "M'lady's Records will charge women 77 percent of the list price for every purchase made from its website, "to reflect the current gap in wage equality."",
"title": "Portland Record Label Offers Women a Pay-Gap Discount | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Portland Record Label Offers Women a Pay-Gap Discount",
"datePublished": "2015-07-12T08:00:41-07:00",
"dateModified": "2024-01-12T00:06:27-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "portland-record-label-offers-women-a-pay-gap-discount",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=421812684&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Katie Presley",
"nprStoryDate": "Sat, 11 Jul 2015 06:33:00 -0400",
"nprLastModifiedDate": "Sat, 11 Jul 2015 06:38:27 -0400",
"sticky": false,
"nprHtmlLink": "http://www.npr.org/sections/therecord/2015/07/11/421812684/portland-record-label-offers-women-a-pay-gap-discount?ft=nprml&f=421812684",
"nprStoryId": "421812684",
"nprRetrievedStory": "1",
"nprPubDate": "Sat, 11 Jul 2015 06:38:00 -0400",
"path": "/arts/10833145/portland-record-label-offers-women-a-pay-gap-discount",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Earlier this week, Portland, Ore. record company M’lady’s Records announced a new policy. Starting today, women will pay 77 percent of list price for all of their mail orders.\u003c/p>\n\u003cp>That number might sound familiar: The U.S. Bureau of Labor Statistics \u003ca href=\"http://www.bls.gov/opub/reports/cps/highlights-of-womens-earnings-in-2013.pdf\" target=\"_blank\" rel=\"noopener\">reports\u003c/a> that among full-time employees, women still make less than men. The oft quoted ratio is $0.77 for ever ydollar made by a man. (Though there are \u003ca href=\"http://www.slate.com/articles/double_x/doublex/2013/08/gender_pay_gap_the_familiar_line_that_women_make_77_cents_to_every_man_s.html\" target=\"_blank\" rel=\"noopener\">different ways to interpret\u003c/a> the precise disparity.)\u003c/p>\n\u003cp>M’lady’s is not the first company to instate such a policy: A Brooklyn bar and a \u003ca href=\"http://lessthan100.org/\" target=\"_blank\" rel=\"noopener\">Pittsburgh pop-up boutique\u003c/a> have both recently drawn attention for charging based on the same price structure. “This number gets hotly debated all the time,” says M’lady’s Records’ Brett Lyman. “But it’s a good place to start, I reckon.”\u003c/p>\n\u003cp>But M’lady’s did not make the change for a day, as the bar did, and is not a traveling project aimed at education, as the boutiqu’se is. It’s a small record company, self-described as “radical[ly] feminist and willfully obstinate,” and is reliant on sales to survive. M’lady’s Records says it will keep the change in place “until that number gets tuned up and/or we go down in flames.”\u003c/p>\n\u003cp>After the announcement of the new policy, we sent a few questions to Lyman. His answers were prompt, passionate and colorful.\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>Had this plan been cooking for a while, or was it a sudden decision?\u003c/strong>\u003c/p>\n\u003cp>A bit of both; we’re just tired of record labels being these petit bourgeois institutions that don’t really have much impact on their communities. Most just seem inert to me; vague curatorial exercises largely rooted in making money or pacifying some parochial sub-culture (the latter is particularly popular here in the Pacific Northwest). One could (almost) be forgiven for buying into all that Silicon Valley garbage that we don’t need curators or organizers anymore … which is complete silliness, and really more of a reflection of the Randian solipsism that has infected most of so-called underground culture. Record labels have historically been hugely influential in creating context, the most neglected of artistic values currently … as the great British stand-up Stewart Lee is fond of saying, “context is not a myth” … It’s rare enough these days to see labels operate with an ethos, and rarer still to see that ethos extended to how they conduct their non-creative affairs. So … time to start lobbing some (admittedly tiny) grenades into the lobby. Hopefully it’ll ruin someone’s brunch plans.\u003c/p>\n\u003cp>\u003cstrong>How much will this discount affect M’LR’s bottom line?\u003c/strong>\u003c/p>\n\u003cp>At the risk of sounding flippant … don’t care much. The bottom line for this label is about engaging with this amorphous and elusive community some people call “the underground.” That bottom line has kept us going through the growing pains of trying to manage a self-financed DIY record outfit. If we were in this to stay fiscally sound, it would have been abandoned before it even started. We’d just go make espresso in a food truck … and grow a beard.\u003c/p>\n\u003cp>\u003cstrong>Were you inspired by other shops or companies? \u003c/strong>\u003c/p>\n\u003cp>Sort of, but only in opposition. The cost and valuation of music has been under siege for almost 20 years now, and I think it’s led to a very safe counterculture, wherein people are less likely to be insane or unpopular, lest the show offers/sync licenses dry up. Can’t get 20 seconds of your song into a Cheetos ad unless you play the game, rigged as it is. All of this ties into a larger concern of ours to do with the ancillary music professions (publicists, licensing departments) really becoming the new curators. Unlike labels, these companies are really just “cool” proxies/conduits for advertising. And f*** advertising, especially in its current state.\u003c/p>\n\u003cp>\u003cstrong>How’s the announcement gone over with your audience? \u003c/strong>\u003c/p>\n\u003cp>Very well received, no complaints, though this may have something to do with announcing that any fellas that did grouse would have to pay double. Since we don’t advertise in any real way or hire publicists to spiel for us, we’ve been afforded the greatest luxury of choosing who we wanna communicate with, and slowly refining that audience over the past few years. Thusly … not a lot of antagonists in the mix, at least not via the communication channels we employ (mailing list, “social” media, etc).\u003c/p>\n\u003cp>\u003cstrong>How do you verify who’s placing these mail orders?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Well, most of our orders are paid for via online payment services where one would need an account and verify their identity that way … if anyone’s gonna go to the trouble of conjuring a fake identity and getting fake credit cards in their name just so they can order some punk records from li’l old us, fair play — that 23 percent has been EARNED. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Portland+Record+Label+Offers+Women+A+Pay-Gap+Discount&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/10833145/portland-record-label-offers-women-a-pay-gap-discount",
"authors": [
"byline_arts_10833145"
],
"categories": [
"arts_69",
"arts_235"
],
"tags": [
"arts_596"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_10833146",
"label": "arts_137"
},
"arts_10826871": {
"type": "posts",
"id": "arts_10826871",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "10826871",
"score": null,
"sort": [
1436626803000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1436626803,
"format": "standard",
"title": "\"Matilda\" Songwriter On How Reading Makes a Superhero",
"headTitle": "“Matilda” Songwriter On How Reading Makes a Superhero | KQED",
"content": "\u003cp>Composer and performer Tim Minchin used to write for children’s theater. So maybe it’s natural that he got the gig to write music and lyrics for the Tony and Olivier Award-winning “Matilda the Musical,” based on the novel by Roald Dahl. The show opens Wednesday, July 15 at The Orpheum Theater in San Francisco.\u003c/p>\n\u003cp>Minchin is also a versatile performer. He was a deranged rocker on Showtime’s “Californication.” And he’s huge star in his native Australia and in England doing a cabaret act, wearing enough eye shadow to be mistaken for a raccoon, and mixing stand-up comedy and songs about kids, sex, science and religion. (He’s a confirmed atheist, even though one of his biggest hits is a song about Christmas.)\u003c/p>\n\u003cp>For his next project, he’s reuniting with Matilda director Matthew Warchus composing music and lyrics for a musical adaptation of Harold Ramis’ “Groundhog Day,” scheduled to debut next spring on the stage of the Old Vic in London, and move to Broadway in 2017.\u003c/p>\n\u003cp>KQED recently sat down with Minchin to talk about his life and take on \u003cem>Matilda\u003c/em>.\u003c/p>\n\u003cp>\u003cstrong> Tell me about your musical education. What did you listen to growing up?\u003cbr>\n\u003c/strong>\u003cbr>\nI’m not that common in terms of Broadway composers in that I’m mostly self-taught as a musician. My cultural references are not particularly relatable to Americans or even the English, because I grew up in Western Australia. And all my music background came from my brother who was listening to all these Australian rock and pop bands.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But at the same time, my grandmother and my mum took us to see all the Gilbert and Sullivan shows that were on at the local theater. So I’m a great fan of lyrical trickery and density. And that might have been an influence. But then the big bands in my life, aside from the Beatles, were Queen and the Kinks. Ray Davies of the Kinks went from writing “Waterloo Sunset,” which for me was one of the most beautiful songs ever written, to “A Dedicated Follower of Fashion,” which is absolute social satire. So I was always, in hindsight, a fan of people who wrote songs that weren’t lyrically vapid.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=QA5gJ0hZpCc\u003c/p>\n\u003cp>Then I got the call from the Royal Shakespeare Company saying, “Have you heard of \u003cem>Matilda\u003c/em> and Roald Dahl? We’ve got the rights to do it as a musical.” \u003cspan style=\"line-height: 1.5\">And I went, “Yeah. And not only have I heard of it, but I thought about writing it as a musical 10 years ago.”\u003c/span>\u003c/p>\n\u003cp>\u003cstrong>So you were a fan of Roald Dahl?\u003c/strong>\u003c/p>\n\u003cp>Dahl is without any exaggeration the author of my childhood. I read everything. I can picture his books on my bookshelf when I was a kid. My daughter’s first novel I ever read to her was \u003cem>Charlie and the Chocolate Factory\u003c/em>.\u003c/p>\n\u003cp>I had actually written to the Dahl estate and asked about the rights to \u003cem>Matilda\u003c/em> when I was writing children’s theater in Perth. It’s the only time I’ve ever written to anyone about rights. And then nine years later, in a total coincidence, they came and asked me to do it.\u003c/p>\n\u003cp>\u003cstrong>So the producers of \u003cem>Matilda\u003c/em> heard about you. What were they responding to in your work? It’s pretty profane stuff for the composer of a family-friendly Broadway musical.\u003c/strong>\u003c/p>\n\u003cp>In fact I was suggested to the director Matthew Warchus by the RSC dramaturg Jeanie O’Hare, She said, “You should go have a look at Tim Minchin. He writes these clever wordy comedy songs, and they’re very dark, and that’s surely the sort of thing we want for Dahl.”\u003c/p>\n\u003cp>So Matthew came along to my show, with my songs about science and religion — slightly contentious topics. At the very end of the show, he had pretty much decided I was very heady, but he didn’t think I had the heart or the emotional access to write the music for \u003cem>Matilda\u003c/em>.\u003c/p>\n\u003cp>He was about to grab his jacket and go, and I came on to do my encore. I always like to do sentimental encores. I sang a song called “White Wine in the Sun,” which is a song about Christmas and taking my baby daughter home to see her family, that is a real weeper and really kicks people in the guts.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=fCNvZqpa-7Q\u003c/p>\n\u003cp>Matthew just changed his mind, spun on a dime. As far as I know — he’d have to verify this story — he went back and said, “It’s that guy or I’m not doing it.”\u003c/p>\n\u003cp>\u003cstrong>So how do you balance songs that are smart, funny and tell a story with ones that touch the hearts of those in the audience?\u003c/strong>\u003c/p>\n\u003cp>I was part of making a musical that’s become successful. But one wants to be very careful in assuming that I know something about musicals.\u003c/p>\n\u003cp>When it comes to theater, the most important thing for me is you never forget that you’re telling a story and that you must connect to what that character is going through and what we want to know about them at that point.\u003c/p>\n\u003cp>If you’re true to the story and caring about your characters, then there’s no decision to be made.\u003c/p>\n\u003cp>\u003cstrong>Even though this show is a musical comedy, the subject is very serious. How do you write songs about a girl who is really the victim of child abuse?\u003c/strong>\u003c/p>\n\u003cp>That’s right. But you don’t write a song in which Matilda sings, “It’s hard being a little girl locked in an attic.” You sing a song about her defiance. Matilda’s first song is about being naughty.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=oewVISY1Yhs\u003c/p>\n\u003cp>When Matilda is oppressed by her parents, she finds little ways to take her power back by playing little tricks. And then as she goes on, she’s oppressed by a much greater force: by a school with a despot at the top, like a dictatorship. She has to draw on deeper knowledge, read more books.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=bI5PdesXyxM\u003c/p>\n\u003cp>She has to move stuff with her eyes. In the end she’s a superhero. Her powers come from being cheeky and reading books.\u003c/p>\n\u003cp>I’m passionate about this musical because its role model is not only a genuine feminist icon, but is also an icon for an American narrative — that you can take power back for yourself. We need to create art that says to people, “Knowledge is power, not taking power with guns and beheadings. Read more. Read more. Read more.” Basically the musical says “read more.”\u003c/p>\n\u003cp>It’s a privileged middle class thing to say, “What everyone needs is more books.” But it’s true as well.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>This interview has been edited for length and clarity.\u003c/em>\u003c/p>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1236,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 28
},
"modified": 1705046791,
"excerpt": "Composer, comedian and 'Californication' star Tim Minchin chats about writing lyrics for the Tony and Olivier Award-winning 'Matilda the Musical,' based on the novel by Roald Dahl. The show opens Wednesday, July 15 at The Orpheum Theater in San Francisco.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Composer, comedian and 'Californication' star Tim Minchin chats about writing lyrics for the Tony and Olivier Award-winning 'Matilda the Musical,' based on the novel by Roald Dahl. The show opens Wednesday, July 15 at The Orpheum Theater in San Francisco.",
"title": "\"Matilda\" Songwriter On How Reading Makes a Superhero | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "\"Matilda\" Songwriter On How Reading Makes a Superhero",
"datePublished": "2015-07-11T08:00:03-07:00",
"dateModified": "2024-01-12T00:06:31-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "versatile-groundhog-day-lyricist-takes-on-matilda-musical",
"status": "publish",
"sticky": false,
"path": "/arts/10826871/versatile-groundhog-day-lyricist-takes-on-matilda-musical",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Composer and performer Tim Minchin used to write for children’s theater. So maybe it’s natural that he got the gig to write music and lyrics for the Tony and Olivier Award-winning “Matilda the Musical,” based on the novel by Roald Dahl. The show opens Wednesday, July 15 at The Orpheum Theater in San Francisco.\u003c/p>\n\u003cp>Minchin is also a versatile performer. He was a deranged rocker on Showtime’s “Californication.” And he’s huge star in his native Australia and in England doing a cabaret act, wearing enough eye shadow to be mistaken for a raccoon, and mixing stand-up comedy and songs about kids, sex, science and religion. (He’s a confirmed atheist, even though one of his biggest hits is a song about Christmas.)\u003c/p>\n\u003cp>For his next project, he’s reuniting with Matilda director Matthew Warchus composing music and lyrics for a musical adaptation of Harold Ramis’ “Groundhog Day,” scheduled to debut next spring on the stage of the Old Vic in London, and move to Broadway in 2017.\u003c/p>\n\u003cp>KQED recently sat down with Minchin to talk about his life and take on \u003cem>Matilda\u003c/em>.\u003c/p>\n\u003cp>\u003cstrong> Tell me about your musical education. What did you listen to growing up?\u003cbr>\n\u003c/strong>\u003cbr>\nI’m not that common in terms of Broadway composers in that I’m mostly self-taught as a musician. My cultural references are not particularly relatable to Americans or even the English, because I grew up in Western Australia. And all my music background came from my brother who was listening to all these Australian rock and pop bands.\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>But at the same time, my grandmother and my mum took us to see all the Gilbert and Sullivan shows that were on at the local theater. So I’m a great fan of lyrical trickery and density. And that might have been an influence. But then the big bands in my life, aside from the Beatles, were Queen and the Kinks. Ray Davies of the Kinks went from writing “Waterloo Sunset,” which for me was one of the most beautiful songs ever written, to “A Dedicated Follower of Fashion,” which is absolute social satire. So I was always, in hindsight, a fan of people who wrote songs that weren’t lyrically vapid.\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/QA5gJ0hZpCc'\n title='//www.youtube.com/embed/QA5gJ0hZpCc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Then I got the call from the Royal Shakespeare Company saying, “Have you heard of \u003cem>Matilda\u003c/em> and Roald Dahl? We’ve got the rights to do it as a musical.” \u003cspan style=\"line-height: 1.5\">And I went, “Yeah. And not only have I heard of it, but I thought about writing it as a musical 10 years ago.”\u003c/span>\u003c/p>\n\u003cp>\u003cstrong>So you were a fan of Roald Dahl?\u003c/strong>\u003c/p>\n\u003cp>Dahl is without any exaggeration the author of my childhood. I read everything. I can picture his books on my bookshelf when I was a kid. My daughter’s first novel I ever read to her was \u003cem>Charlie and the Chocolate Factory\u003c/em>.\u003c/p>\n\u003cp>I had actually written to the Dahl estate and asked about the rights to \u003cem>Matilda\u003c/em> when I was writing children’s theater in Perth. It’s the only time I’ve ever written to anyone about rights. And then nine years later, in a total coincidence, they came and asked me to do it.\u003c/p>\n\u003cp>\u003cstrong>So the producers of \u003cem>Matilda\u003c/em> heard about you. What were they responding to in your work? It’s pretty profane stuff for the composer of a family-friendly Broadway musical.\u003c/strong>\u003c/p>\n\u003cp>In fact I was suggested to the director Matthew Warchus by the RSC dramaturg Jeanie O’Hare, She said, “You should go have a look at Tim Minchin. He writes these clever wordy comedy songs, and they’re very dark, and that’s surely the sort of thing we want for Dahl.”\u003c/p>\n\u003cp>So Matthew came along to my show, with my songs about science and religion — slightly contentious topics. At the very end of the show, he had pretty much decided I was very heady, but he didn’t think I had the heart or the emotional access to write the music for \u003cem>Matilda\u003c/em>.\u003c/p>\n\u003cp>He was about to grab his jacket and go, and I came on to do my encore. I always like to do sentimental encores. I sang a song called “White Wine in the Sun,” which is a song about Christmas and taking my baby daughter home to see her family, that is a real weeper and really kicks people in the guts.\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/fCNvZqpa-7Q'\n title='//www.youtube.com/embed/fCNvZqpa-7Q'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Matthew just changed his mind, spun on a dime. As far as I know — he’d have to verify this story — he went back and said, “It’s that guy or I’m not doing it.”\u003c/p>\n\u003cp>\u003cstrong>So how do you balance songs that are smart, funny and tell a story with ones that touch the hearts of those in the audience?\u003c/strong>\u003c/p>\n\u003cp>I was part of making a musical that’s become successful. But one wants to be very careful in assuming that I know something about musicals.\u003c/p>\n\u003cp>When it comes to theater, the most important thing for me is you never forget that you’re telling a story and that you must connect to what that character is going through and what we want to know about them at that point.\u003c/p>\n\u003cp>If you’re true to the story and caring about your characters, then there’s no decision to be made.\u003c/p>\n\u003cp>\u003cstrong>Even though this show is a musical comedy, the subject is very serious. How do you write songs about a girl who is really the victim of child abuse?\u003c/strong>\u003c/p>\n\u003cp>That’s right. But you don’t write a song in which Matilda sings, “It’s hard being a little girl locked in an attic.” You sing a song about her defiance. Matilda’s first song is about being naughty.\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/oewVISY1Yhs'\n title='//www.youtube.com/embed/oewVISY1Yhs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>When Matilda is oppressed by her parents, she finds little ways to take her power back by playing little tricks. And then as she goes on, she’s oppressed by a much greater force: by a school with a despot at the top, like a dictatorship. She has to draw on deeper knowledge, read more books.\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/bI5PdesXyxM'\n title='//www.youtube.com/embed/bI5PdesXyxM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>She has to move stuff with her eyes. In the end she’s a superhero. Her powers come from being cheeky and reading books.\u003c/p>\n\u003cp>I’m passionate about this musical because its role model is not only a genuine feminist icon, but is also an icon for an American narrative — that you can take power back for yourself. We need to create art that says to people, “Knowledge is power, not taking power with guns and beheadings. Read more. Read more. Read more.” Basically the musical says “read more.”\u003c/p>\n\u003cp>It’s a privileged middle class thing to say, “What everyone needs is more books.” But it’s true as well.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>This interview has been edited for length and clarity.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/10826871/versatile-groundhog-day-lyricist-takes-on-matilda-musical",
"authors": [
"32"
],
"categories": [
"arts_69",
"arts_967"
],
"tags": [
"arts_596"
],
"featImg": "arts_10826956",
"label": "arts"
},
"arts_10828545": {
"type": "posts",
"id": "arts_10828545",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "10828545",
"score": null,
"sort": [
1436481050000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1436481050,
"format": "standard",
"title": "Read the Overwhelming, Tragic Story of Makeunder's 'Great Headless Blank' EP",
"headTitle": "Read the Overwhelming, Tragic Story of Makeunder’s ‘Great Headless Blank’ EP | KQED",
"content": "\u003cp>One of the most outstanding and challenging new bits of music I’ve heard this year comes from Makeunder, the project of Hamilton Ulmer, an Oakland-based musician with a penchant for exploration. “Great Headless Blank” was the inspired track \u003ca href=\"http://www.npr.org/sections/allsongs/2015/04/14/399457829/new-mix-built-to-spill-milk-carton-kids-brown-bird-protomartyr\" target=\"_blank\" rel=\"noopener\">we played\u003c/a> on \u003cem>All Songs Considered\u003c/em> back in April, now it’s the title track to Makeunder’s latest EP, which we are proudly premiering here, along with track-by-track thoughts from Hamilton Ulmer.\u003c/p>\n\u003cp>I’m a firm believer in falling for music on its own terms. I often listen to music not knowing who I’m listening to, since knowing often comes with personal bias. What I heard felt like it could have come from Dirty Projectors, only this got even weirder than that. “Great Headless Blank” is punctuated by sax and claps that glue the off-kilter soaring vocals like fingers holding onto a cliff. I sensed the song was about desperation and hope but honestly I was simply fascinated by a sound filled with choral harmonies and influences that could include \u003ca href=\"http://www.npr.org/artists/15228868/bela-bartok\" target=\"_blank\" rel=\"noopener\">Béla Bartók\u003c/a> or \u003ca href=\"http://www.npr.org/artists/15393592/ornette-coleman\" target=\"_blank\" rel=\"noopener\">Ornette Coleman\u003c/a> or \u003ca href=\"http://www.npr.org/artists/15321830/talking-heads\" target=\"_blank\" rel=\"noopener\">Talking Heads\u003c/a>.\u003c/p>\n\u003cp>Well, Hamilton wrote to us to tell us the tale of this remarkable debut EP, and oh god, it’s simply full of tragedy and reflection. Thankfully, it’s not depressing; musically it’s quite inspiring. So dig in. If you’re like me, listen first and read Ulmer’s words after. Whatever works. This is thoughtfully crafted music with a good soul at its heart. \u003c/p>\n\u003ch2>Makeunder, ‘Great Headless Blank’\u003c/h2>\n\u003chr>\n\u003ch3>Great Headless Bank\u003c/h3>\n\u003cp>“When I was 26, my oldest brother fell into a coma after a motorcycle accident, both of my grandfathers died within months of each other and my father passed away from lung cancer, forcing my mother to sell her belongings and home so she could pay her debts – all in the span of a year. These songs represent a few scenes from that period.\u003c/p>\n\u003cp>“Six months after it all ended, I was jetlagged and wide awake in a hotel room in San Francisco at 3:00 a.m., locked out of my apartment after flying in from London. Sometimes absurd, frustrating situations pull you away from what’s in front of you. I had the beginning of an Emily Dickinson poem floating in my head: ‘Pain has an element of blank; / It cannot recollect / When it began, or if there was / A time when it was not.’ There was no chance I’d get any sleep, so I pulled out my laptop, opened a Logic session and wrote a sketch of this song, singing all the parts into my laptop microphone. It took me another year before I felt ready to record it more seriously. At the time, an engineer friend and I took unbooked days at his studio and I’d freestyle the arrangement myself using whatever instruments were lying around, pulling in a few folks for parts I couldn’t do. At first I had no idea what to do with the finished song, and figured I had said all I cared to about this terrible period of my life. But then several more songs began to flow out of me, and I realized I wasn’t finished addressing the trauma on my own terms.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/417727920/417775368\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\">\u003c/iframe>\u003c/p>\n\u003chr>\n\u003ch3>Far From The Sober West\u003c/h3>\n\u003cp>“If you get on I-10 in Los Angeles, drive thirteen hundred miles straight across the stark, arid, moon-like margins of America, and exit the highway just past the Hill Country, you’ll end up a few minutes away from my childhood home in San Antonio. And if you drive straight through, it only takes about twenty-two hours. My family knew the route well, having first made it when we moved from California to Texas in my parents’ rickety white Ford Econoline in the late ’80s, a trailer in tow.\u003c/p>\n\u003cp>“This song is about my siblings driving my cancer ridden father one more time along the desert stretch so he could die in his own home, at peace and in hospice. My parents had attended my maternal grandfather’s funeral in Palm Springs, taking a detour in Bakersfield to visit my father’s parents, when my dad’s labored breathing grew too heavy. A trip to a clinic revealed large growths in his lungs. He rushed into a round of chemotherapy right then, just before his own father passed away in his sleep in the room adjacent to his. We could hardly afford the time to acknowledge how everything was crumbling around us. My sister rented an SUV, loaded it with a battery-powered respirator and a few oxygen tanks, and drove in shifts with my brother while my parents sat in the back.\u003c/p>\n\u003cp>“The production of this song was troubled from the start. With the exception of the percussion, I recorded almost everything in my bedroom studio using two different microphones, which was also how I produced most of the other songs on this EP, with the exception of the title track. I pulled several favors to record strings, woodwinds, dozens of voices, modular synth patches and swarms of guitars. It demanded a dozen rewrites. I maxed out Logic Pro completely while recording it, and Pro Tools while mixing it. I’m not sure anyone understood or believed in this song while we were making it. But I love it more than anything else on this EP by a mile.”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/417727920/417775408\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\">\u003c/iframe>\u003c/p>\n\u003chr>\n\u003ch3>Window-Mounted Frigidaire\u003c/h3>\n\u003cp>“While my siblings brought my father back across the southwest, I flew home to pare down my parents’ possessions and disinfect every surface. Sorting through boxes of financial documents, filling garbage bags with useless stuff held on to for no good reason, it was the first time I was alone since the diagnosis the week before. I resented my dad for his lifelong chain-smoking habit, resented my parents for choosing a lifestyle that led to financial instability and helplessly falling into debt and felt sorry for myself for ever being born into any of it. And I was embarrassed to be carrying such anger when they were counting on me to begin dismantling their house.\u003c/p>\n\u003cp>“After cleaning all day I’d fire up Logic Pro and record songs about my recently deceased grandfather’s journey to America with the saxophone and violin I had just inherited from him, using my laptop’s internal microphone. Those recordings became Makeunder’s first EP. My only company at night was the window unit that kept my bedroom livable during the Texas summer.”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/417727920/417775828\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\">\u003c/iframe>\u003c/p>\n\u003chr>\n\u003ch3>Inevitable Conclusion\u003c/h3>\n\u003cp>“I fell into an intense, passionate relationship with a British woman when I returned to San Francisco after cleaning my parent’s home. Not long after meeting we fantasized about marriage, who would live where and when, starting a band, traveling together. Tragedy sometimes has a way of planting your feet solidly in the moment, and you take what is in front of you and throw yourself into it. But after my father died and her visa waiver expired, we found ourselves in different countries and I finally felt the weight of grief. There was no way I could leave the country. She held that against me, and we rode through a painful long-distance relationship for two years. I always figured that if I could find peace with my dad’s death, I’d move to London in a heartbeat and we’d pick up where we left off. The irony, of course, was that the bliss that defined that first month was long gone after all the back and forth. And at any rate, when I finally told her I was ready to give up my life and move to London for her, she’d met someone else.”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/417727920/417775883\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\">\u003c/iframe>\u003c/p>\n\u003chr>\n\u003ch3>Plain Tendency\u003c/h3>\n\u003cp>“I was nearly done recording the EP when I had decided that I needed to add this one. It wasn’t planned, and I’m sure it frustrated everyone who wanted the record done sooner, but the story would have felt incomplete if I hadn’t. I holed up all alone in my studio for three weeks, working through it with my voice, rewrite after rewrite, through considerable tears. It felt right that the most mournful song would be the barest.\u003c/p>\n\u003cp>“The inspiration for the song came from watching my father take his last breath at 5:00 a.m., the hospice nurse solemnly informing us that he’d finally reached the end of his suffering. The earth didn’t shake. Time didn’t stand still. We could hear birds faintly chirping outside as they had before. Death doesn’t visit. It’s always present. It just happens. It’s indifferent.\u003c/p>\n\u003cp>“After I finished recording the song, I only listened to it two or three more times to check the mix and master. I’d be content to never hear it again.”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/417727920/417775979\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\">\u003c/iframe>\u003c/p>\n\u003chr>\n\u003ch3>What A Lovely Bandsaw!\u003c/h3>\n\u003cp>“‘What A Lovely Bandsaw!’ describes the weekend where my family held an estate sale to part with my father’s tools & belongings, so my mother could pay off her liens and put the home on the market. We watched hundreds of acquaintances and strangers rummage through every box, corner and cabinet, while we struggled to put a price on things my mother never thought she’d have to sell: finished works of art, handmade furniture, gouges, chisels, saws, a menagerie of power tools. Some we hardly understood how to value, others were important set pieces in my childhood memories.\u003c/p>\n\u003cp>“My parents never felt like they belonged in Texas and my father likened their mortgage to a prison sentence. They would have been happy to abandon the house and get the hell out of San Antonio for good. In the end, however, it was impossible not to feel overwhelmed as the home quickly disappeared, piece by piece, before we even had a chance to come to terms with everything we’d lost.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/417727920/417776111\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\">\u003c/iframe>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Read+The+Overwhelming%2C+Tragic+Story+Of+Makeunder%27s+%27Great+Headless+Blank%27+EP&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1749,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 24
},
"modified": 1705046800,
"excerpt": "Hamilton Ulmer, the leader of the Oakland band, shares a track-by-track analysis of Makeunder's latest EP, which was inspired by a terrible year in the songwriter's life.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Hamilton Ulmer, the leader of the Oakland band, shares a track-by-track analysis of Makeunder's latest EP, which was inspired by a terrible year in the songwriter's life.",
"title": "Read the Overwhelming, Tragic Story of Makeunder's 'Great Headless Blank' EP | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Read the Overwhelming, Tragic Story of Makeunder's 'Great Headless Blank' EP",
"datePublished": "2015-07-09T15:30:50-07:00",
"dateModified": "2024-01-12T00:06:40-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "read-the-overwhelming-tragic-story-of-makeunders-great-headless-blank-ep",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=417727920&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Bob Boilen",
"nprStoryDate": "Thu, 09 Jul 2015 13:16:06 -0400",
"nprLastModifiedDate": "Thu, 09 Jul 2015 13:16:06 -0400",
"sticky": false,
"nprHtmlLink": "http://www.npr.org/sections/allsongs/2015/07/09/417727920/read-the-overwhelming-tragic-story-of-makeunders-great-headless-blank-ep?ft=nprml&f=417727920",
"nprStoryId": "417727920",
"nprRetrievedStory": "1",
"nprPubDate": "Thu, 09 Jul 2015 13:16:00 -0400",
"path": "/arts/10828545/read-the-overwhelming-tragic-story-of-makeunders-great-headless-blank-ep",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>One of the most outstanding and challenging new bits of music I’ve heard this year comes from Makeunder, the project of Hamilton Ulmer, an Oakland-based musician with a penchant for exploration. “Great Headless Blank” was the inspired track \u003ca href=\"http://www.npr.org/sections/allsongs/2015/04/14/399457829/new-mix-built-to-spill-milk-carton-kids-brown-bird-protomartyr\" target=\"_blank\" rel=\"noopener\">we played\u003c/a> on \u003cem>All Songs Considered\u003c/em> back in April, now it’s the title track to Makeunder’s latest EP, which we are proudly premiering here, along with track-by-track thoughts from Hamilton Ulmer.\u003c/p>\n\u003cp>I’m a firm believer in falling for music on its own terms. I often listen to music not knowing who I’m listening to, since knowing often comes with personal bias. What I heard felt like it could have come from Dirty Projectors, only this got even weirder than that. “Great Headless Blank” is punctuated by sax and claps that glue the off-kilter soaring vocals like fingers holding onto a cliff. I sensed the song was about desperation and hope but honestly I was simply fascinated by a sound filled with choral harmonies and influences that could include \u003ca href=\"http://www.npr.org/artists/15228868/bela-bartok\" target=\"_blank\" rel=\"noopener\">Béla Bartók\u003c/a> or \u003ca href=\"http://www.npr.org/artists/15393592/ornette-coleman\" target=\"_blank\" rel=\"noopener\">Ornette Coleman\u003c/a> or \u003ca href=\"http://www.npr.org/artists/15321830/talking-heads\" target=\"_blank\" rel=\"noopener\">Talking Heads\u003c/a>.\u003c/p>\n\u003cp>Well, Hamilton wrote to us to tell us the tale of this remarkable debut EP, and oh god, it’s simply full of tragedy and reflection. Thankfully, it’s not depressing; musically it’s quite inspiring. So dig in. If you’re like me, listen first and read Ulmer’s words after. Whatever works. This is thoughtfully crafted music with a good soul at its heart. \u003c/p>\n\u003ch2>Makeunder, ‘Great Headless Blank’\u003c/h2>\n\u003chr>\n\u003ch3>Great Headless Bank\u003c/h3>\n\u003cp>“When I was 26, my oldest brother fell into a coma after a motorcycle accident, both of my grandfathers died within months of each other and my father passed away from lung cancer, forcing my mother to sell her belongings and home so she could pay her debts – all in the span of a year. These songs represent a few scenes from that period.\u003c/p>\n\u003cp>“Six months after it all ended, I was jetlagged and wide awake in a hotel room in San Francisco at 3:00 a.m., locked out of my apartment after flying in from London. Sometimes absurd, frustrating situations pull you away from what’s in front of you. I had the beginning of an Emily Dickinson poem floating in my head: ‘Pain has an element of blank; / It cannot recollect / When it began, or if there was / A time when it was not.’ There was no chance I’d get any sleep, so I pulled out my laptop, opened a Logic session and wrote a sketch of this song, singing all the parts into my laptop microphone. It took me another year before I felt ready to record it more seriously. At the time, an engineer friend and I took unbooked days at his studio and I’d freestyle the arrangement myself using whatever instruments were lying around, pulling in a few folks for parts I couldn’t do. At first I had no idea what to do with the finished song, and figured I had said all I cared to about this terrible period of my life. But then several more songs began to flow out of me, and I realized I wasn’t finished addressing the trauma on my own terms.”\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>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/417727920/417775368\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\">\u003c/iframe>\u003c/p>\n\u003chr>\n\u003ch3>Far From The Sober West\u003c/h3>\n\u003cp>“If you get on I-10 in Los Angeles, drive thirteen hundred miles straight across the stark, arid, moon-like margins of America, and exit the highway just past the Hill Country, you’ll end up a few minutes away from my childhood home in San Antonio. And if you drive straight through, it only takes about twenty-two hours. My family knew the route well, having first made it when we moved from California to Texas in my parents’ rickety white Ford Econoline in the late ’80s, a trailer in tow.\u003c/p>\n\u003cp>“This song is about my siblings driving my cancer ridden father one more time along the desert stretch so he could die in his own home, at peace and in hospice. My parents had attended my maternal grandfather’s funeral in Palm Springs, taking a detour in Bakersfield to visit my father’s parents, when my dad’s labored breathing grew too heavy. A trip to a clinic revealed large growths in his lungs. He rushed into a round of chemotherapy right then, just before his own father passed away in his sleep in the room adjacent to his. We could hardly afford the time to acknowledge how everything was crumbling around us. My sister rented an SUV, loaded it with a battery-powered respirator and a few oxygen tanks, and drove in shifts with my brother while my parents sat in the back.\u003c/p>\n\u003cp>“The production of this song was troubled from the start. With the exception of the percussion, I recorded almost everything in my bedroom studio using two different microphones, which was also how I produced most of the other songs on this EP, with the exception of the title track. I pulled several favors to record strings, woodwinds, dozens of voices, modular synth patches and swarms of guitars. It demanded a dozen rewrites. I maxed out Logic Pro completely while recording it, and Pro Tools while mixing it. I’m not sure anyone understood or believed in this song while we were making it. But I love it more than anything else on this EP by a mile.”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/417727920/417775408\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\">\u003c/iframe>\u003c/p>\n\u003chr>\n\u003ch3>Window-Mounted Frigidaire\u003c/h3>\n\u003cp>“While my siblings brought my father back across the southwest, I flew home to pare down my parents’ possessions and disinfect every surface. Sorting through boxes of financial documents, filling garbage bags with useless stuff held on to for no good reason, it was the first time I was alone since the diagnosis the week before. I resented my dad for his lifelong chain-smoking habit, resented my parents for choosing a lifestyle that led to financial instability and helplessly falling into debt and felt sorry for myself for ever being born into any of it. And I was embarrassed to be carrying such anger when they were counting on me to begin dismantling their house.\u003c/p>\n\u003cp>“After cleaning all day I’d fire up Logic Pro and record songs about my recently deceased grandfather’s journey to America with the saxophone and violin I had just inherited from him, using my laptop’s internal microphone. Those recordings became Makeunder’s first EP. My only company at night was the window unit that kept my bedroom livable during the Texas summer.”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/417727920/417775828\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\">\u003c/iframe>\u003c/p>\n\u003chr>\n\u003ch3>Inevitable Conclusion\u003c/h3>\n\u003cp>“I fell into an intense, passionate relationship with a British woman when I returned to San Francisco after cleaning my parent’s home. Not long after meeting we fantasized about marriage, who would live where and when, starting a band, traveling together. Tragedy sometimes has a way of planting your feet solidly in the moment, and you take what is in front of you and throw yourself into it. But after my father died and her visa waiver expired, we found ourselves in different countries and I finally felt the weight of grief. There was no way I could leave the country. She held that against me, and we rode through a painful long-distance relationship for two years. I always figured that if I could find peace with my dad’s death, I’d move to London in a heartbeat and we’d pick up where we left off. The irony, of course, was that the bliss that defined that first month was long gone after all the back and forth. And at any rate, when I finally told her I was ready to give up my life and move to London for her, she’d met someone else.”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/417727920/417775883\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\">\u003c/iframe>\u003c/p>\n\u003chr>\n\u003ch3>Plain Tendency\u003c/h3>\n\u003cp>“I was nearly done recording the EP when I had decided that I needed to add this one. It wasn’t planned, and I’m sure it frustrated everyone who wanted the record done sooner, but the story would have felt incomplete if I hadn’t. I holed up all alone in my studio for three weeks, working through it with my voice, rewrite after rewrite, through considerable tears. It felt right that the most mournful song would be the barest.\u003c/p>\n\u003cp>“The inspiration for the song came from watching my father take his last breath at 5:00 a.m., the hospice nurse solemnly informing us that he’d finally reached the end of his suffering. The earth didn’t shake. Time didn’t stand still. We could hear birds faintly chirping outside as they had before. Death doesn’t visit. It’s always present. It just happens. It’s indifferent.\u003c/p>\n\u003cp>“After I finished recording the song, I only listened to it two or three more times to check the mix and master. I’d be content to never hear it again.”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/417727920/417775979\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\">\u003c/iframe>\u003c/p>\n\u003chr>\n\u003ch3>What A Lovely Bandsaw!\u003c/h3>\n\u003cp>“‘What A Lovely Bandsaw!’ describes the weekend where my family held an estate sale to part with my father’s tools & belongings, so my mother could pay off her liens and put the home on the market. We watched hundreds of acquaintances and strangers rummage through every box, corner and cabinet, while we struggled to put a price on things my mother never thought she’d have to sell: finished works of art, handmade furniture, gouges, chisels, saws, a menagerie of power tools. Some we hardly understood how to value, others were important set pieces in my childhood memories.\u003c/p>\n\u003cp>“My parents never felt like they belonged in Texas and my father likened their mortgage to a prison sentence. They would have been happy to abandon the house and get the hell out of San Antonio for good. In the end, however, it was impossible not to feel overwhelmed as the home quickly disappeared, piece by piece, before we even had a chance to come to terms with everything we’d lost.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/417727920/417776111\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\">\u003c/iframe>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Read+The+Overwhelming%2C+Tragic+Story+Of+Makeunder%27s+%27Great+Headless+Blank%27+EP&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/10828545/read-the-overwhelming-tragic-story-of-makeunders-great-headless-blank-ep",
"authors": [
"byline_arts_10828545"
],
"categories": [
"arts_69"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_10828546",
"label": "arts_137"
},
"arts_10820528": {
"type": "posts",
"id": "arts_10820528",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "10820528",
"score": null,
"sort": [
1436479231000
]
},
"guestAuthors": [],
"slug": "listen-in-oaklands-makeunder-on-kandinsky-motown-and-death",
"title": "Listen In: Oakland's Makeunder on Kandinsky, Motown, and Death",
"publishDate": 1436479231,
"format": "audio",
"headTitle": "Listen In: Oakland’s Makeunder on Kandinsky, Motown, and Death | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/214009039″ params=”auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true” width=”100%” height=”150″ iframe=”true” /]\u003c/p>\n\u003cp>Fans and critics alike may be quick to compare Oakland’s \u003ca href=\"http://mkndr.com/\">Makeunder\u003c/a> to the celebrated indie rock band \u003ca href=\"https://www.youtube.com/watch?v=WXjtDwJGeDI\">Dirty Projectors\u003c/a> — both groups make use of intricate female harmonies and guitar figures heavily indebted to West African legends like Ali Farka Touré. But while Dirty Projectors’ tunes often teeter on the edge of becoming challenging, Makeunder fully embraces a puzzling, disorienting sound. The six songs on their new EP \u003cem>Great Headless Blank\u003c/em> (out July 17, and streaming now via NPR Music) move in gymnastic leaps and unexpected turns; pinning them down is like riding a bull intent on throwing its rider in the dirt.\u003c/p>\n\u003cp>Although \u003cem>Great Headless Blank\u003c/em> embraces a kaleidoscope of styles and genres, drawing on R&B and Renaissance-era motets, not all of its influences are musical. In this podcast, Makeunder frontman Hamilton Ulmer zeroes in on the connection between his songs and the work of expressionist painter Wassily Kandinsky.\u003c/p>\n\u003cp>“I discovered Kandinsky before I discovered orchestral music, but I think it had a lot more meaning to me after I begun studying music,” Ulmer explains. “There are a million things going on [in Kandinsky’s paintings], and there are a million places to focus.” Likewise, Ulmer’s songs are overwhelming and often elusive; they reward multiple listens, and rarely adhere to a simple verse-chorus-verse structure.\u003c/p>\n\u003cp>“I don’t think there’s ever been a period where I’ve written music where I haven’t visualized [it] in abstract form and color,” Ulmer points out. \u003cem>Great Headless Blank\u003c/em>, in particular, “capture[s] a sense of grandiose feeling” akin to pieces like Kandinsky’s \u003cem>\u003ca href=\"http://www.wassily-kandinsky.org/images/gallery/Composition-VI.jpg\" target=\"_blank\" rel=\"noopener\">Composition VI\u003c/a>\u003c/em>. To realize his maximalist vision, Ulmer brought in horn players and string players, adding countless layers of twisting, shimmering sound to his arrangements.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>With such complex music lies the risk that people, naturally, will tune out. But when I ask Ulmer if he’s afraid this new EP will alienate listeners, he’s confident as ever. “I’m fine with that,” he tells me. “I’ve accomplished my goal.”\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cem>‘The Great Headless Blank’ is \u003ca href=\"http://music.wearemakeunder.com/album/great-headless-blank\" target=\"_blank\" rel=\"noopener\">due out July 17\u003c/a>. Makeunder play a record-release show with Bells Atlas at \u003ca href=\"http://clubleos.com/event.cfm?id=213375&cart\" target=\"_blank\" rel=\"noopener\">Leo’s in Oakland on Saturday, Aug. 22\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Also on KQED Arts: Preview the new EP and \u003ca href=\"http://ww2.kqed.org/arts/2015/07/09/read-the-overwhelming-tragic-story-of-makeunders-great-headless-blank-ep/\" target=\"_blank\" rel=\"noopener\">read Ulmer’s stories behind each of the songs\u003c/a>. \u003c/p>\n\n",
"blocks": [],
"excerpt": "Makeunder frontman Hamilton Ulmer discusses his band's new EP 'Great Headless Blank,' and the surrounding influences -- some inspiring, some tragic -- that went into its recording.",
"status": "publish",
"parent": 0,
"modified": 1726771411,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 10,
"wordCount": 467
},
"headData": {
"title": "Listen In: Oakland's Makeunder on Kandinsky, Motown, and Death | KQED",
"description": "Makeunder frontman Hamilton Ulmer discusses his band's new EP 'Great Headless Blank,' and the surrounding influences -- some inspiring, some tragic -- that went into its recording.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Listen In: Oakland's Makeunder on Kandinsky, Motown, and Death",
"datePublished": "2015-07-09T15:00:31-07:00",
"dateModified": "2024-09-19T11:43:31-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprStoryId": "465836570",
"path": "/arts/10820528/listen-in-oaklands-makeunder-on-kandinsky-motown-and-death",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”150″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/214009039″&visual=true&”auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true”'\n title='”https://api.soundcloud.com/tracks/214009039″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Fans and critics alike may be quick to compare Oakland’s \u003ca href=\"http://mkndr.com/\">Makeunder\u003c/a> to the celebrated indie rock band \u003ca href=\"https://www.youtube.com/watch?v=WXjtDwJGeDI\">Dirty Projectors\u003c/a> — both groups make use of intricate female harmonies and guitar figures heavily indebted to West African legends like Ali Farka Touré. But while Dirty Projectors’ tunes often teeter on the edge of becoming challenging, Makeunder fully embraces a puzzling, disorienting sound. The six songs on their new EP \u003cem>Great Headless Blank\u003c/em> (out July 17, and streaming now via NPR Music) move in gymnastic leaps and unexpected turns; pinning them down is like riding a bull intent on throwing its rider in the dirt.\u003c/p>\n\u003cp>Although \u003cem>Great Headless Blank\u003c/em> embraces a kaleidoscope of styles and genres, drawing on R&B and Renaissance-era motets, not all of its influences are musical. In this podcast, Makeunder frontman Hamilton Ulmer zeroes in on the connection between his songs and the work of expressionist painter Wassily Kandinsky.\u003c/p>\n\u003cp>“I discovered Kandinsky before I discovered orchestral music, but I think it had a lot more meaning to me after I begun studying music,” Ulmer explains. “There are a million things going on [in Kandinsky’s paintings], and there are a million places to focus.” Likewise, Ulmer’s songs are overwhelming and often elusive; they reward multiple listens, and rarely adhere to a simple verse-chorus-verse structure.\u003c/p>\n\u003cp>“I don’t think there’s ever been a period where I’ve written music where I haven’t visualized [it] in abstract form and color,” Ulmer points out. \u003cem>Great Headless Blank\u003c/em>, in particular, “capture[s] a sense of grandiose feeling” akin to pieces like Kandinsky’s \u003cem>\u003ca href=\"http://www.wassily-kandinsky.org/images/gallery/Composition-VI.jpg\" target=\"_blank\" rel=\"noopener\">Composition VI\u003c/a>\u003c/em>. To realize his maximalist vision, Ulmer brought in horn players and string players, adding countless layers of twisting, shimmering sound to his arrangements.\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>With such complex music lies the risk that people, naturally, will tune out. But when I ask Ulmer if he’s afraid this new EP will alienate listeners, he’s confident as ever. “I’m fine with that,” he tells me. “I’ve accomplished my goal.”\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cem>‘The Great Headless Blank’ is \u003ca href=\"http://music.wearemakeunder.com/album/great-headless-blank\" target=\"_blank\" rel=\"noopener\">due out July 17\u003c/a>. Makeunder play a record-release show with Bells Atlas at \u003ca href=\"http://clubleos.com/event.cfm?id=213375&cart\" target=\"_blank\" rel=\"noopener\">Leo’s in Oakland on Saturday, Aug. 22\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Also on KQED Arts: Preview the new EP and \u003ca href=\"http://ww2.kqed.org/arts/2015/07/09/read-the-overwhelming-tragic-story-of-makeunders-great-headless-blank-ep/\" target=\"_blank\" rel=\"noopener\">read Ulmer’s stories behind each of the songs\u003c/a>. \u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/10820528/listen-in-oaklands-makeunder-on-kandinsky-motown-and-death",
"authors": [
"6624"
],
"categories": [
"arts_69"
],
"tags": [
"arts_1207",
"arts_596"
],
"featImg": "arts_10828544",
"label": "arts"
},
"arts_10812895": {
"type": "posts",
"id": "arts_10812895",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "10812895",
"score": null,
"sort": [
1436220000000
]
},
"guestAuthors": [],
"slug": "listen-in-french-cassettes-right-talk",
"title": "Listen In: French Cassettes' \"Right Talk\"",
"publishDate": 1436220000,
"format": "audio",
"headTitle": "Listen In: French Cassettes’ “Right Talk” | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/213542851″ params=”auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true” width=”100%” height=”150″ iframe=”true” /]\u003c/p>\n\u003cp>Two years ago, San Francisco’s French Cassettes stuffed their debut LP \u003ca href=\"https://frenchcassettes.bandcamp.com/album/gold-youth\">\u003cem>Gold Youth\u003c/em> \u003c/a>with more vocal hooks and guitar riffs than a field of teeth-gnashing Republican presidential hopefuls. The album’s tightly wound pop tunes, not to mention the group’s sure-footed live show, caught the ear of East Bay tastemaker Sarah Sexton, who featured the group’s “Right Talk” on the first iteration of her \u003ca href=\"http://oimrecords.bandcamp.com/album/oim-vol-i-compilation\">Oaktown Indie Mayhem compilation\u003c/a>, released last month.\u003c/p>\n\u003cp>The compilation was co-produced by local engineer and industry veteran Jeff Saltzman, whose pop sensibilities, honed through collaborations with acts like Blondie and the Killers, shines throughout the compilation — and on “Right Talk” in particular.\u003c/p>\n\u003cp>I recently caught up with the group in Santa Cruz before a gig at the Catalyst for an interview-turned-sauna in their Hyundai. Listen below, and be sure to catch them at \u003ca href=\"http://brickandmortarmusic.com/event.cfm?id=207537\" target=\"_blank\" rel=\"noopener\">Brick and Mortar Music Hall on July 10\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
"blocks": [],
"excerpt": "Hear the members of San Francisco band French Cassettes dissect their new single, \"Right Talk.\"",
"status": "publish",
"parent": 0,
"modified": 1726771413,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 6,
"wordCount": 209
},
"headData": {
"title": "Listen In: French Cassettes' \"Right Talk\" | KQED",
"description": "Hear the members of San Francisco band French Cassettes dissect their new single, "Right Talk."",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Listen In: French Cassettes' \"Right Talk\"",
"datePublished": "2015-07-06T15:00:00-07:00",
"dateModified": "2024-09-19T11:43:33-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprStoryId": "465836592",
"path": "/arts/10812895/listen-in-french-cassettes-right-talk",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”150″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/213542851″&visual=true&”auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true”'\n title='”https://api.soundcloud.com/tracks/213542851″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Two years ago, San Francisco’s French Cassettes stuffed their debut LP \u003ca href=\"https://frenchcassettes.bandcamp.com/album/gold-youth\">\u003cem>Gold Youth\u003c/em> \u003c/a>with more vocal hooks and guitar riffs than a field of teeth-gnashing Republican presidential hopefuls. The album’s tightly wound pop tunes, not to mention the group’s sure-footed live show, caught the ear of East Bay tastemaker Sarah Sexton, who featured the group’s “Right Talk” on the first iteration of her \u003ca href=\"http://oimrecords.bandcamp.com/album/oim-vol-i-compilation\">Oaktown Indie Mayhem compilation\u003c/a>, released last month.\u003c/p>\n\u003cp>The compilation was co-produced by local engineer and industry veteran Jeff Saltzman, whose pop sensibilities, honed through collaborations with acts like Blondie and the Killers, shines throughout the compilation — and on “Right Talk” in particular.\u003c/p>\n\u003cp>I recently caught up with the group in Santa Cruz before a gig at the Catalyst for an interview-turned-sauna in their Hyundai. Listen below, and be sure to catch them at \u003ca href=\"http://brickandmortarmusic.com/event.cfm?id=207537\" target=\"_blank\" rel=\"noopener\">Brick and Mortar Music Hall on July 10\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/10812895/listen-in-french-cassettes-right-talk",
"authors": [
"6624"
],
"categories": [
"arts_69"
],
"tags": [
"arts_1207",
"arts_596"
],
"featImg": "arts_10297218",
"label": "arts"
},
"arts_10820705": {
"type": "posts",
"id": "arts_10820705",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "10820705",
"score": null,
"sort": [
1436134754000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1436134754,
"format": "image",
"title": "PHOTOS: Thousands Descend on Oakland to Celebrate Lo-Fi Rock 'N' Roll",
"headTitle": "PHOTOS: Thousands Descend on Oakland to Celebrate Lo-Fi Rock ‘N’ Roll | KQED",
"content": "\u003cp>While many Bay Area residents celebrated the Fourth of July by barbecuing, drinking beer and waiting until it got dark for fireworks, thousands descended on Oakland’s Mosswood Park Saturday to enjoy the rawest of rock ‘n’ roll bands in the land.\u003c/p>\n\u003cp>Hosted by the always outrageous John Waters (director of the infamous cult flick \u003ci>Pink Flamingos\u003c/i>), the sixth-annual Burger Boogaloo attracted rockers of all ages to its two-day lineup, which featured groups such as the Black Lips, the Legendary Stardust Cowboy, Oakland’s Shannon and the Clams, and Detroit’s godfathers of the ’80s garage revival, the Gories.\u003c/p>\n\u003cp>Saturday night’s lineup had San Mateo’s kings of budget rock, the Mummies, come out of retirement to headline, and \u003ca href=\"https://twitter.com/JacobDDay/status/617560140451966976\" target=\"_blank\" rel=\"noopener\">by all accounts\u003c/a> theirs was a set to remember. It not only included hits such as their cover of the Rascals’ “\u003ca href=\"https://www.youtube.com/watch?v=lVFhN-TL36Q\" target=\"_blank\" rel=\"noopener\">Come On Up\u003c/a>,” it also featured the band riding around on mopeds while on stage. \u003c/p>\n\u003cp>Below are just a few snapshots of the chaos and fun had during the first day of the Boogalooo. \u003c/p>\n\u003cfigure id=\"attachment_10820719\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/JohnWaters.jpg\" alt=\"Burger Boogaloo was hosted by cultural icon and filmmaker John Waters. \" width=\"800\" height=\"450\" class=\"size-full wp-image-10820719\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/JohnWaters.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/JohnWaters-400x225.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Burger Boogaloo was hosted by cultural icon and filmmaker John Waters.\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_10820715\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/ShannonandtheClams1.jpg\" alt=\"Shannon Shaw of Oakland-based indie garage punk trio Shannon and the Clams.\" width=\"800\" height=\"450\" class=\"size-full wp-image-10820715\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/ShannonandtheClams1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/ShannonandtheClams1-400x225.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Shannon Shaw of Oakland-based indie garage punk trio Shannon and the Clams.\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_10820710\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/TheTroublemakers1.jpg\" alt=\"Sacramento-based garage band The Trouble Makers.\" width=\"800\" height=\"450\" class=\"size-full wp-image-10820710\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/TheTroublemakers1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/TheTroublemakers1-400x225.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sacramento-based garage band The Trouble Makers.\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_10820721\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/ThunderRoads2.jpg\" alt=\"Japanese garage punk band Thunderroads.\" width=\"800\" height=\"450\" class=\"size-full wp-image-10820721\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/ThunderRoads2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/ThunderRoads2-400x225.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Japanese garage punk band Thunderroads.\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_10820720\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/LegendaryStardustCowboy.jpg\" alt=\"Psychobilly performer Legendary Stardust Cowboy swings his guitar in the air. On the left is Dead Kennedys bassist Klaus Flouride playing guitar\" width=\"800\" height=\"450\" class=\"size-full wp-image-10820720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/LegendaryStardustCowboy.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/LegendaryStardustCowboy-400x225.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Psychobilly performer Legendary Stardust Cowboy swings his guitar in the air. On the left is Dead Kennedys bassist Klaus Flouride playing guitar\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_10820711\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/DannyandtheDarleans2.jpg\" alt=\"Colleen Burke, bassist of Danny & the Darleans, who also include Danny Kroha, one of the founding members of the Gories.\" width=\"800\" height=\"531\" class=\"size-full wp-image-10820711\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/DannyandtheDarleans2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/DannyandtheDarleans2-400x266.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Colleen Burke, bassist of Danny & the Darleans, who also include Danny Kroha, one of the founding members of the Gories.\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_10820712\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/TheGories2.jpg\" alt=\"Danny Kroha performs with The Gories.\" width=\"800\" height=\"450\" class=\"size-full wp-image-10820712\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/TheGories2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/TheGories2-400x225.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Danny Kroha performs with The Gories.\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_10820716\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/ThePandoras2.jpg\" alt=\"A reunion show of The Pandoras featured the Muffs' Kim Shattuck on vocals. Original Pandoras' vocalist Paula Pierce died in 1991 of an aneurysm -- she was 31 at the time.\" width=\"800\" height=\"450\" class=\"size-full wp-image-10820716\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/ThePandoras2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/ThePandoras2-400x225.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A reunion show of The Pandoras featured the Muffs’ Kim Shattuck on vocals. Original Pandoras’ vocalist Paula Pierce died in 1991 of an aneurysm — she was 31 at the time.\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_10820713\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/crowdsurf2.jpg\" alt=\"A crowd surfer.\" width=\"800\" height=\"450\" class=\"size-full wp-image-10820713\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/crowdsurf2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/crowdsurf2-400x225.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A crowd surfer.\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_10820714\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/TheMummies2-800x450.jpg\" alt=\"Garage punk band The Mummies headlined the July 4 lineup at Burger Boogaloo.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-10820714\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/TheMummies2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/TheMummies2-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/TheMummies2-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/TheMummies2-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/TheMummies2.jpg 1440w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Garage punk band The Mummies headlined the July 4 lineup at Burger Boogaloo.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>All photos by Rebecca Bowe/KQED.\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 330,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 7
},
"modified": 1705046829,
"excerpt": "San Mateo's kings of 'Budget Rock,' The Mummies, headlined a revue of lo-fi garage acts of varying ages and stature Saturday, which was also MC'd by infamous director John Waters.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "San Mateo's kings of 'Budget Rock,' The Mummies, headlined a revue of lo-fi garage acts of varying ages and stature Saturday, which was also MC'd by infamous director John Waters.",
"title": "PHOTOS: Thousands Descend on Oakland to Celebrate Lo-Fi Rock 'N' Roll | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "PHOTOS: Thousands Descend on Oakland to Celebrate Lo-Fi Rock 'N' Roll",
"datePublished": "2015-07-05T15:19:14-07:00",
"dateModified": "2024-01-12T00:07:09-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "images-thousands-descend-on-oakland-to-celebrate-lo-fi-rock-n-roll",
"status": "publish",
"sticky": false,
"path": "/arts/10820705/images-thousands-descend-on-oakland-to-celebrate-lo-fi-rock-n-roll",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>While many Bay Area residents celebrated the Fourth of July by barbecuing, drinking beer and waiting until it got dark for fireworks, thousands descended on Oakland’s Mosswood Park Saturday to enjoy the rawest of rock ‘n’ roll bands in the land.\u003c/p>\n\u003cp>Hosted by the always outrageous John Waters (director of the infamous cult flick \u003ci>Pink Flamingos\u003c/i>), the sixth-annual Burger Boogaloo attracted rockers of all ages to its two-day lineup, which featured groups such as the Black Lips, the Legendary Stardust Cowboy, Oakland’s Shannon and the Clams, and Detroit’s godfathers of the ’80s garage revival, the Gories.\u003c/p>\n\u003cp>Saturday night’s lineup had San Mateo’s kings of budget rock, the Mummies, come out of retirement to headline, and \u003ca href=\"https://twitter.com/JacobDDay/status/617560140451966976\" target=\"_blank\" rel=\"noopener\">by all accounts\u003c/a> theirs was a set to remember. It not only included hits such as their cover of the Rascals’ “\u003ca href=\"https://www.youtube.com/watch?v=lVFhN-TL36Q\" target=\"_blank\" rel=\"noopener\">Come On Up\u003c/a>,” it also featured the band riding around on mopeds while on stage. \u003c/p>\n\u003cp>Below are just a few snapshots of the chaos and fun had during the first day of the Boogalooo. \u003c/p>\n\u003cfigure id=\"attachment_10820719\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/JohnWaters.jpg\" alt=\"Burger Boogaloo was hosted by cultural icon and filmmaker John Waters. \" width=\"800\" height=\"450\" class=\"size-full wp-image-10820719\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/JohnWaters.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/JohnWaters-400x225.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Burger Boogaloo was hosted by cultural icon and filmmaker John Waters.\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_10820715\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/ShannonandtheClams1.jpg\" alt=\"Shannon Shaw of Oakland-based indie garage punk trio Shannon and the Clams.\" width=\"800\" height=\"450\" class=\"size-full wp-image-10820715\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/ShannonandtheClams1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/ShannonandtheClams1-400x225.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Shannon Shaw of Oakland-based indie garage punk trio Shannon and the Clams.\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_10820710\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/TheTroublemakers1.jpg\" alt=\"Sacramento-based garage band The Trouble Makers.\" width=\"800\" height=\"450\" class=\"size-full wp-image-10820710\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/TheTroublemakers1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/TheTroublemakers1-400x225.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sacramento-based garage band The Trouble Makers.\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_10820721\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/ThunderRoads2.jpg\" alt=\"Japanese garage punk band Thunderroads.\" width=\"800\" height=\"450\" class=\"size-full wp-image-10820721\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/ThunderRoads2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/ThunderRoads2-400x225.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Japanese garage punk band Thunderroads.\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_10820720\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/LegendaryStardustCowboy.jpg\" alt=\"Psychobilly performer Legendary Stardust Cowboy swings his guitar in the air. On the left is Dead Kennedys bassist Klaus Flouride playing guitar\" width=\"800\" height=\"450\" class=\"size-full wp-image-10820720\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/LegendaryStardustCowboy.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/LegendaryStardustCowboy-400x225.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Psychobilly performer Legendary Stardust Cowboy swings his guitar in the air. On the left is Dead Kennedys bassist Klaus Flouride playing guitar\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_10820711\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/DannyandtheDarleans2.jpg\" alt=\"Colleen Burke, bassist of Danny & the Darleans, who also include Danny Kroha, one of the founding members of the Gories.\" width=\"800\" height=\"531\" class=\"size-full wp-image-10820711\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/DannyandtheDarleans2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/DannyandtheDarleans2-400x266.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Colleen Burke, bassist of Danny & the Darleans, who also include Danny Kroha, one of the founding members of the Gories.\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_10820712\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/TheGories2.jpg\" alt=\"Danny Kroha performs with The Gories.\" width=\"800\" height=\"450\" class=\"size-full wp-image-10820712\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/TheGories2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/TheGories2-400x225.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Danny Kroha performs with The Gories.\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_10820716\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/ThePandoras2.jpg\" alt=\"A reunion show of The Pandoras featured the Muffs' Kim Shattuck on vocals. Original Pandoras' vocalist Paula Pierce died in 1991 of an aneurysm -- she was 31 at the time.\" width=\"800\" height=\"450\" class=\"size-full wp-image-10820716\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/ThePandoras2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/ThePandoras2-400x225.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A reunion show of The Pandoras featured the Muffs’ Kim Shattuck on vocals. Original Pandoras’ vocalist Paula Pierce died in 1991 of an aneurysm — she was 31 at the time.\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_10820713\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/crowdsurf2.jpg\" alt=\"A crowd surfer.\" width=\"800\" height=\"450\" class=\"size-full wp-image-10820713\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/crowdsurf2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/crowdsurf2-400x225.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A crowd surfer.\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_10820714\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/TheMummies2-800x450.jpg\" alt=\"Garage punk band The Mummies headlined the July 4 lineup at Burger Boogaloo.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-10820714\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/TheMummies2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/TheMummies2-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/TheMummies2-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/TheMummies2-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/TheMummies2.jpg 1440w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Garage punk band The Mummies headlined the July 4 lineup at Burger Boogaloo.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci>All photos by Rebecca Bowe/KQED.\u003c/i>\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/10820705/images-thousands-descend-on-oakland-to-celebrate-lo-fi-rock-n-roll",
"authors": [
"93"
],
"categories": [
"arts_69"
],
"tags": [
"arts_1310",
"arts_3649",
"arts_596"
],
"featImg": "arts_10820718",
"label": "arts"
},
"arts_10817743": {
"type": "posts",
"id": "arts_10817743",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "10817743",
"score": null,
"sort": [
1436108402000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1436108402,
"format": "standard",
"title": "NPR Music's 25 Favorite Albums Of 2015 (So Far)",
"headTitle": "NPR Music’s 25 Favorite Albums Of 2015 (So Far) | KQED",
"content": "\u003cp>We’ll call it in the air: 2015 is going to end up being a great year for music. The albums that have impressed us the most over the year’s first six months are a varied lot. There’s enormous ambition on display here, epic works crafted to bust boundaries or reshape at will (check out that three-hour debut album), but also intensity in small gestures: a pair of devastating albums about loss, two more anchored in the sounds of sisterly harmonies. As we reach the year’s mid-point, take a moment to listen with us, ears wide open to a great six months of music. Let’s hope the second half of 2015 lives up to it.\u003c/p>\n\u003cp>\u003cem>Advisory: Some of the songs on this page contain profanity.\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>ALABAMA SHAKES\u003cbr>\u003cem>Sound & Color\u003c/em>\u003cbr>\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/alabamashakes_custom-e197e7902b347566d9796f6be89d96b2a9828bb6.jpg\" alt=\"Sound & Color by Alabama Shakes\" width=\"200\" height=\"200\" class=\"alignright size-full wp-image-10817745\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/alabamashakes_custom-e197e7902b347566d9796f6be89d96b2a9828bb6.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/alabamashakes_custom-e197e7902b347566d9796f6be89d96b2a9828bb6-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/alabamashakes_custom-e197e7902b347566d9796f6be89d96b2a9828bb6-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/alabamashakes_custom-e197e7902b347566d9796f6be89d96b2a9828bb6-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/alabamashakes_custom-e197e7902b347566d9796f6be89d96b2a9828bb6-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/alabamashakes_custom-e197e7902b347566d9796f6be89d96b2a9828bb6-75x75.jpg 75w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003c/p>\n\u003cp>On its second album, this Athens, Ala. band — now chart-toppers, late-nite TV veterans, large-font festival draws — sounds less like a historically-accurate pedestal for propping up Brittany Howard’s monumental rock-soul-blues voice than a demolition crew with a work order to knock down some pedestals. Where the Shakes’ debut\u003cem>, Boys & Girls\u003c/em>, bopped along on the energy generated by its musicians locking into perfect step, \u003cem>Sound & Color \u003c/em>sees each band member stretching out. Bassist Zac Cockrell and drummer Steve Johnson might be the album’s\u003cem> \u003c/em>secret weapons, switching tempos and clearing space for the emotive guitar playing of Heath Fogg. Howard coos and sighs as often as she howls, hanging in the background for long stretches, yet still comes across as someone who doesn’t have to tell you twice to step aside. Like its predecessor, you can dance to all the songs on \u003cem>Sound & Color\u003c/em>, but it’s an angrier, druggier, cooler, \u003ca href=\"http://www.npr.org/2015/04/12/398068310/first-listen-alabama-shakes-sound-color\" target=\"_blank\" rel=\"noopener\">freakier\u003c/a> kind of dancing. \u003cem>–Jacob Ganz\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/417426717/418406546\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\">\u003c/iframe>\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>BJÖRK\u003cbr>\u003cem>Vulnicura\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/bjork_custom-98e3030d4db57fbf5884e004814aad2361da05f0.jpg\" alt=\"Vulnicura by Bjork\" width=\"200\" height=\"200\" class=\"alignright size-full wp-image-10817746\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/bjork_custom-98e3030d4db57fbf5884e004814aad2361da05f0.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/bjork_custom-98e3030d4db57fbf5884e004814aad2361da05f0-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/bjork_custom-98e3030d4db57fbf5884e004814aad2361da05f0-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/bjork_custom-98e3030d4db57fbf5884e004814aad2361da05f0-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/bjork_custom-98e3030d4db57fbf5884e004814aad2361da05f0-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/bjork_custom-98e3030d4db57fbf5884e004814aad2361da05f0-75x75.jpg 75w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003c/p>\n\u003cp>There’s nothing easy or joyous about \u003cem>Vulnicura\u003c/em>. \u003ca href=\"http://www.npr.org/artists/15191158/bjork\" target=\"_blank\" rel=\"noopener\">Björk\u003c/a>‘s break-up album is full of pain and betrayal. Its electronic beats won’t let you dance, the strings are heavy, there’s not a singable chorus and the words are wounds documenting an almost anthropological timeline of love lost. And with all that, \u003cem>Vulnicura\u003c/em> is worth its weight. It’s a universal album for all of us who have tangled in love. There’s never been a record quite like this; alongside all the hurt, there’s still healing to be had and to be heard. \u003cem>–Bob Boilen\u003c/em>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/417426717/418406485\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\">\u003c/iframe>\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>BOMBA ESTEREO\u003cbr>\u003cem>Amanecer \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/bombaestereo_custom-ef0364272f2bc124ab95ecf3d269af1158f913f0.jpg\" alt=\"Amanecer by Bomba Estereo\" width=\"200\" height=\"200\" class=\"alignright size-full wp-image-10817747\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/bombaestereo_custom-ef0364272f2bc124ab95ecf3d269af1158f913f0.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/bombaestereo_custom-ef0364272f2bc124ab95ecf3d269af1158f913f0-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/bombaestereo_custom-ef0364272f2bc124ab95ecf3d269af1158f913f0-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/bombaestereo_custom-ef0364272f2bc124ab95ecf3d269af1158f913f0-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/bombaestereo_custom-ef0364272f2bc124ab95ecf3d269af1158f913f0-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/bombaestereo_custom-ef0364272f2bc124ab95ecf3d269af1158f913f0-75x75.jpg 75w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003c/p>\n\u003cp>\u003ca href=\"http://www.npr.org/artists/121272357/bomba-estereo\" target=\"_blank\" rel=\"noopener\">Bomba Estereo\u003c/a> has cemented itself as a band that is able to produce fun, danceable music that is also deeply rooted in tradition. The Colombian band’s sound is as much an exploration of Latin America’s indigenous and African roots as it is a stroll through the noisiest neighborhoods of Bogota. With its latest album, the band goes beyond just being incredibly fun and energetic — it dives further into a spiritual, reflective feel. \u003cem>Amanecer\u003c/em> is intimate in a way the previous Bomba Estereo albums are not, like hanging out at an after-party with someone you always suspected you could fall in love with. The crowning gem is the song “Mar (Lo Que Siento),” a reflective, airy piece that feels like drifting away on a beach after a night of dancing. \u003cem>–Jasmine Garsd\u003c/em>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/417426717/418406468\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\">\u003c/iframe>\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>BOSTON MODERN ORCHESTRA PROJECT\u003cbr>\u003cem>Play (Andrew Norman) \u003c/em>\u003cbr>\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/bmop_custom-d8ba0bddf010c798d93c5f10a8a688954b60b38a.jpg\" alt=\"Andrew Norman's Play, performed by the Boston Modern Orchestra Project\" width=\"200\" height=\"200\" class=\"alignright size-full wp-image-10817748\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/bmop_custom-d8ba0bddf010c798d93c5f10a8a688954b60b38a.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/bmop_custom-d8ba0bddf010c798d93c5f10a8a688954b60b38a-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/bmop_custom-d8ba0bddf010c798d93c5f10a8a688954b60b38a-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/bmop_custom-d8ba0bddf010c798d93c5f10a8a688954b60b38a-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/bmop_custom-d8ba0bddf010c798d93c5f10a8a688954b60b38a-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/bmop_custom-d8ba0bddf010c798d93c5f10a8a688954b60b38a-75x75.jpg 75w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003c/p>\n\u003cp>Just how good is Andrew Norman’s \u003cem>Play\u003c/em>? It might just be the best piece of large-scale orchestral music so far in the 21st century. Scored for full orchestra plus piano and extra percussion, \u003cem>Play\u003c/em> is a rigorously constructed, wildly rambunctious beast in the spirit of older works like \u003ca href=\"http://www.npr.org/artists/15162965/olivier-messiaen\" target=\"_blank\" rel=\"noopener\">Olivier Messiaen\u003c/a>‘s \u003cem>Turangalila\u003c/em> Symphony and new ones like Thomas Adès’ \u003cem>Tevot\u003c/em>. From the opening seconds, Norman, a Californian in his mid-30s, sets up a symphonic thrill ride. Through its three levels (not unlike a video game), \u003cem>Play\u003c/em> unleashes spasms of melody and whiplash transitions, but also unveils landscapes of serene beauty. Late in the piece, he carefully builds an extraordinary crescendo, topped with a sweet oboe line soaring over an orchestra that twitches and roils. \u003cem>Play\u003c/em> is a staggering achievement, built with wit and wonder. Yet for all its flamboyance — made all the more brilliant in a brave, exacting performance from Gil Rose’s Boston Modern Orchestra Project — the piece, like most great art, is a fascinating journey, one you’ll want to take again and again. \u003cem>–Tom Huizenga\u003c/em>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/417426717/418406132\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\">\u003c/iframe>\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>BROTHERS OF THE SONIC CLOTH\u003cbr>\u003cem>Brothers of the Sonic Cloth \u003c/em>\u003cbr>\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/brothersofhtesoniccloth_custom-238153439d73904901e859e80605a2235489c2d0.jpg\" alt=\"Brothers of the Sonic Cloth\" width=\"200\" height=\"200\" class=\"alignright size-full wp-image-10817749\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/brothersofhtesoniccloth_custom-238153439d73904901e859e80605a2235489c2d0.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/brothersofhtesoniccloth_custom-238153439d73904901e859e80605a2235489c2d0-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/brothersofhtesoniccloth_custom-238153439d73904901e859e80605a2235489c2d0-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/brothersofhtesoniccloth_custom-238153439d73904901e859e80605a2235489c2d0-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/brothersofhtesoniccloth_custom-238153439d73904901e859e80605a2235489c2d0-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/brothersofhtesoniccloth_custom-238153439d73904901e859e80605a2235489c2d0-75x75.jpg 75w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003c/p>\n\u003cp>Seattle’s Tad Doyle has been at this heavy game coming on three decades now. With bands like TAD and Hog Molly, he could take a bummer riff and make it boil and hum in ways others just couldn’t. Years in the making, Brothers of the Sonic Cloth’s debut is a thoroughly satisfying doom metal LP that is fully awake and teeming with power. \u003cem>–Lars Gotrich\u003c/em>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/417426717/418406021\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\">\u003c/iframe>\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>CHRIS STAPLETON\u003cbr>\u003c/strong>\u003cstrong>\u003cem>Traveller \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/chrisstapleton_custom-2251bd262f3768adc8edff8c3d8809fef2f2251e.jpg\" alt=\"Traveller by Chris Stapleton\" width=\"200\" height=\"200\" class=\"alignright size-full wp-image-10817750\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/chrisstapleton_custom-2251bd262f3768adc8edff8c3d8809fef2f2251e.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/chrisstapleton_custom-2251bd262f3768adc8edff8c3d8809fef2f2251e-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/chrisstapleton_custom-2251bd262f3768adc8edff8c3d8809fef2f2251e-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/chrisstapleton_custom-2251bd262f3768adc8edff8c3d8809fef2f2251e-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/chrisstapleton_custom-2251bd262f3768adc8edff8c3d8809fef2f2251e-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/chrisstapleton_custom-2251bd262f3768adc8edff8c3d8809fef2f2251e-75x75.jpg 75w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003c/p>\n\u003cp>Here’s the truth: Music critics are so buried in new releases that some — including those that rank in a given year’s Top 10 — might only get a few impassioned spins before being retired to make room for a new deluge. But a select few become the soft denim jackets in a music lover’s listening closet, pulled out time after time, lending comfort, suiting every occasion, with treasure stuffed in every pocket. This exquisite debut album by one of Nashville’s great all-around talents is that kind of satisfying. It rocks hard; it doles out heartache; it’s funny and profound; it showcases a stunning voice and celebrates the camaraderie of a fine band. It’s a keeper in the deepest sense.\u003cem> –Ann Powers\u003c/em>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://embed.spotify.com/?uri=spotify:track:178OI1A3qjROeFeh8lmNwW\" frameborder=\"0\" allowtransparency=\"true\" width=\"690\" height=\"80\">\u003c/iframe>\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>COURTNEY BARNETT\u003cbr>\u003c/strong>\u003cem>\u003cstrong>Sometimes I Sit And Think, And Sometimes I Just Sit \u003c/strong>\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/courtneybarnett_custom-d0a0483b67bab1f41ad6335e421bdc3c1e72345e.jpg\" alt=\"Sometimes I Sit and Think, and Sometimes I Just Sit by Courtney Barnett\" width=\"200\" height=\"200\" class=\"alignright size-full wp-image-10817751\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/courtneybarnett_custom-d0a0483b67bab1f41ad6335e421bdc3c1e72345e.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/courtneybarnett_custom-d0a0483b67bab1f41ad6335e421bdc3c1e72345e-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/courtneybarnett_custom-d0a0483b67bab1f41ad6335e421bdc3c1e72345e-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/courtneybarnett_custom-d0a0483b67bab1f41ad6335e421bdc3c1e72345e-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/courtneybarnett_custom-d0a0483b67bab1f41ad6335e421bdc3c1e72345e-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/courtneybarnett_custom-d0a0483b67bab1f41ad6335e421bdc3c1e72345e-75x75.jpg 75w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003c/p>\n\u003cp>I’ve been wanting this record since I saw \u003ca href=\"http://www.npr.org/artists/239210251/courtney-barnett\" target=\"_blank\" rel=\"noopener\">Courtney Barnett\u003c/a> three times in 2013 and heard her two EPs (repackaged together last year). Unlike those EPs, Barnett recorded her debut album with her touring band, and what’s most striking is this Australian trio’s ability to make rock and roll feel vital and not played out. Chalk some of that up to the fact that this band of bass, drums and Courtney on guitar are truly great players, but they also bolster some of the best words rock has ever had. Take this example from “Dead Fox,” a song about the repercussions of industrial agriculture:\u003c/p>\n\u003cblockquote>\n\u003cp>Heading down the Highway Hume\u003cbr>Somewhere at the end of June\u003cbr>Taxidermied kangaroos are littered on the shoulders\u003cbr>A possum Jackson Pollock is painted in the tar.\u003cbr>Sometimes I think a single sneeze could be the end of us\u003cbr>My hay-fever is turning up, just swerved into a passing truck\u003cbr>Big business overtaking\u003cbr>Without indicating.\u003cbr>He passes on the right, been driving through the night\u003cbr>To bring us the best price.\u003c/p>\n\u003c/blockquote>\n\u003cp>Barring some bolt of musical lightning before year’s end, this debut album from Courtney Barnett will be my number one record of the year. \u003cem>–Bob Boilen\u003c/em>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/417426717/418405876\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\">\u003c/iframe>\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>\u003cstrong>D’ANGELO AND THE VANGUARD\u003cbr>\u003c/strong>\u003cem>\u003cstrong>Black Messiah \u003c/strong>\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/d-angelo_custom-ed724fcecedcbaf33cf409014dc6bd9d467b346a.jpg\" alt=\"Black Messiah by D'Angelo And The Vanguard\" width=\"200\" height=\"200\" class=\"alignright size-full wp-image-10817752\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/d-angelo_custom-ed724fcecedcbaf33cf409014dc6bd9d467b346a.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/d-angelo_custom-ed724fcecedcbaf33cf409014dc6bd9d467b346a-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/d-angelo_custom-ed724fcecedcbaf33cf409014dc6bd9d467b346a-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/d-angelo_custom-ed724fcecedcbaf33cf409014dc6bd9d467b346a-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/d-angelo_custom-ed724fcecedcbaf33cf409014dc6bd9d467b346a-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/d-angelo_custom-ed724fcecedcbaf33cf409014dc6bd9d467b346a-75x75.jpg 75w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003c/p>\n\u003cp>Technically it’s a 2014 album (it dropped without much advance warning mid December) but cut us some slack: \u003cem>Black Messiah\u003c/em>‘s singles really started making waves in 2015 and \u003ca href=\"http://www.npr.org/artists/370926966/dangelo\" target=\"_blank\" rel=\"noopener\">D’Angelo\u003c/a> has been killing it on tour this spring. You shouldn’t hold Mr. Michael Archer to a fixed calendar anyways: After a 14-year hibernation, he pulled a rabbit trick by gifting us a tricky, sexy, modern classic that seemingly synthesizes the entirety of analog-era avant-garde soul — \u003ca href=\"http://www.npr.org/artists/15696782/jimi-hendrix\" target=\"_blank\" rel=\"noopener\">Hendrix\u003c/a>, Sly, Clinton, \u003ca href=\"http://www.npr.org/artists/15394157/prince\" target=\"_blank\" rel=\"noopener\">Prince\u003c/a>, Shuggie and more. He also brings the gentle bossa-like feel of “Really Love” and those Monk-ish changes on “Sugah Daddy.” Remember the old adage that if you’re late enough you’ll be on time again: The experimental sonics of \u003cem>Black Messiah\u003c/em> — with its barely intelligible lyrics and impressive analog mix by Russ Elevado — somehow manage to capture the muffled anger and simmering agitation that increasingly defines black life in the age of Ferguson, Baltimore and Charleston. The creeping, almost resigned weariness of tunes like “Charade” suggests both the everyday melancholy and profound resilience of people darker than blue facing a violent, supremacist culture. As did Charles Burnett’s \u003cem>Killer of Sheep\u003c/em> or Bill Gunn’s \u003cem>Ganja & Hess\u003c/em> for film in their respective moments, \u003cem>Black Messiah\u003c/em> sublimates some of the feeling of 21st century black life in recorded musical form. It’s inspiration information, indeed. \u003cem>–Jason King\u003c/em>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://embed.spotify.com/?uri=spotify:track:2RcanAJpudPNDkyIe9DzKS\" frameborder=\"0\" allowtransparency=\"true\" width=\"690\" height=\"80\">\u003c/iframe>\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>\u003cstrong>DJ SOTOFETT\u003cbr>\u003c/strong>\u003cem>\u003cstrong>Drippin’ For A Tripp \u003c/strong>\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/djsotofett_custom-e3e23f3810bf49a106b4f92c1737d9be15c7ad4c.jpg\" alt=\"Drippin' For A Tripp by DJ Sotofett\" width=\"200\" height=\"200\" class=\"alignright size-full wp-image-10817753\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/djsotofett_custom-e3e23f3810bf49a106b4f92c1737d9be15c7ad4c.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/djsotofett_custom-e3e23f3810bf49a106b4f92c1737d9be15c7ad4c-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/djsotofett_custom-e3e23f3810bf49a106b4f92c1737d9be15c7ad4c-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/djsotofett_custom-e3e23f3810bf49a106b4f92c1737d9be15c7ad4c-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/djsotofett_custom-e3e23f3810bf49a106b4f92c1737d9be15c7ad4c-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/djsotofett_custom-e3e23f3810bf49a106b4f92c1737d9be15c7ad4c-75x75.jpg 75w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003c/p>\n\u003cp>A sprawling, varied LP From the Sex Tags Mania boss DJ Sotofett, \u003cem>Drippin’ For A Tripp\u003c/em> blends sparkling new age with ambient house and West African melodies. The Norwegian DJ’s left-field dance label has a reputation for oddball charm, so it makes sense that his debut LP strikes a chord between warm and weird. Made with six different artists over a two year period, the record’s reggae, batucada and dub influences hang neatly between sinewy synths and flashes of psychedelia. Watch out for “Nondo,” where Maimouna Haugen’s intro vocal lulls the senses before housey drums and trippy pings perk them back up. \u003cem>–Sami Yenigun\u003c/em>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/417426717/418405695\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\">\u003c/iframe>\u003c/p>\n\u003cp>Drippin’ For A Tripp\u003cem> is only available in physical formats. Buy it from \u003ca href=\"http://www.forcedexposure.com/Artists/DJ.SOTOFETT.html\" target=\"_blank\" rel=\"noopener\">Forced Exposure\u003c/a> or \u003ca href=\"http://honestjons.com/shop/artist/DJ_Sotofett/release/Drippin_For_A_Tripp\" target=\"_blank\" rel=\"noopener\">Honest Jon’s\u003c/a>.\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>\u003cstrong>DONNIE TRUMPET & THE SOCIAL EXPERIMENT\u003cbr>\u003c/strong>\u003c/strong>\u003cstrong>\u003cem>Surf\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/surf_custom-29183b6239c864d5e2db84c2b6b00ce6a4d820b7.jpe\" alt=\"Surf by Donnie Trumpet & The Social Experiment\" width=\"200\" height=\"200\" class=\"alignright size-full wp-image-10817754\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/surf_custom-29183b6239c864d5e2db84c2b6b00ce6a4d820b7.jpe 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/surf_custom-29183b6239c864d5e2db84c2b6b00ce6a4d820b7-32x32.jpe 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/surf_custom-29183b6239c864d5e2db84c2b6b00ce6a4d820b7-64x64.jpe 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/surf_custom-29183b6239c864d5e2db84c2b6b00ce6a4d820b7-96x96.jpe 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/surf_custom-29183b6239c864d5e2db84c2b6b00ce6a4d820b7-128x128.jpe 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/surf_custom-29183b6239c864d5e2db84c2b6b00ce6a4d820b7-75x75.jpe 75w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003c/p>\n\u003cp>For the last time: This is NOT a Chance The Rapper album. Not to say that a Chance album wouldn’t be nice, but \u003cem>Surf\u003c/em> is a welcome digression in the much-hyped Chicago MC’s career. And although Chance is its vocalist, the group is fronted by, as its name suggests, Donnie Trumpet, a.k.a. Nico Segal. On \u003cem>Surf, \u003c/em>the band takes pleasure in sidestepping categorizations, not with a defiant snarl but rather a cheerful smile. It’s a feel good album in the “turn up!” era: an amalgam of jazz, poetry, neo-soul and hip-hop with an effervescent pop appeal that just happens to feature great live instrumentation and unexpected guest shots from artists as disparate as \u003ca href=\"http://www.npr.org/artists/36898288/erykah-badu\" target=\"_blank\" rel=\"noopener\">Erykah Badu\u003c/a> and Quavo. Who knew happy didn’t have to be hokey? \u003cem>–Timmhotep Aku\u003c/em>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/417426717/418405179\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\">\u003c/iframe>\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>GIRLPOOL\u003cbr>\u003cem>Before The World Was Big \u003c/em>\u003cbr>\u003c/strong>\u003cbr>\n\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/girlpool_custom-610ffd1d67745c8505fdf19b11822282831f37c7.png\" alt=\"Before The World Was Big by Girlpool\" width=\"200\" height=\"200\" class=\"alignright size-full wp-image-10817755\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/girlpool_custom-610ffd1d67745c8505fdf19b11822282831f37c7.png 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/girlpool_custom-610ffd1d67745c8505fdf19b11822282831f37c7-32x32.png 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/girlpool_custom-610ffd1d67745c8505fdf19b11822282831f37c7-64x64.png 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/girlpool_custom-610ffd1d67745c8505fdf19b11822282831f37c7-96x96.png 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/girlpool_custom-610ffd1d67745c8505fdf19b11822282831f37c7-128x128.png 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/girlpool_custom-610ffd1d67745c8505fdf19b11822282831f37c7-75x75.png 75w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003c/p>\n\u003cp>As \u003ca href=\"http://www.npr.org/artists/381937892/girlpool\" target=\"_blank\" rel=\"noopener\">Girlpool\u003c/a>, Harmony Trividad and Cleo Tucker have distilled the equipment necessary for a direct link between ear canal and heartstrings down to two members, two instruments, one cassette, one EP and one full-length album. That album, \u003cem>Before The World Was Big\u003c/em>, is a lo-fi collection of punk songs that have a playful spirit but aren’t playing around. Trividad and Tucker specialize in no-frills singing and simple instrumentation that cut through bone and aim for marrow. The title track, in particular, features vocal harmonies that are almost startling in their poignancy and impact, bringing life to lyrics about memory and the loss of things remembered. Girlpool’s lack of polish does nothing to diminish its shine, and its free-spirited approach to punk only adds to the power behind their punch.\u003cem> –Katie Presley\u003c/em>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/417426717/418404861\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\">\u003c/iframe>\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>IBEYI\u003cbr>\u003cem>Ibeyi\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/ibeyi_custom-ca6af2a49db46c525a0d9b523ad0045f982292fb.jpg\" alt=\"Ibeyi by Ibeyi\" width=\"200\" height=\"172\" class=\"alignright size-full wp-image-10817756\">\u003c/p>\n\u003cp>There are a lot of things to admire about the self-titled debut from \u003ca href=\"http://www.npr.org/artists/338284149/ibeyi\" target=\"_blank\" rel=\"noopener\">Ibeyi \u003c/a>— an accomplishment considering that there simply aren’t a lot of things in it. It’s made by a band of twin sisters: One sings and plays piano; the other sings backup and makes beats. The textures are often minimal, the assembly spare. Of course, there’s more behind that, namely two musical parents who raised them in France and Cuba and around Afro-Cuban religious culture. So their foray into the production-and-voice duo model is sung in both English and Yoruba (and a little French), with electronics that employ traditional cajón and batá drums toward hip-hop ideas. It’s very much a summons to the ghosts of their history, whether in direct incantations to Santería deities or in its dedication to their father and elder sister, who both died prematurely. And there’s the way their voices hang, overlap, chant in unison, linger as a chorus; Ibeyi may be only two people, but there are more presences in the room. \u003cem>— Patrick Jarenwattananon\u003c/em>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/417426717/418404599\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\">\u003c/iframe>\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>J. COLE\u003cbr>\u003cem>2014 Forest Hills Drive \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/jcole_custom-fb0e99fdb64545c72fcd22df2a8cec29d468dbf2.jpg\" alt=\"2014 Forest Hills Drive by J. Cole\" width=\"200\" height=\"200\" class=\"alignright size-full wp-image-10817757\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/jcole_custom-fb0e99fdb64545c72fcd22df2a8cec29d468dbf2.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/jcole_custom-fb0e99fdb64545c72fcd22df2a8cec29d468dbf2-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/jcole_custom-fb0e99fdb64545c72fcd22df2a8cec29d468dbf2-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/jcole_custom-fb0e99fdb64545c72fcd22df2a8cec29d468dbf2-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/jcole_custom-fb0e99fdb64545c72fcd22df2a8cec29d468dbf2-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/jcole_custom-fb0e99fdb64545c72fcd22df2a8cec29d468dbf2-75x75.jpg 75w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003c/p>\n\u003cp>Can everyone just give \u003ca href=\"http://www.npr.org/artists/397293070/j-cole\" target=\"_blank\" rel=\"noopener\">Jermaine Cole\u003c/a> his props already? With this album, Cole, ever the underdog, has proven that he’s not only come into his own artistically but also that he deserves to be mentioned in the same breath as hip-hop’s current elite. A surprise release in December of last year, \u003cem>2014 Forest Hills Drive\u003c/em> makes our 2015 list because: A) it was released after we published our \u003ca href=\"http://www.npr.org/2014/12/08/368731400/npr-musics-50-favorite-albums-of-2014\" target=\"_blank\" rel=\"noopener\">2014 albums list\u003c/a> and B) although it dropped during the holiday season it stayed in rotation well into the new year. Chalk it up to Cole’s now-perfected formula of breaking up his bravado with moments of introspection and brutal honesty. Musically we heard him explore melody as he never had before, singing from his soul as much as he rapped his little heart out. Largely self-produced and featuring no one but background vocalists, it proves he can carry an album on his own, without the aide of his Roc Nation benefactor \u003ca href=\"http://www.npr.org/artists/16318474/jay-z\" target=\"_blank\" rel=\"noopener\">Jay Z\u003c/a> or a big name producer — a feat in itself. So again, can J. Cole finally get his just due? \u003cem>–Timmhotep Aku\u003c/em>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://embed.spotify.com/?uri=spotify:track:16qYlQ6koFxYVbiJbGHblz\" frameborder=\"0\" allowtransparency=\"true\" width=\"690\" height=\"80\">\u003c/iframe>\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>JAZMINE SULLIVAN \u003cbr>\u003cem>Reality Show\u003c/em>\u003cbr>\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/jazminesullivan_custom-88d565389bb15ff6c431f0cf1d4f8a28107fdf14.jpg\" alt=\"Reality Show by Jazmine Sullivan\" width=\"200\" height=\"200\" class=\"alignright size-full wp-image-10817758\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/jazminesullivan_custom-88d565389bb15ff6c431f0cf1d4f8a28107fdf14.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/jazminesullivan_custom-88d565389bb15ff6c431f0cf1d4f8a28107fdf14-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/jazminesullivan_custom-88d565389bb15ff6c431f0cf1d4f8a28107fdf14-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/jazminesullivan_custom-88d565389bb15ff6c431f0cf1d4f8a28107fdf14-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/jazminesullivan_custom-88d565389bb15ff6c431f0cf1d4f8a28107fdf14-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/jazminesullivan_custom-88d565389bb15ff6c431f0cf1d4f8a28107fdf14-75x75.jpg 75w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003c/p>\n\u003cp>In 2011, as one of R&B’s strongest voices, Jazmine Sullivan announced via Twitter that she was taking a self-imposed hiatus from singing: “i promised myself when it wasn’t fun anymore i wouldn’t do it. and here i am [sic],” she wrote. Fast-forward four years, and she’s finally back — with a hell of a concept in front of her. On \u003cem>Reality Show,\u003c/em> Sullivan interprets the imaginary life of your present-day reality TV star by flirting with just about every approach possible. She never lets us get the least bit comfortable: she effortlessly transitions from flawless a capella runs (“Forever Don’t Last”) to full-fledged visions of sensual clarity (“Veins”). The somewhat unsettling “Mascara” juxtaposes fleshed-out, meaningful production and Sullivan’s fully alive voice with lyrics that grate against everything we believe in: “Most people think I’m shallow ’cause I’m always dressed like I’m going out to the club / But I gotta keep up cause it’s new chicks poppin’ up everyday and they want the same thing.” Whichever direction she flows, Sullivan gently reminds us with each turn that she’s capable of taking anything on — with no problem. \u003cem>–Kiana Fitzgerald\u003c/em>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://embed.spotify.com/?uri=spotify:track:6KOc6ViZB8NtfCVABmTe66\" frameborder=\"0\" allowtransparency=\"true\" width=\"690\" height=\"80\">\u003c/iframe>\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>KACEY MUSGRAVES \u003cbr>\u003cem>Pageant Material\u003c/em>\u003cbr>\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/kaceymusgraves_custom-32202915eef7d840060eb250f5ae868de0e9bf51.jpg\" alt=\"Pageant Material by Kacey Musgraves\" width=\"200\" height=\"200\" class=\"alignright size-full wp-image-10817759\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/kaceymusgraves_custom-32202915eef7d840060eb250f5ae868de0e9bf51.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/kaceymusgraves_custom-32202915eef7d840060eb250f5ae868de0e9bf51-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/kaceymusgraves_custom-32202915eef7d840060eb250f5ae868de0e9bf51-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/kaceymusgraves_custom-32202915eef7d840060eb250f5ae868de0e9bf51-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/kaceymusgraves_custom-32202915eef7d840060eb250f5ae868de0e9bf51-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/kaceymusgraves_custom-32202915eef7d840060eb250f5ae868de0e9bf51-75x75.jpg 75w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003c/p>\n\u003cp>\u003ca href=\"http://www.npr.org/artists/174510165/kacey-musgraves\" target=\"_blank\" rel=\"noopener\">Kacey Musgraves\u003c/a>‘ 2013 debut, \u003cem>Same Trailer Different Park,\u003c/em> mixed go-your-own-way anthems with heartbreaking songs about lives set adrift by circumstance, tradition and old habits. For the most part, \u003cem>Pageant Material\u003c/em> doubles down on the anthems at the expense of the heartbreak: It’s largely a collection of mission statements about minding your own business, being yourself despite outside pressures, trusting your family warts and all, and making the most of what we’re given while we’re around to enjoy it. But those mission statements — again written by Musgraves, again with ace assists from a small team that includes Brandy Clark and Shane McAnally — are quotably, often poignantly irresistible. “Dime Store Cowgirl,” for example, may tread familiar thematic ground in the way it paints Musgraves as a country star who’s remained unchanged by the trappings of fame. But the song, like so much of what surrounds it on \u003cem>Pageant Material,\u003c/em> is a gorgeously shimmering, almost impossibly infectious charmer. \u003cem>–Stephen Thompson\u003c/em>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://embed.spotify.com/?uri=spotify:track:4vHVfwVi2CEc4r7P1Pr9iu\" frameborder=\"0\" allowtransparency=\"true\" width=\"690\" height=\"80\">\u003c/iframe>\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>KAMASI WASHINGTON\u003cbr>\u003c/strong>\u003cem>\u003cstrong>The Epic\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/kamasiwashington_custom-98df6b2aef81941ce4f307eee6d90d216edbbb8f.jpg\" alt=\"The Epic by Kamasi Washington\" width=\"200\" height=\"200\" class=\"alignright size-full wp-image-10817760\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/kamasiwashington_custom-98df6b2aef81941ce4f307eee6d90d216edbbb8f.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/kamasiwashington_custom-98df6b2aef81941ce4f307eee6d90d216edbbb8f-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/kamasiwashington_custom-98df6b2aef81941ce4f307eee6d90d216edbbb8f-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/kamasiwashington_custom-98df6b2aef81941ce4f307eee6d90d216edbbb8f-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/kamasiwashington_custom-98df6b2aef81941ce4f307eee6d90d216edbbb8f-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/kamasiwashington_custom-98df6b2aef81941ce4f307eee6d90d216edbbb8f-75x75.jpg 75w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003c/p>\n\u003cp>It’s not that this record sounds, in any specific regional identity sort of way, like Los Angeles. If anything, it sounds like dislocation and amalgam: like ’70s modal swing, like Donald Byrd’s \u003cem>A New Perspective\u003c/em> meets \u003cem>Charlie Parker With Strings,\u003c/em> like the last half century of black popular music. But L.A. is integral to its existence. It’s where saxophonist and composer Kamasi Washington, now 34, met his bandmates in high school or before. It’s where they found various gigs with pop stars, set up residencies in clubs that would have them, lived in actual houses where they can jam and pooled their money to book a recording studio for a month. The first fruit from that collective undertaking is overkill: 17 songs, nearly three hours, horns, a double rhythm section, strings, vocal chorus. It’s gloriously so, an imposing collection that first overwhelms with volume and energy and ecstatic solos and reveals its depth of color and hummable melodies as you begin to process it. It’s proof that you can both go big and go home. \u003cem>–Patrick Jarenwattananon\u003c/em>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/417426717/418404453\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\">\u003c/iframe>\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>KENDRICK LAMAR\u003cbr>\u003c/strong>\u003cstrong>\u003cem>To Pimp A Butterfly\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/kendricklamar_custom-0f8eee868936faf9f65bb9f422b4bf7e507e0caf.jpg\" alt=\"To Pimp A Butterfly by Kendrick Lamar\" width=\"200\" height=\"200\" class=\"alignright size-full wp-image-10817761\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/kendricklamar_custom-0f8eee868936faf9f65bb9f422b4bf7e507e0caf.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/kendricklamar_custom-0f8eee868936faf9f65bb9f422b4bf7e507e0caf-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/kendricklamar_custom-0f8eee868936faf9f65bb9f422b4bf7e507e0caf-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/kendricklamar_custom-0f8eee868936faf9f65bb9f422b4bf7e507e0caf-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/kendricklamar_custom-0f8eee868936faf9f65bb9f422b4bf7e507e0caf-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/kendricklamar_custom-0f8eee868936faf9f65bb9f422b4bf7e507e0caf-75x75.jpg 75w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003c/p>\n\u003cp>Last year he got labeled a sell-out due to his support for Australian hip-popper Iggy Azalea and for making a seemingly conservative remark about Mike Brown’s shooting in a \u003cem>Billboard\u003c/em> story. This year he made a surprising, possibly jarring, cameo in fan \u003ca href=\"http://www.npr.org/artists/120581188/taylor-swift\" target=\"_blank\" rel=\"noopener\">Taylor Swift\u003c/a>‘s “Bad Blood” mega-video. So this we know: \u003ca href=\"http://www.npr.org/artists/166009689/kendrick-lamar\" target=\"_blank\" rel=\"noopener\">Kendrick Lamar\u003c/a> isn’t chasing traditional street cred and he may not always be down for the righteous cause. Loving him is complicated. But not unlike social media loose cannon \u003ca href=\"http://www.npr.org/artists/14889532/kanye-west\" target=\"_blank\" rel=\"noopener\">Kanye West\u003c/a>, Lamar knows how to filter his manic ideas and channel his range of feeling into a cohesive album as artistic statement. \u003cem>To Pimp a Butterfly\u003c/em>‘s scalding mix of neo-soul, jazz, electronica, sampled soul, sound effects and spoken word interludes — to say nothing of Lamar’s diverse constellation of vocal personas and his wicked ability to warp his own flow on demand — makes this album far more outré, and self-consciously bizarre, than his 2012 throwback cinematic \u003cem>Good Kid M.A.A.D City\u003c/em>. It’s a sprawling, chaotic structure of feeling in the form of 16 album tracks. The list of collaborators here, from George Clinton to \u003ca href=\"http://www.npr.org/artists/15396311/robert-glasper\" target=\"_blank\" rel=\"noopener\">Robert Glasper\u003c/a> to Thundercat, and even the faux staged interview with \u003ca href=\"http://www.npr.org/artists/88479205/tupac-shakur\" target=\"_blank\" rel=\"noopener\">Tupac\u003c/a>, helps deliver the goods; but it is Lamar’s profound insistence on self-empowerment in the context of his own scars and trauma that really wows. Top tracks include “i,” coasting on its instantly-recognizable \u003ca href=\"http://www.npr.org/artists/15331601/the-isley-brothers\" target=\"_blank\" rel=\"noopener\">Isley Brothers\u003c/a>‘ sample, and the marauding black masculinity screed “King Kunta.” There are no easy, simple answers in\u003cem> To Pimp a Butterfly\u003c/em>; in working through its unapologetic mania, maybe you’ll discover your own truths. \u003cem>–Jason King\u003c/em>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://embed.spotify.com/?uri=spotify:track:0N3W5peJUQtI4eyR6GJT5O\" frameborder=\"0\" allowtransparency=\"true\" width=\"690\" height=\"80\">\u003c/iframe>\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>LOS HIJOS DE LA MONTAÑA \u003cbr>\u003cem>Los Hijos de la Montaña \u003c/em>\u003cbr>\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/loshijosdelamontana_custom-0c1f3c586e60306e73473ab0bcb719242a197f14.jpe\" alt=\"Los Hijos de la Montaña by Los Hijos de la Montaña\" width=\"200\" height=\"200\" class=\"alignright size-full wp-image-10817762\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/loshijosdelamontana_custom-0c1f3c586e60306e73473ab0bcb719242a197f14.jpe 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/loshijosdelamontana_custom-0c1f3c586e60306e73473ab0bcb719242a197f14-32x32.jpe 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/loshijosdelamontana_custom-0c1f3c586e60306e73473ab0bcb719242a197f14-64x64.jpe 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/loshijosdelamontana_custom-0c1f3c586e60306e73473ab0bcb719242a197f14-96x96.jpe 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/loshijosdelamontana_custom-0c1f3c586e60306e73473ab0bcb719242a197f14-128x128.jpe 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/loshijosdelamontana_custom-0c1f3c586e60306e73473ab0bcb719242a197f14-75x75.jpe 75w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003c/p>\n\u003cp>I’ve been calling it “The Meeting of the Mendozas,” this first-ever collaboration between songwriter Sergio Mendoza and vocalist Luz Elena Mendoza. The two (unrelated) musicians represent two very unique takes on Mexican influences in their music: Luz Elena is the husky-voiced lead singer of Y la Bamba, a group from the Pacific Northwest that I once described as a group of “rugged choir boys”; Sergio has divided his time between Calexico and his own Orkesta Mendoza, a 1950s-inspired mambo rock band. Together these Mendozas sound nothing like their separate bands: Los Hijos de la Montaña is a captivating sonic soundscape of a mythical Southwest, a land where the border doesn’t exist and the musical flow is bilingual and bi-cultural. It hasn’t caused much of a stir in the crowded world of online music, but this album is worth a second and even third listen six months into this year. There is a well-crafted and expertly-performed world in this music that is very real to many of us who grew up in the Southwest. This collaboration nails the sound in our heads perfectly. \u003cem>–Felix Contreras\u003c/em>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/417426717/418404336\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\">\u003c/iframe>\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>MBONGWANA STAR \u003cbr>\u003cem>From Kinshasa\u003c/em>\u003cbr>\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/mbongwanastar_custom-532fee2ae2597bd28978f43709c586fb6bde455b.jpg\" alt=\"From Kinshasa by Mbongwana Star\" width=\"200\" height=\"200\" class=\"alignright size-full wp-image-10817763\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/mbongwanastar_custom-532fee2ae2597bd28978f43709c586fb6bde455b.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/mbongwanastar_custom-532fee2ae2597bd28978f43709c586fb6bde455b-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/mbongwanastar_custom-532fee2ae2597bd28978f43709c586fb6bde455b-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/mbongwanastar_custom-532fee2ae2597bd28978f43709c586fb6bde455b-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/mbongwanastar_custom-532fee2ae2597bd28978f43709c586fb6bde455b-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/mbongwanastar_custom-532fee2ae2597bd28978f43709c586fb6bde455b-75x75.jpg 75w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003c/p>\n\u003cp>The original title for this album was “From Kinshasa to the Moon,” and that sounds just about right — this commingling of Congolese street music and electronic sounds is at once earthy and totally futuristic. Anchored by two veterans of the DRC’s Staff Benda Bilili (Yakala “Coco” Ngambali and Nsituvuidi “Theo” Nzonzawho) who teamed up with Paris-based Irish producer Liam Farrell, Mbongwana Star lives true to its name: “mbongwana” means “transformation” in the Lingala language. From the album’s first single, the hyper-metallic “Malukayi” (featuring Konono Nº1), to the sweat-drenched Congolese rumba of “Shégué” and the dance floor thrust of “Nganshé,” you hear the band’s metamorphic power throttling straight into the fringes of the great beyond. \u003cem>–Anastasia Tsioulcas\u003c/em>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/417426717/418404176\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\">\u003c/iframe>\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>RHIANNON GIDDENS \u003cbr>\u003cem>Tomorrow Is My Turn \u003c/em>\u003cbr>\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/rhiannongiddens_custom-5891affac18931df678bde97c406f217cc89458d.jpg\" alt=\"Tomorrow Is My Turn by Rhiannon Giddens\" width=\"200\" height=\"200\" class=\"alignright size-full wp-image-10817764\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/rhiannongiddens_custom-5891affac18931df678bde97c406f217cc89458d.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/rhiannongiddens_custom-5891affac18931df678bde97c406f217cc89458d-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/rhiannongiddens_custom-5891affac18931df678bde97c406f217cc89458d-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/rhiannongiddens_custom-5891affac18931df678bde97c406f217cc89458d-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/rhiannongiddens_custom-5891affac18931df678bde97c406f217cc89458d-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/rhiannongiddens_custom-5891affac18931df678bde97c406f217cc89458d-75x75.jpg 75w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003c/p>\n\u003cp>The first thought that takes over during a listen to \u003ca href=\"http://www.npr.org/artists/384980773/rhiannon-giddens\" target=\"_blank\" rel=\"noopener\">Rhiannon Giddens\u003c/a>‘ solo debut is: This woman can sing anything. Country, art song, R&B, old-timey sounds in the style of her old band Carolina Chocolate Drops, the songbooks of Dolly Parton and \u003ca href=\"http://www.npr.org/artists/15396720/nina-simone\" target=\"_blank\" rel=\"noopener\">Nina Simone\u003c/a>: check. Stop marveling for a moment and this impeccably constructed, hotly executed collection reveals the brain and soul that feed the extraordinary voice. Giddens and producer \u003ca href=\"http://www.npr.org/artists/15171857/t-bone-burnett\" target=\"_blank\" rel=\"noopener\">T-Bone Burnett\u003c/a> recast the American songbook with women at the center. Giddens’ deeply personal interpretations of songs made famous by \u003ca href=\"http://www.npr.org/artists/15396529/patsy-cline\" target=\"_blank\" rel=\"noopener\">Patsy Cline\u003c/a>, the mezzo- soprano Florence Quivar, Elizabeth Cotten, Odetta and others strip away the tired truisms smothering our understanding of musical history. In the hands of this young master, stories that seemed beyond refreshing shine, renewed. \u003cem>–Ann Powers\u003c/em>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/417426717/418403325\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\">\u003c/iframe>\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>SEATTLE SYMPHONY \u003cbr>\u003cem>Dvořák, Symphony No. 9; Varèse, Amériques \u003c/em>\u003cbr>\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/seattlesymphony_custom-ab6a30d718c5dd322e6ec9cc313a3e4904ef0f4b.jpg\" alt=\"Dvořák, Symphony No. 9; Varèse, Amériques by Seattle Symphony\" width=\"200\" height=\"200\" class=\"alignright size-full wp-image-10817765\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/seattlesymphony_custom-ab6a30d718c5dd322e6ec9cc313a3e4904ef0f4b.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/seattlesymphony_custom-ab6a30d718c5dd322e6ec9cc313a3e4904ef0f4b-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/seattlesymphony_custom-ab6a30d718c5dd322e6ec9cc313a3e4904ef0f4b-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/seattlesymphony_custom-ab6a30d718c5dd322e6ec9cc313a3e4904ef0f4b-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/seattlesymphony_custom-ab6a30d718c5dd322e6ec9cc313a3e4904ef0f4b-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/seattlesymphony_custom-ab6a30d718c5dd322e6ec9cc313a3e4904ef0f4b-75x75.jpg 75w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003c/p>\n\u003cp>This album is an irresistible musical pairing of two sketches of the United States. The first is \u003ca href=\"http://www.npr.org/artists/15033227/antonin-dvorak\" target=\"_blank\" rel=\"noopener\">Dvorak\u003c/a>‘s famous and lush paean to the “new” Native and African-American sounds he heard in America, which has become one of the most popular symphonies ever. The other is Edgard Varèse’s crackling, clangorous \u003cem>Ameriques\u003c/em> — far less well-known, but riveting and necessary. Perhaps even more important than the repertoire are the performances. This recording bursts with terrific playing — listen to that tremendous brass! Those urgent, razor-sharp strings! And it serves as proof of the Seattle Symphony’s triumphant claim, under the leadership of Ludovic Morlot, as one of the truly great American orchestras. Beautifully engineered, too. \u003cem>–Anastasia Tsioulcas\u003c/em>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/417426717/418407642\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\">\u003c/iframe>\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>SUFJAN STEVENS \u003cbr>\u003cem>Carrie & Lowell \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/sufjanstevens_custom-3d159564518f48722b351340d4618f94dc2dc252.jpg\" alt=\"Carrie & Lowell by Sufjan Stevens\" width=\"200\" height=\"200\" class=\"alignright size-full wp-image-10817766\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/sufjanstevens_custom-3d159564518f48722b351340d4618f94dc2dc252.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/sufjanstevens_custom-3d159564518f48722b351340d4618f94dc2dc252-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/sufjanstevens_custom-3d159564518f48722b351340d4618f94dc2dc252-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/sufjanstevens_custom-3d159564518f48722b351340d4618f94dc2dc252-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/sufjanstevens_custom-3d159564518f48722b351340d4618f94dc2dc252-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/sufjanstevens_custom-3d159564518f48722b351340d4618f94dc2dc252-75x75.jpg 75w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003c/p>\n\u003cp>A decade after \u003ca href=\"http://pitchfork.com/features/staff-lists/6222-top-50-albums-of-2005/5/\" target=\"_blank\" rel=\"noopener\">his coming-out party\u003c/a> as indie’s gentlest superhero, it was starting to feel reasonable to wonder whether \u003ca href=\"http://www.npr.org/artists/15121560/sufjan-stevens\" target=\"_blank\" rel=\"noopener\">Sufjan Stevens\u003c/a>‘ feet might ever touch the ground again. From \u003cem>Illinois \u003c/em>to \u003cem>The Age of Adz \u003c/em>via \u003cem>The BQE,\u003c/em> Stevens built an ornate, dense collection of epic songs that was awe-inspiring but not always welcoming. On \u003cem>Carrie & Lowell,\u003c/em> Stevens dials things back to a whisper to reckon with the 2012 death of his mother. If it sounds like a “classic” Sufjan album on the surface, it conceals its mastery of subtle changes only lightly, all the ambition of his previous albums on the head of a pin. A deep pool of familial regret and pain in “Should Have Known Better” ripples with hope and acceptance. The gentle propulsion of “Drawn To The Blood” gives way to ambient shimmer. The most immediately “Sufjan-like” song on the album, “Eugene,” begins with lines about lemon yogurt and the “hysterical” light in the Oregon town of the title. It sounds like it could be the set-up for a new entry in his long-abandoned 50 States project, but turns despondent: “What’s the point of singing songs if they’ll never even hear you?” Stevens sings before the song abruptly ends. “We’re all gonna die,” he repeats later. And then, “F*** me, I’m falling apart.” By the album’s end, he’s lost and alone, but take a breath and put the album on again and you’ll hear him forgive his mother in the opening song. Healing doesn’t follow a straight line; neither does art. \u003cem>–Jacob Ganz\u003c/em>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/417426717/418403102\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\">\u003c/iframe>\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>TORRES \u003cbr>\u003cem>Sprinter\u003c/em>\u003cbr>\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/torres_custom-652d0a4375a8db48ae92774154c903dc34e7735b.jpg\" alt=\"Sprinter by Torres\" width=\"200\" height=\"199\" class=\"alignright size-full wp-image-10817767\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/torres_custom-652d0a4375a8db48ae92774154c903dc34e7735b.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/torres_custom-652d0a4375a8db48ae92774154c903dc34e7735b-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/torres_custom-652d0a4375a8db48ae92774154c903dc34e7735b-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/torres_custom-652d0a4375a8db48ae92774154c903dc34e7735b-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/torres_custom-652d0a4375a8db48ae92774154c903dc34e7735b-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/torres_custom-652d0a4375a8db48ae92774154c903dc34e7735b-75x75.jpg 75w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003c/p>\n\u003cp>\u003cem>Sprinter\u003c/em> is the sound of an artist at the moment her vision snaps into startling focus. Mackenzie Scott had showed promise before; her early work as \u003ca href=\"http://www.npr.org/artists/390468475/tores\" target=\"_blank\" rel=\"noopener\">Torres \u003c/a>exuded moody cool and unsettling atmosphere. \u003cem>Sprinter\u003c/em>, though, is something else, and it’s apparent within its opening minute. “Strange Hellos” opens with a strained whisper through clenched teeth, and by the time 60 seconds have passed, the song has accelerated into something approaching a full roar — it’s confident and scary and mysterious and crowd-pleasing all at once. From there, the ideas keep pouring out, as Scott explores crises of faith and identity with equal parts aggression and grace. \u003ca href=\"http://www.npr.org/artists/15405929/pj-harvey\" target=\"_blank\" rel=\"noopener\">PJ Harvey\u003c/a> is as fine a reference point as any, but \u003cem>Sprinter\u003c/em> also plays around with quieter atmospheres in songs that storm, seethe and surprise. \u003cem>–Stephen Thompson\u003c/em>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/417426717/418403057\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\">\u003c/iframe>\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>VIJAY IYER TRIO\u003cbr>\u003cem>Break Stuff \u003c/em>\u003cbr>\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/vijayiyer_custom-9883795d16e245f4f5700c4d832a5d1dbedaa58d.jpg\" alt=\"Hood by Vijay Iyer Trio\" width=\"200\" height=\"200\" class=\"alignright size-full wp-image-10817768\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/vijayiyer_custom-9883795d16e245f4f5700c4d832a5d1dbedaa58d.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/vijayiyer_custom-9883795d16e245f4f5700c4d832a5d1dbedaa58d-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/vijayiyer_custom-9883795d16e245f4f5700c4d832a5d1dbedaa58d-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/vijayiyer_custom-9883795d16e245f4f5700c4d832a5d1dbedaa58d-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/vijayiyer_custom-9883795d16e245f4f5700c4d832a5d1dbedaa58d-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/vijayiyer_custom-9883795d16e245f4f5700c4d832a5d1dbedaa58d-75x75.jpg 75w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003c/p>\n\u003cp>To say \u003ca href=\"http://www.npr.org/artists/92749291/vijay-iyer\" target=\"_blank\" rel=\"noopener\">Vijay Iyer\u003c/a> has expanded the boundaries of jazz has become old hat. For my money he has accomplished the same kind of innovation and forward thinking that \u003ca href=\"http://www.npr.org/artists/15368370/miles-davis\" target=\"_blank\" rel=\"noopener\">Miles Davis\u003c/a> used to brag about. There are some of the usual trappings: a jazz trio; larger big bands full of saxophones and brass; quirky, angular compositions that echo the best of the most challenging jazz. But what Iyer brings to every group context and performance is the kind of wandering spirit that us jazz fans cherish but rarely encounter. Plenty of musicians experiment and even dip into the screech and howl of the avant-garde but so precious few ever master the jazz tradition enough to be able abandon it and carve out a place for their own. \u003cem>Break Stuff\u003c/em> is but another chorus in the continuing song that is the life and music of Vijay Iyer. I have no doubt the next album as will be as good as his last. So for now, I spend time with his current album and marvel at how he does it. \u003cem>–Felix Contreras\u003c/em>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/417426717/418402988\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\">\u003c/iframe>\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>WILLIAM BASINSKI \u003cbr>\u003cem>Cascade \u003c/em>\u003cbr>\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/williambasinski_custom-902b71dfaf91310b397ab1ba56a964a270bf8a4b.jpg\" alt=\"Cascade by William Basinski\" width=\"200\" height=\"200\" class=\"alignright size-full wp-image-10817769\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/williambasinski_custom-902b71dfaf91310b397ab1ba56a964a270bf8a4b.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/williambasinski_custom-902b71dfaf91310b397ab1ba56a964a270bf8a4b-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/williambasinski_custom-902b71dfaf91310b397ab1ba56a964a270bf8a4b-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/williambasinski_custom-902b71dfaf91310b397ab1ba56a964a270bf8a4b-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/williambasinski_custom-902b71dfaf91310b397ab1ba56a964a270bf8a4b-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/williambasinski_custom-902b71dfaf91310b397ab1ba56a964a270bf8a4b-75x75.jpg 75w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003c/p>\n\u003cp>A master of tape loop manipulation, composer \u003ca href=\"http://www.npr.org/artists/163552901/william-basinski\" target=\"_blank\" rel=\"noopener\">William Basinski\u003c/a> is known best for his mournful, mysterious, five-hour-long recording \u003cem>The Disintegration Loops.\u003c/em> Fifteen years ago, while digitizing fragile reels of tape, he discovered a transitory beauty as they literally crumbled in the tape deck, but found new life as digital files. Now again, Basinski has rescued old tapes to create \u003cem>Cascade,\u003c/em> another mesmerizing ambient landscape. “I agonized over these and almost threw them in the trash,” he wrote in a promotional email. \u003cem>Cascade\u003c/em> appears to be built from a single fragile piano riff, drenched in reverb, slightly overmodulated and looped for nearly 40 minutes. But as usual with this most subtle composer, there’s much below Cascade’s shimmering surface. Instead of stasis, a slight tug of current floats you down a rippling streamlet. The music emerges from nowhere, shifts almost imperceptibly, then quietly recedes. Why it packs as much emotional punch as it does is a mystery best left unanswered. \u003cem>Cascade,\u003c/em> aside from its dark beauty and quiet power, is a vindication for all packrats — proof that having second thoughts about what to trash and what to save can be a glorious thing. \u003cem>–Tom Huizenga\u003c/em> \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/417426717/418401447\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\">\u003c/iframe>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=NPR+Music%27s+25+Favorite+Albums+Of+2015+%28So+Far%29&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": true,
"hasPolis": false,
"wordCount": 4714,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 106
},
"modified": 1705046831,
"excerpt": "We'll call it in the air: 2015 is going to end up being a great year for music. Here are 25 albums we fell in love with over the year's first six months.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "We'll call it in the air: 2015 is going to end up being a great year for music. Here are 25 albums we fell in love with over the year's first six months.",
"title": "NPR Music's 25 Favorite Albums Of 2015 (So Far) | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "NPR Music's 25 Favorite Albums Of 2015 (So Far)",
"datePublished": "2015-07-05T08:00:02-07:00",
"dateModified": "2024-01-12T00:07:11-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "npr-musics-25-favorite-albums-of-2015-so-far",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=417426717&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprStoryDate": "Mon, 29 Jun 2015 06:03:00 -0400",
"nprLastModifiedDate": "Mon, 29 Jun 2015 13:16:03 -0400",
"sticky": false,
"nprHtmlLink": "http://www.npr.org/2015/06/29/417426717/npr-musics-25-favorite-albums-of-2015-so-far?ft=nprml&f=417426717",
"nprStoryId": "417426717",
"nprRetrievedStory": "1",
"nprPubDate": "Mon, 29 Jun 2015 13:16:00 -0400",
"path": "/arts/10817743/npr-musics-25-favorite-albums-of-2015-so-far",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>We’ll call it in the air: 2015 is going to end up being a great year for music. The albums that have impressed us the most over the year’s first six months are a varied lot. There’s enormous ambition on display here, epic works crafted to bust boundaries or reshape at will (check out that three-hour debut album), but also intensity in small gestures: a pair of devastating albums about loss, two more anchored in the sounds of sisterly harmonies. As we reach the year’s mid-point, take a moment to listen with us, ears wide open to a great six months of music. Let’s hope the second half of 2015 lives up to it.\u003c/p>\n\u003cp>\u003cem>Advisory: Some of the songs on this page contain profanity.\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>ALABAMA SHAKES\u003cbr>\u003cem>Sound & Color\u003c/em>\u003cbr>\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/alabamashakes_custom-e197e7902b347566d9796f6be89d96b2a9828bb6.jpg\" alt=\"Sound & Color by Alabama Shakes\" width=\"200\" height=\"200\" class=\"alignright size-full wp-image-10817745\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/alabamashakes_custom-e197e7902b347566d9796f6be89d96b2a9828bb6.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/alabamashakes_custom-e197e7902b347566d9796f6be89d96b2a9828bb6-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/alabamashakes_custom-e197e7902b347566d9796f6be89d96b2a9828bb6-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/alabamashakes_custom-e197e7902b347566d9796f6be89d96b2a9828bb6-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/alabamashakes_custom-e197e7902b347566d9796f6be89d96b2a9828bb6-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/alabamashakes_custom-e197e7902b347566d9796f6be89d96b2a9828bb6-75x75.jpg 75w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003c/p>\n\u003cp>On its second album, this Athens, Ala. band — now chart-toppers, late-nite TV veterans, large-font festival draws — sounds less like a historically-accurate pedestal for propping up Brittany Howard’s monumental rock-soul-blues voice than a demolition crew with a work order to knock down some pedestals. Where the Shakes’ debut\u003cem>, Boys & Girls\u003c/em>, bopped along on the energy generated by its musicians locking into perfect step, \u003cem>Sound & Color \u003c/em>sees each band member stretching out. Bassist Zac Cockrell and drummer Steve Johnson might be the album’s\u003cem> \u003c/em>secret weapons, switching tempos and clearing space for the emotive guitar playing of Heath Fogg. Howard coos and sighs as often as she howls, hanging in the background for long stretches, yet still comes across as someone who doesn’t have to tell you twice to step aside. Like its predecessor, you can dance to all the songs on \u003cem>Sound & Color\u003c/em>, but it’s an angrier, druggier, cooler, \u003ca href=\"http://www.npr.org/2015/04/12/398068310/first-listen-alabama-shakes-sound-color\" target=\"_blank\" rel=\"noopener\">freakier\u003c/a> kind of dancing. \u003cem>–Jacob Ganz\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/417426717/418406546\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\">\u003c/iframe>\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>BJÖRK\u003cbr>\u003cem>Vulnicura\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/bjork_custom-98e3030d4db57fbf5884e004814aad2361da05f0.jpg\" alt=\"Vulnicura by Bjork\" width=\"200\" height=\"200\" class=\"alignright size-full wp-image-10817746\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/bjork_custom-98e3030d4db57fbf5884e004814aad2361da05f0.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/bjork_custom-98e3030d4db57fbf5884e004814aad2361da05f0-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/bjork_custom-98e3030d4db57fbf5884e004814aad2361da05f0-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/bjork_custom-98e3030d4db57fbf5884e004814aad2361da05f0-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/bjork_custom-98e3030d4db57fbf5884e004814aad2361da05f0-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/bjork_custom-98e3030d4db57fbf5884e004814aad2361da05f0-75x75.jpg 75w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003c/p>\n\u003cp>There’s nothing easy or joyous about \u003cem>Vulnicura\u003c/em>. \u003ca href=\"http://www.npr.org/artists/15191158/bjork\" target=\"_blank\" rel=\"noopener\">Björk\u003c/a>‘s break-up album is full of pain and betrayal. Its electronic beats won’t let you dance, the strings are heavy, there’s not a singable chorus and the words are wounds documenting an almost anthropological timeline of love lost. And with all that, \u003cem>Vulnicura\u003c/em> is worth its weight. It’s a universal album for all of us who have tangled in love. There’s never been a record quite like this; alongside all the hurt, there’s still healing to be had and to be heard. \u003cem>–Bob Boilen\u003c/em>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/417426717/418406485\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\">\u003c/iframe>\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>BOMBA ESTEREO\u003cbr>\u003cem>Amanecer \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/bombaestereo_custom-ef0364272f2bc124ab95ecf3d269af1158f913f0.jpg\" alt=\"Amanecer by Bomba Estereo\" width=\"200\" height=\"200\" class=\"alignright size-full wp-image-10817747\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/bombaestereo_custom-ef0364272f2bc124ab95ecf3d269af1158f913f0.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/bombaestereo_custom-ef0364272f2bc124ab95ecf3d269af1158f913f0-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/bombaestereo_custom-ef0364272f2bc124ab95ecf3d269af1158f913f0-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/bombaestereo_custom-ef0364272f2bc124ab95ecf3d269af1158f913f0-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/bombaestereo_custom-ef0364272f2bc124ab95ecf3d269af1158f913f0-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/bombaestereo_custom-ef0364272f2bc124ab95ecf3d269af1158f913f0-75x75.jpg 75w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003c/p>\n\u003cp>\u003ca href=\"http://www.npr.org/artists/121272357/bomba-estereo\" target=\"_blank\" rel=\"noopener\">Bomba Estereo\u003c/a> has cemented itself as a band that is able to produce fun, danceable music that is also deeply rooted in tradition. The Colombian band’s sound is as much an exploration of Latin America’s indigenous and African roots as it is a stroll through the noisiest neighborhoods of Bogota. With its latest album, the band goes beyond just being incredibly fun and energetic — it dives further into a spiritual, reflective feel. \u003cem>Amanecer\u003c/em> is intimate in a way the previous Bomba Estereo albums are not, like hanging out at an after-party with someone you always suspected you could fall in love with. The crowning gem is the song “Mar (Lo Que Siento),” a reflective, airy piece that feels like drifting away on a beach after a night of dancing. \u003cem>–Jasmine Garsd\u003c/em>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/417426717/418406468\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\">\u003c/iframe>\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>BOSTON MODERN ORCHESTRA PROJECT\u003cbr>\u003cem>Play (Andrew Norman) \u003c/em>\u003cbr>\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/bmop_custom-d8ba0bddf010c798d93c5f10a8a688954b60b38a.jpg\" alt=\"Andrew Norman's Play, performed by the Boston Modern Orchestra Project\" width=\"200\" height=\"200\" class=\"alignright size-full wp-image-10817748\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/bmop_custom-d8ba0bddf010c798d93c5f10a8a688954b60b38a.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/bmop_custom-d8ba0bddf010c798d93c5f10a8a688954b60b38a-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/bmop_custom-d8ba0bddf010c798d93c5f10a8a688954b60b38a-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/bmop_custom-d8ba0bddf010c798d93c5f10a8a688954b60b38a-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/bmop_custom-d8ba0bddf010c798d93c5f10a8a688954b60b38a-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/bmop_custom-d8ba0bddf010c798d93c5f10a8a688954b60b38a-75x75.jpg 75w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003c/p>\n\u003cp>Just how good is Andrew Norman’s \u003cem>Play\u003c/em>? It might just be the best piece of large-scale orchestral music so far in the 21st century. Scored for full orchestra plus piano and extra percussion, \u003cem>Play\u003c/em> is a rigorously constructed, wildly rambunctious beast in the spirit of older works like \u003ca href=\"http://www.npr.org/artists/15162965/olivier-messiaen\" target=\"_blank\" rel=\"noopener\">Olivier Messiaen\u003c/a>‘s \u003cem>Turangalila\u003c/em> Symphony and new ones like Thomas Adès’ \u003cem>Tevot\u003c/em>. From the opening seconds, Norman, a Californian in his mid-30s, sets up a symphonic thrill ride. Through its three levels (not unlike a video game), \u003cem>Play\u003c/em> unleashes spasms of melody and whiplash transitions, but also unveils landscapes of serene beauty. Late in the piece, he carefully builds an extraordinary crescendo, topped with a sweet oboe line soaring over an orchestra that twitches and roils. \u003cem>Play\u003c/em> is a staggering achievement, built with wit and wonder. Yet for all its flamboyance — made all the more brilliant in a brave, exacting performance from Gil Rose’s Boston Modern Orchestra Project — the piece, like most great art, is a fascinating journey, one you’ll want to take again and again. \u003cem>–Tom Huizenga\u003c/em>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/417426717/418406132\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\">\u003c/iframe>\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>BROTHERS OF THE SONIC CLOTH\u003cbr>\u003cem>Brothers of the Sonic Cloth \u003c/em>\u003cbr>\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/brothersofhtesoniccloth_custom-238153439d73904901e859e80605a2235489c2d0.jpg\" alt=\"Brothers of the Sonic Cloth\" width=\"200\" height=\"200\" class=\"alignright size-full wp-image-10817749\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/brothersofhtesoniccloth_custom-238153439d73904901e859e80605a2235489c2d0.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/brothersofhtesoniccloth_custom-238153439d73904901e859e80605a2235489c2d0-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/brothersofhtesoniccloth_custom-238153439d73904901e859e80605a2235489c2d0-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/brothersofhtesoniccloth_custom-238153439d73904901e859e80605a2235489c2d0-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/brothersofhtesoniccloth_custom-238153439d73904901e859e80605a2235489c2d0-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/brothersofhtesoniccloth_custom-238153439d73904901e859e80605a2235489c2d0-75x75.jpg 75w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003c/p>\n\u003cp>Seattle’s Tad Doyle has been at this heavy game coming on three decades now. With bands like TAD and Hog Molly, he could take a bummer riff and make it boil and hum in ways others just couldn’t. Years in the making, Brothers of the Sonic Cloth’s debut is a thoroughly satisfying doom metal LP that is fully awake and teeming with power. \u003cem>–Lars Gotrich\u003c/em>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/417426717/418406021\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\">\u003c/iframe>\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>CHRIS STAPLETON\u003cbr>\u003c/strong>\u003cstrong>\u003cem>Traveller \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/chrisstapleton_custom-2251bd262f3768adc8edff8c3d8809fef2f2251e.jpg\" alt=\"Traveller by Chris Stapleton\" width=\"200\" height=\"200\" class=\"alignright size-full wp-image-10817750\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/chrisstapleton_custom-2251bd262f3768adc8edff8c3d8809fef2f2251e.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/chrisstapleton_custom-2251bd262f3768adc8edff8c3d8809fef2f2251e-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/chrisstapleton_custom-2251bd262f3768adc8edff8c3d8809fef2f2251e-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/chrisstapleton_custom-2251bd262f3768adc8edff8c3d8809fef2f2251e-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/chrisstapleton_custom-2251bd262f3768adc8edff8c3d8809fef2f2251e-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/chrisstapleton_custom-2251bd262f3768adc8edff8c3d8809fef2f2251e-75x75.jpg 75w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003c/p>\n\u003cp>Here’s the truth: Music critics are so buried in new releases that some — including those that rank in a given year’s Top 10 — might only get a few impassioned spins before being retired to make room for a new deluge. But a select few become the soft denim jackets in a music lover’s listening closet, pulled out time after time, lending comfort, suiting every occasion, with treasure stuffed in every pocket. This exquisite debut album by one of Nashville’s great all-around talents is that kind of satisfying. It rocks hard; it doles out heartache; it’s funny and profound; it showcases a stunning voice and celebrates the camaraderie of a fine band. It’s a keeper in the deepest sense.\u003cem> –Ann Powers\u003c/em>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://embed.spotify.com/?uri=spotify:track:178OI1A3qjROeFeh8lmNwW\" frameborder=\"0\" allowtransparency=\"true\" width=\"690\" height=\"80\">\u003c/iframe>\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>COURTNEY BARNETT\u003cbr>\u003c/strong>\u003cem>\u003cstrong>Sometimes I Sit And Think, And Sometimes I Just Sit \u003c/strong>\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/courtneybarnett_custom-d0a0483b67bab1f41ad6335e421bdc3c1e72345e.jpg\" alt=\"Sometimes I Sit and Think, and Sometimes I Just Sit by Courtney Barnett\" width=\"200\" height=\"200\" class=\"alignright size-full wp-image-10817751\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/courtneybarnett_custom-d0a0483b67bab1f41ad6335e421bdc3c1e72345e.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/courtneybarnett_custom-d0a0483b67bab1f41ad6335e421bdc3c1e72345e-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/courtneybarnett_custom-d0a0483b67bab1f41ad6335e421bdc3c1e72345e-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/courtneybarnett_custom-d0a0483b67bab1f41ad6335e421bdc3c1e72345e-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/courtneybarnett_custom-d0a0483b67bab1f41ad6335e421bdc3c1e72345e-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/courtneybarnett_custom-d0a0483b67bab1f41ad6335e421bdc3c1e72345e-75x75.jpg 75w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003c/p>\n\u003cp>I’ve been wanting this record since I saw \u003ca href=\"http://www.npr.org/artists/239210251/courtney-barnett\" target=\"_blank\" rel=\"noopener\">Courtney Barnett\u003c/a> three times in 2013 and heard her two EPs (repackaged together last year). Unlike those EPs, Barnett recorded her debut album with her touring band, and what’s most striking is this Australian trio’s ability to make rock and roll feel vital and not played out. Chalk some of that up to the fact that this band of bass, drums and Courtney on guitar are truly great players, but they also bolster some of the best words rock has ever had. Take this example from “Dead Fox,” a song about the repercussions of industrial agriculture:\u003c/p>\n\u003cblockquote>\n\u003cp>Heading down the Highway Hume\u003cbr>Somewhere at the end of June\u003cbr>Taxidermied kangaroos are littered on the shoulders\u003cbr>A possum Jackson Pollock is painted in the tar.\u003cbr>Sometimes I think a single sneeze could be the end of us\u003cbr>My hay-fever is turning up, just swerved into a passing truck\u003cbr>Big business overtaking\u003cbr>Without indicating.\u003cbr>He passes on the right, been driving through the night\u003cbr>To bring us the best price.\u003c/p>\n\u003c/blockquote>\n\u003cp>Barring some bolt of musical lightning before year’s end, this debut album from Courtney Barnett will be my number one record of the year. \u003cem>–Bob Boilen\u003c/em>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/417426717/418405876\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\">\u003c/iframe>\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>\u003cstrong>D’ANGELO AND THE VANGUARD\u003cbr>\u003c/strong>\u003cem>\u003cstrong>Black Messiah \u003c/strong>\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/d-angelo_custom-ed724fcecedcbaf33cf409014dc6bd9d467b346a.jpg\" alt=\"Black Messiah by D'Angelo And The Vanguard\" width=\"200\" height=\"200\" class=\"alignright size-full wp-image-10817752\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/d-angelo_custom-ed724fcecedcbaf33cf409014dc6bd9d467b346a.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/d-angelo_custom-ed724fcecedcbaf33cf409014dc6bd9d467b346a-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/d-angelo_custom-ed724fcecedcbaf33cf409014dc6bd9d467b346a-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/d-angelo_custom-ed724fcecedcbaf33cf409014dc6bd9d467b346a-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/d-angelo_custom-ed724fcecedcbaf33cf409014dc6bd9d467b346a-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/d-angelo_custom-ed724fcecedcbaf33cf409014dc6bd9d467b346a-75x75.jpg 75w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003c/p>\n\u003cp>Technically it’s a 2014 album (it dropped without much advance warning mid December) but cut us some slack: \u003cem>Black Messiah\u003c/em>‘s singles really started making waves in 2015 and \u003ca href=\"http://www.npr.org/artists/370926966/dangelo\" target=\"_blank\" rel=\"noopener\">D’Angelo\u003c/a> has been killing it on tour this spring. You shouldn’t hold Mr. Michael Archer to a fixed calendar anyways: After a 14-year hibernation, he pulled a rabbit trick by gifting us a tricky, sexy, modern classic that seemingly synthesizes the entirety of analog-era avant-garde soul — \u003ca href=\"http://www.npr.org/artists/15696782/jimi-hendrix\" target=\"_blank\" rel=\"noopener\">Hendrix\u003c/a>, Sly, Clinton, \u003ca href=\"http://www.npr.org/artists/15394157/prince\" target=\"_blank\" rel=\"noopener\">Prince\u003c/a>, Shuggie and more. He also brings the gentle bossa-like feel of “Really Love” and those Monk-ish changes on “Sugah Daddy.” Remember the old adage that if you’re late enough you’ll be on time again: The experimental sonics of \u003cem>Black Messiah\u003c/em> — with its barely intelligible lyrics and impressive analog mix by Russ Elevado — somehow manage to capture the muffled anger and simmering agitation that increasingly defines black life in the age of Ferguson, Baltimore and Charleston. The creeping, almost resigned weariness of tunes like “Charade” suggests both the everyday melancholy and profound resilience of people darker than blue facing a violent, supremacist culture. As did Charles Burnett’s \u003cem>Killer of Sheep\u003c/em> or Bill Gunn’s \u003cem>Ganja & Hess\u003c/em> for film in their respective moments, \u003cem>Black Messiah\u003c/em> sublimates some of the feeling of 21st century black life in recorded musical form. It’s inspiration information, indeed. \u003cem>–Jason King\u003c/em>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://embed.spotify.com/?uri=spotify:track:2RcanAJpudPNDkyIe9DzKS\" frameborder=\"0\" allowtransparency=\"true\" width=\"690\" height=\"80\">\u003c/iframe>\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>\u003cstrong>DJ SOTOFETT\u003cbr>\u003c/strong>\u003cem>\u003cstrong>Drippin’ For A Tripp \u003c/strong>\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/djsotofett_custom-e3e23f3810bf49a106b4f92c1737d9be15c7ad4c.jpg\" alt=\"Drippin' For A Tripp by DJ Sotofett\" width=\"200\" height=\"200\" class=\"alignright size-full wp-image-10817753\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/djsotofett_custom-e3e23f3810bf49a106b4f92c1737d9be15c7ad4c.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/djsotofett_custom-e3e23f3810bf49a106b4f92c1737d9be15c7ad4c-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/djsotofett_custom-e3e23f3810bf49a106b4f92c1737d9be15c7ad4c-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/djsotofett_custom-e3e23f3810bf49a106b4f92c1737d9be15c7ad4c-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/djsotofett_custom-e3e23f3810bf49a106b4f92c1737d9be15c7ad4c-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/djsotofett_custom-e3e23f3810bf49a106b4f92c1737d9be15c7ad4c-75x75.jpg 75w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003c/p>\n\u003cp>A sprawling, varied LP From the Sex Tags Mania boss DJ Sotofett, \u003cem>Drippin’ For A Tripp\u003c/em> blends sparkling new age with ambient house and West African melodies. The Norwegian DJ’s left-field dance label has a reputation for oddball charm, so it makes sense that his debut LP strikes a chord between warm and weird. Made with six different artists over a two year period, the record’s reggae, batucada and dub influences hang neatly between sinewy synths and flashes of psychedelia. Watch out for “Nondo,” where Maimouna Haugen’s intro vocal lulls the senses before housey drums and trippy pings perk them back up. \u003cem>–Sami Yenigun\u003c/em>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/417426717/418405695\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\">\u003c/iframe>\u003c/p>\n\u003cp>Drippin’ For A Tripp\u003cem> is only available in physical formats. Buy it from \u003ca href=\"http://www.forcedexposure.com/Artists/DJ.SOTOFETT.html\" target=\"_blank\" rel=\"noopener\">Forced Exposure\u003c/a> or \u003ca href=\"http://honestjons.com/shop/artist/DJ_Sotofett/release/Drippin_For_A_Tripp\" target=\"_blank\" rel=\"noopener\">Honest Jon’s\u003c/a>.\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>\u003cstrong>DONNIE TRUMPET & THE SOCIAL EXPERIMENT\u003cbr>\u003c/strong>\u003c/strong>\u003cstrong>\u003cem>Surf\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/surf_custom-29183b6239c864d5e2db84c2b6b00ce6a4d820b7.jpe\" alt=\"Surf by Donnie Trumpet & The Social Experiment\" width=\"200\" height=\"200\" class=\"alignright size-full wp-image-10817754\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/surf_custom-29183b6239c864d5e2db84c2b6b00ce6a4d820b7.jpe 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/surf_custom-29183b6239c864d5e2db84c2b6b00ce6a4d820b7-32x32.jpe 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/surf_custom-29183b6239c864d5e2db84c2b6b00ce6a4d820b7-64x64.jpe 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/surf_custom-29183b6239c864d5e2db84c2b6b00ce6a4d820b7-96x96.jpe 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/surf_custom-29183b6239c864d5e2db84c2b6b00ce6a4d820b7-128x128.jpe 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/surf_custom-29183b6239c864d5e2db84c2b6b00ce6a4d820b7-75x75.jpe 75w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003c/p>\n\u003cp>For the last time: This is NOT a Chance The Rapper album. Not to say that a Chance album wouldn’t be nice, but \u003cem>Surf\u003c/em> is a welcome digression in the much-hyped Chicago MC’s career. And although Chance is its vocalist, the group is fronted by, as its name suggests, Donnie Trumpet, a.k.a. Nico Segal. On \u003cem>Surf, \u003c/em>the band takes pleasure in sidestepping categorizations, not with a defiant snarl but rather a cheerful smile. It’s a feel good album in the “turn up!” era: an amalgam of jazz, poetry, neo-soul and hip-hop with an effervescent pop appeal that just happens to feature great live instrumentation and unexpected guest shots from artists as disparate as \u003ca href=\"http://www.npr.org/artists/36898288/erykah-badu\" target=\"_blank\" rel=\"noopener\">Erykah Badu\u003c/a> and Quavo. Who knew happy didn’t have to be hokey? \u003cem>–Timmhotep Aku\u003c/em>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/417426717/418405179\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\">\u003c/iframe>\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>GIRLPOOL\u003cbr>\u003cem>Before The World Was Big \u003c/em>\u003cbr>\u003c/strong>\u003cbr>\n\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/girlpool_custom-610ffd1d67745c8505fdf19b11822282831f37c7.png\" alt=\"Before The World Was Big by Girlpool\" width=\"200\" height=\"200\" class=\"alignright size-full wp-image-10817755\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/girlpool_custom-610ffd1d67745c8505fdf19b11822282831f37c7.png 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/girlpool_custom-610ffd1d67745c8505fdf19b11822282831f37c7-32x32.png 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/girlpool_custom-610ffd1d67745c8505fdf19b11822282831f37c7-64x64.png 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/girlpool_custom-610ffd1d67745c8505fdf19b11822282831f37c7-96x96.png 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/girlpool_custom-610ffd1d67745c8505fdf19b11822282831f37c7-128x128.png 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/girlpool_custom-610ffd1d67745c8505fdf19b11822282831f37c7-75x75.png 75w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003c/p>\n\u003cp>As \u003ca href=\"http://www.npr.org/artists/381937892/girlpool\" target=\"_blank\" rel=\"noopener\">Girlpool\u003c/a>, Harmony Trividad and Cleo Tucker have distilled the equipment necessary for a direct link between ear canal and heartstrings down to two members, two instruments, one cassette, one EP and one full-length album. That album, \u003cem>Before The World Was Big\u003c/em>, is a lo-fi collection of punk songs that have a playful spirit but aren’t playing around. Trividad and Tucker specialize in no-frills singing and simple instrumentation that cut through bone and aim for marrow. The title track, in particular, features vocal harmonies that are almost startling in their poignancy and impact, bringing life to lyrics about memory and the loss of things remembered. Girlpool’s lack of polish does nothing to diminish its shine, and its free-spirited approach to punk only adds to the power behind their punch.\u003cem> –Katie Presley\u003c/em>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/417426717/418404861\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\">\u003c/iframe>\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>IBEYI\u003cbr>\u003cem>Ibeyi\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/ibeyi_custom-ca6af2a49db46c525a0d9b523ad0045f982292fb.jpg\" alt=\"Ibeyi by Ibeyi\" width=\"200\" height=\"172\" class=\"alignright size-full wp-image-10817756\">\u003c/p>\n\u003cp>There are a lot of things to admire about the self-titled debut from \u003ca href=\"http://www.npr.org/artists/338284149/ibeyi\" target=\"_blank\" rel=\"noopener\">Ibeyi \u003c/a>— an accomplishment considering that there simply aren’t a lot of things in it. It’s made by a band of twin sisters: One sings and plays piano; the other sings backup and makes beats. The textures are often minimal, the assembly spare. Of course, there’s more behind that, namely two musical parents who raised them in France and Cuba and around Afro-Cuban religious culture. So their foray into the production-and-voice duo model is sung in both English and Yoruba (and a little French), with electronics that employ traditional cajón and batá drums toward hip-hop ideas. It’s very much a summons to the ghosts of their history, whether in direct incantations to Santería deities or in its dedication to their father and elder sister, who both died prematurely. And there’s the way their voices hang, overlap, chant in unison, linger as a chorus; Ibeyi may be only two people, but there are more presences in the room. \u003cem>— Patrick Jarenwattananon\u003c/em>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/417426717/418404599\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\">\u003c/iframe>\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>J. COLE\u003cbr>\u003cem>2014 Forest Hills Drive \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/jcole_custom-fb0e99fdb64545c72fcd22df2a8cec29d468dbf2.jpg\" alt=\"2014 Forest Hills Drive by J. Cole\" width=\"200\" height=\"200\" class=\"alignright size-full wp-image-10817757\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/jcole_custom-fb0e99fdb64545c72fcd22df2a8cec29d468dbf2.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/jcole_custom-fb0e99fdb64545c72fcd22df2a8cec29d468dbf2-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/jcole_custom-fb0e99fdb64545c72fcd22df2a8cec29d468dbf2-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/jcole_custom-fb0e99fdb64545c72fcd22df2a8cec29d468dbf2-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/jcole_custom-fb0e99fdb64545c72fcd22df2a8cec29d468dbf2-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/jcole_custom-fb0e99fdb64545c72fcd22df2a8cec29d468dbf2-75x75.jpg 75w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003c/p>\n\u003cp>Can everyone just give \u003ca href=\"http://www.npr.org/artists/397293070/j-cole\" target=\"_blank\" rel=\"noopener\">Jermaine Cole\u003c/a> his props already? With this album, Cole, ever the underdog, has proven that he’s not only come into his own artistically but also that he deserves to be mentioned in the same breath as hip-hop’s current elite. A surprise release in December of last year, \u003cem>2014 Forest Hills Drive\u003c/em> makes our 2015 list because: A) it was released after we published our \u003ca href=\"http://www.npr.org/2014/12/08/368731400/npr-musics-50-favorite-albums-of-2014\" target=\"_blank\" rel=\"noopener\">2014 albums list\u003c/a> and B) although it dropped during the holiday season it stayed in rotation well into the new year. Chalk it up to Cole’s now-perfected formula of breaking up his bravado with moments of introspection and brutal honesty. Musically we heard him explore melody as he never had before, singing from his soul as much as he rapped his little heart out. Largely self-produced and featuring no one but background vocalists, it proves he can carry an album on his own, without the aide of his Roc Nation benefactor \u003ca href=\"http://www.npr.org/artists/16318474/jay-z\" target=\"_blank\" rel=\"noopener\">Jay Z\u003c/a> or a big name producer — a feat in itself. So again, can J. Cole finally get his just due? \u003cem>–Timmhotep Aku\u003c/em>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://embed.spotify.com/?uri=spotify:track:16qYlQ6koFxYVbiJbGHblz\" frameborder=\"0\" allowtransparency=\"true\" width=\"690\" height=\"80\">\u003c/iframe>\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>JAZMINE SULLIVAN \u003cbr>\u003cem>Reality Show\u003c/em>\u003cbr>\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/jazminesullivan_custom-88d565389bb15ff6c431f0cf1d4f8a28107fdf14.jpg\" alt=\"Reality Show by Jazmine Sullivan\" width=\"200\" height=\"200\" class=\"alignright size-full wp-image-10817758\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/jazminesullivan_custom-88d565389bb15ff6c431f0cf1d4f8a28107fdf14.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/jazminesullivan_custom-88d565389bb15ff6c431f0cf1d4f8a28107fdf14-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/jazminesullivan_custom-88d565389bb15ff6c431f0cf1d4f8a28107fdf14-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/jazminesullivan_custom-88d565389bb15ff6c431f0cf1d4f8a28107fdf14-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/jazminesullivan_custom-88d565389bb15ff6c431f0cf1d4f8a28107fdf14-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/jazminesullivan_custom-88d565389bb15ff6c431f0cf1d4f8a28107fdf14-75x75.jpg 75w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003c/p>\n\u003cp>In 2011, as one of R&B’s strongest voices, Jazmine Sullivan announced via Twitter that she was taking a self-imposed hiatus from singing: “i promised myself when it wasn’t fun anymore i wouldn’t do it. and here i am [sic],” she wrote. Fast-forward four years, and she’s finally back — with a hell of a concept in front of her. On \u003cem>Reality Show,\u003c/em> Sullivan interprets the imaginary life of your present-day reality TV star by flirting with just about every approach possible. She never lets us get the least bit comfortable: she effortlessly transitions from flawless a capella runs (“Forever Don’t Last”) to full-fledged visions of sensual clarity (“Veins”). The somewhat unsettling “Mascara” juxtaposes fleshed-out, meaningful production and Sullivan’s fully alive voice with lyrics that grate against everything we believe in: “Most people think I’m shallow ’cause I’m always dressed like I’m going out to the club / But I gotta keep up cause it’s new chicks poppin’ up everyday and they want the same thing.” Whichever direction she flows, Sullivan gently reminds us with each turn that she’s capable of taking anything on — with no problem. \u003cem>–Kiana Fitzgerald\u003c/em>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://embed.spotify.com/?uri=spotify:track:6KOc6ViZB8NtfCVABmTe66\" frameborder=\"0\" allowtransparency=\"true\" width=\"690\" height=\"80\">\u003c/iframe>\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>KACEY MUSGRAVES \u003cbr>\u003cem>Pageant Material\u003c/em>\u003cbr>\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/kaceymusgraves_custom-32202915eef7d840060eb250f5ae868de0e9bf51.jpg\" alt=\"Pageant Material by Kacey Musgraves\" width=\"200\" height=\"200\" class=\"alignright size-full wp-image-10817759\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/kaceymusgraves_custom-32202915eef7d840060eb250f5ae868de0e9bf51.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/kaceymusgraves_custom-32202915eef7d840060eb250f5ae868de0e9bf51-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/kaceymusgraves_custom-32202915eef7d840060eb250f5ae868de0e9bf51-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/kaceymusgraves_custom-32202915eef7d840060eb250f5ae868de0e9bf51-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/kaceymusgraves_custom-32202915eef7d840060eb250f5ae868de0e9bf51-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/kaceymusgraves_custom-32202915eef7d840060eb250f5ae868de0e9bf51-75x75.jpg 75w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003c/p>\n\u003cp>\u003ca href=\"http://www.npr.org/artists/174510165/kacey-musgraves\" target=\"_blank\" rel=\"noopener\">Kacey Musgraves\u003c/a>‘ 2013 debut, \u003cem>Same Trailer Different Park,\u003c/em> mixed go-your-own-way anthems with heartbreaking songs about lives set adrift by circumstance, tradition and old habits. For the most part, \u003cem>Pageant Material\u003c/em> doubles down on the anthems at the expense of the heartbreak: It’s largely a collection of mission statements about minding your own business, being yourself despite outside pressures, trusting your family warts and all, and making the most of what we’re given while we’re around to enjoy it. But those mission statements — again written by Musgraves, again with ace assists from a small team that includes Brandy Clark and Shane McAnally — are quotably, often poignantly irresistible. “Dime Store Cowgirl,” for example, may tread familiar thematic ground in the way it paints Musgraves as a country star who’s remained unchanged by the trappings of fame. But the song, like so much of what surrounds it on \u003cem>Pageant Material,\u003c/em> is a gorgeously shimmering, almost impossibly infectious charmer. \u003cem>–Stephen Thompson\u003c/em>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://embed.spotify.com/?uri=spotify:track:4vHVfwVi2CEc4r7P1Pr9iu\" frameborder=\"0\" allowtransparency=\"true\" width=\"690\" height=\"80\">\u003c/iframe>\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>KAMASI WASHINGTON\u003cbr>\u003c/strong>\u003cem>\u003cstrong>The Epic\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/kamasiwashington_custom-98df6b2aef81941ce4f307eee6d90d216edbbb8f.jpg\" alt=\"The Epic by Kamasi Washington\" width=\"200\" height=\"200\" class=\"alignright size-full wp-image-10817760\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/kamasiwashington_custom-98df6b2aef81941ce4f307eee6d90d216edbbb8f.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/kamasiwashington_custom-98df6b2aef81941ce4f307eee6d90d216edbbb8f-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/kamasiwashington_custom-98df6b2aef81941ce4f307eee6d90d216edbbb8f-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/kamasiwashington_custom-98df6b2aef81941ce4f307eee6d90d216edbbb8f-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/kamasiwashington_custom-98df6b2aef81941ce4f307eee6d90d216edbbb8f-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/kamasiwashington_custom-98df6b2aef81941ce4f307eee6d90d216edbbb8f-75x75.jpg 75w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003c/p>\n\u003cp>It’s not that this record sounds, in any specific regional identity sort of way, like Los Angeles. If anything, it sounds like dislocation and amalgam: like ’70s modal swing, like Donald Byrd’s \u003cem>A New Perspective\u003c/em> meets \u003cem>Charlie Parker With Strings,\u003c/em> like the last half century of black popular music. But L.A. is integral to its existence. It’s where saxophonist and composer Kamasi Washington, now 34, met his bandmates in high school or before. It’s where they found various gigs with pop stars, set up residencies in clubs that would have them, lived in actual houses where they can jam and pooled their money to book a recording studio for a month. The first fruit from that collective undertaking is overkill: 17 songs, nearly three hours, horns, a double rhythm section, strings, vocal chorus. It’s gloriously so, an imposing collection that first overwhelms with volume and energy and ecstatic solos and reveals its depth of color and hummable melodies as you begin to process it. It’s proof that you can both go big and go home. \u003cem>–Patrick Jarenwattananon\u003c/em>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/417426717/418404453\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\">\u003c/iframe>\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>KENDRICK LAMAR\u003cbr>\u003c/strong>\u003cstrong>\u003cem>To Pimp A Butterfly\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/kendricklamar_custom-0f8eee868936faf9f65bb9f422b4bf7e507e0caf.jpg\" alt=\"To Pimp A Butterfly by Kendrick Lamar\" width=\"200\" height=\"200\" class=\"alignright size-full wp-image-10817761\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/kendricklamar_custom-0f8eee868936faf9f65bb9f422b4bf7e507e0caf.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/kendricklamar_custom-0f8eee868936faf9f65bb9f422b4bf7e507e0caf-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/kendricklamar_custom-0f8eee868936faf9f65bb9f422b4bf7e507e0caf-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/kendricklamar_custom-0f8eee868936faf9f65bb9f422b4bf7e507e0caf-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/kendricklamar_custom-0f8eee868936faf9f65bb9f422b4bf7e507e0caf-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/kendricklamar_custom-0f8eee868936faf9f65bb9f422b4bf7e507e0caf-75x75.jpg 75w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003c/p>\n\u003cp>Last year he got labeled a sell-out due to his support for Australian hip-popper Iggy Azalea and for making a seemingly conservative remark about Mike Brown’s shooting in a \u003cem>Billboard\u003c/em> story. This year he made a surprising, possibly jarring, cameo in fan \u003ca href=\"http://www.npr.org/artists/120581188/taylor-swift\" target=\"_blank\" rel=\"noopener\">Taylor Swift\u003c/a>‘s “Bad Blood” mega-video. So this we know: \u003ca href=\"http://www.npr.org/artists/166009689/kendrick-lamar\" target=\"_blank\" rel=\"noopener\">Kendrick Lamar\u003c/a> isn’t chasing traditional street cred and he may not always be down for the righteous cause. Loving him is complicated. But not unlike social media loose cannon \u003ca href=\"http://www.npr.org/artists/14889532/kanye-west\" target=\"_blank\" rel=\"noopener\">Kanye West\u003c/a>, Lamar knows how to filter his manic ideas and channel his range of feeling into a cohesive album as artistic statement. \u003cem>To Pimp a Butterfly\u003c/em>‘s scalding mix of neo-soul, jazz, electronica, sampled soul, sound effects and spoken word interludes — to say nothing of Lamar’s diverse constellation of vocal personas and his wicked ability to warp his own flow on demand — makes this album far more outré, and self-consciously bizarre, than his 2012 throwback cinematic \u003cem>Good Kid M.A.A.D City\u003c/em>. It’s a sprawling, chaotic structure of feeling in the form of 16 album tracks. The list of collaborators here, from George Clinton to \u003ca href=\"http://www.npr.org/artists/15396311/robert-glasper\" target=\"_blank\" rel=\"noopener\">Robert Glasper\u003c/a> to Thundercat, and even the faux staged interview with \u003ca href=\"http://www.npr.org/artists/88479205/tupac-shakur\" target=\"_blank\" rel=\"noopener\">Tupac\u003c/a>, helps deliver the goods; but it is Lamar’s profound insistence on self-empowerment in the context of his own scars and trauma that really wows. Top tracks include “i,” coasting on its instantly-recognizable \u003ca href=\"http://www.npr.org/artists/15331601/the-isley-brothers\" target=\"_blank\" rel=\"noopener\">Isley Brothers\u003c/a>‘ sample, and the marauding black masculinity screed “King Kunta.” There are no easy, simple answers in\u003cem> To Pimp a Butterfly\u003c/em>; in working through its unapologetic mania, maybe you’ll discover your own truths. \u003cem>–Jason King\u003c/em>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://embed.spotify.com/?uri=spotify:track:0N3W5peJUQtI4eyR6GJT5O\" frameborder=\"0\" allowtransparency=\"true\" width=\"690\" height=\"80\">\u003c/iframe>\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>LOS HIJOS DE LA MONTAÑA \u003cbr>\u003cem>Los Hijos de la Montaña \u003c/em>\u003cbr>\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/loshijosdelamontana_custom-0c1f3c586e60306e73473ab0bcb719242a197f14.jpe\" alt=\"Los Hijos de la Montaña by Los Hijos de la Montaña\" width=\"200\" height=\"200\" class=\"alignright size-full wp-image-10817762\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/loshijosdelamontana_custom-0c1f3c586e60306e73473ab0bcb719242a197f14.jpe 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/loshijosdelamontana_custom-0c1f3c586e60306e73473ab0bcb719242a197f14-32x32.jpe 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/loshijosdelamontana_custom-0c1f3c586e60306e73473ab0bcb719242a197f14-64x64.jpe 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/loshijosdelamontana_custom-0c1f3c586e60306e73473ab0bcb719242a197f14-96x96.jpe 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/loshijosdelamontana_custom-0c1f3c586e60306e73473ab0bcb719242a197f14-128x128.jpe 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/loshijosdelamontana_custom-0c1f3c586e60306e73473ab0bcb719242a197f14-75x75.jpe 75w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003c/p>\n\u003cp>I’ve been calling it “The Meeting of the Mendozas,” this first-ever collaboration between songwriter Sergio Mendoza and vocalist Luz Elena Mendoza. The two (unrelated) musicians represent two very unique takes on Mexican influences in their music: Luz Elena is the husky-voiced lead singer of Y la Bamba, a group from the Pacific Northwest that I once described as a group of “rugged choir boys”; Sergio has divided his time between Calexico and his own Orkesta Mendoza, a 1950s-inspired mambo rock band. Together these Mendozas sound nothing like their separate bands: Los Hijos de la Montaña is a captivating sonic soundscape of a mythical Southwest, a land where the border doesn’t exist and the musical flow is bilingual and bi-cultural. It hasn’t caused much of a stir in the crowded world of online music, but this album is worth a second and even third listen six months into this year. There is a well-crafted and expertly-performed world in this music that is very real to many of us who grew up in the Southwest. This collaboration nails the sound in our heads perfectly. \u003cem>–Felix Contreras\u003c/em>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/417426717/418404336\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\">\u003c/iframe>\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>MBONGWANA STAR \u003cbr>\u003cem>From Kinshasa\u003c/em>\u003cbr>\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/mbongwanastar_custom-532fee2ae2597bd28978f43709c586fb6bde455b.jpg\" alt=\"From Kinshasa by Mbongwana Star\" width=\"200\" height=\"200\" class=\"alignright size-full wp-image-10817763\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/mbongwanastar_custom-532fee2ae2597bd28978f43709c586fb6bde455b.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/mbongwanastar_custom-532fee2ae2597bd28978f43709c586fb6bde455b-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/mbongwanastar_custom-532fee2ae2597bd28978f43709c586fb6bde455b-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/mbongwanastar_custom-532fee2ae2597bd28978f43709c586fb6bde455b-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/mbongwanastar_custom-532fee2ae2597bd28978f43709c586fb6bde455b-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/mbongwanastar_custom-532fee2ae2597bd28978f43709c586fb6bde455b-75x75.jpg 75w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003c/p>\n\u003cp>The original title for this album was “From Kinshasa to the Moon,” and that sounds just about right — this commingling of Congolese street music and electronic sounds is at once earthy and totally futuristic. Anchored by two veterans of the DRC’s Staff Benda Bilili (Yakala “Coco” Ngambali and Nsituvuidi “Theo” Nzonzawho) who teamed up with Paris-based Irish producer Liam Farrell, Mbongwana Star lives true to its name: “mbongwana” means “transformation” in the Lingala language. From the album’s first single, the hyper-metallic “Malukayi” (featuring Konono Nº1), to the sweat-drenched Congolese rumba of “Shégué” and the dance floor thrust of “Nganshé,” you hear the band’s metamorphic power throttling straight into the fringes of the great beyond. \u003cem>–Anastasia Tsioulcas\u003c/em>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/417426717/418404176\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\">\u003c/iframe>\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>RHIANNON GIDDENS \u003cbr>\u003cem>Tomorrow Is My Turn \u003c/em>\u003cbr>\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/rhiannongiddens_custom-5891affac18931df678bde97c406f217cc89458d.jpg\" alt=\"Tomorrow Is My Turn by Rhiannon Giddens\" width=\"200\" height=\"200\" class=\"alignright size-full wp-image-10817764\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/rhiannongiddens_custom-5891affac18931df678bde97c406f217cc89458d.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/rhiannongiddens_custom-5891affac18931df678bde97c406f217cc89458d-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/rhiannongiddens_custom-5891affac18931df678bde97c406f217cc89458d-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/rhiannongiddens_custom-5891affac18931df678bde97c406f217cc89458d-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/rhiannongiddens_custom-5891affac18931df678bde97c406f217cc89458d-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/rhiannongiddens_custom-5891affac18931df678bde97c406f217cc89458d-75x75.jpg 75w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003c/p>\n\u003cp>The first thought that takes over during a listen to \u003ca href=\"http://www.npr.org/artists/384980773/rhiannon-giddens\" target=\"_blank\" rel=\"noopener\">Rhiannon Giddens\u003c/a>‘ solo debut is: This woman can sing anything. Country, art song, R&B, old-timey sounds in the style of her old band Carolina Chocolate Drops, the songbooks of Dolly Parton and \u003ca href=\"http://www.npr.org/artists/15396720/nina-simone\" target=\"_blank\" rel=\"noopener\">Nina Simone\u003c/a>: check. Stop marveling for a moment and this impeccably constructed, hotly executed collection reveals the brain and soul that feed the extraordinary voice. Giddens and producer \u003ca href=\"http://www.npr.org/artists/15171857/t-bone-burnett\" target=\"_blank\" rel=\"noopener\">T-Bone Burnett\u003c/a> recast the American songbook with women at the center. Giddens’ deeply personal interpretations of songs made famous by \u003ca href=\"http://www.npr.org/artists/15396529/patsy-cline\" target=\"_blank\" rel=\"noopener\">Patsy Cline\u003c/a>, the mezzo- soprano Florence Quivar, Elizabeth Cotten, Odetta and others strip away the tired truisms smothering our understanding of musical history. In the hands of this young master, stories that seemed beyond refreshing shine, renewed. \u003cem>–Ann Powers\u003c/em>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/417426717/418403325\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\">\u003c/iframe>\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>SEATTLE SYMPHONY \u003cbr>\u003cem>Dvořák, Symphony No. 9; Varèse, Amériques \u003c/em>\u003cbr>\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/seattlesymphony_custom-ab6a30d718c5dd322e6ec9cc313a3e4904ef0f4b.jpg\" alt=\"Dvořák, Symphony No. 9; Varèse, Amériques by Seattle Symphony\" width=\"200\" height=\"200\" class=\"alignright size-full wp-image-10817765\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/seattlesymphony_custom-ab6a30d718c5dd322e6ec9cc313a3e4904ef0f4b.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/seattlesymphony_custom-ab6a30d718c5dd322e6ec9cc313a3e4904ef0f4b-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/seattlesymphony_custom-ab6a30d718c5dd322e6ec9cc313a3e4904ef0f4b-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/seattlesymphony_custom-ab6a30d718c5dd322e6ec9cc313a3e4904ef0f4b-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/seattlesymphony_custom-ab6a30d718c5dd322e6ec9cc313a3e4904ef0f4b-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/seattlesymphony_custom-ab6a30d718c5dd322e6ec9cc313a3e4904ef0f4b-75x75.jpg 75w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003c/p>\n\u003cp>This album is an irresistible musical pairing of two sketches of the United States. The first is \u003ca href=\"http://www.npr.org/artists/15033227/antonin-dvorak\" target=\"_blank\" rel=\"noopener\">Dvorak\u003c/a>‘s famous and lush paean to the “new” Native and African-American sounds he heard in America, which has become one of the most popular symphonies ever. The other is Edgard Varèse’s crackling, clangorous \u003cem>Ameriques\u003c/em> — far less well-known, but riveting and necessary. Perhaps even more important than the repertoire are the performances. This recording bursts with terrific playing — listen to that tremendous brass! Those urgent, razor-sharp strings! And it serves as proof of the Seattle Symphony’s triumphant claim, under the leadership of Ludovic Morlot, as one of the truly great American orchestras. Beautifully engineered, too. \u003cem>–Anastasia Tsioulcas\u003c/em>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/417426717/418407642\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\">\u003c/iframe>\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>SUFJAN STEVENS \u003cbr>\u003cem>Carrie & Lowell \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/sufjanstevens_custom-3d159564518f48722b351340d4618f94dc2dc252.jpg\" alt=\"Carrie & Lowell by Sufjan Stevens\" width=\"200\" height=\"200\" class=\"alignright size-full wp-image-10817766\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/sufjanstevens_custom-3d159564518f48722b351340d4618f94dc2dc252.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/sufjanstevens_custom-3d159564518f48722b351340d4618f94dc2dc252-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/sufjanstevens_custom-3d159564518f48722b351340d4618f94dc2dc252-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/sufjanstevens_custom-3d159564518f48722b351340d4618f94dc2dc252-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/sufjanstevens_custom-3d159564518f48722b351340d4618f94dc2dc252-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/sufjanstevens_custom-3d159564518f48722b351340d4618f94dc2dc252-75x75.jpg 75w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003c/p>\n\u003cp>A decade after \u003ca href=\"http://pitchfork.com/features/staff-lists/6222-top-50-albums-of-2005/5/\" target=\"_blank\" rel=\"noopener\">his coming-out party\u003c/a> as indie’s gentlest superhero, it was starting to feel reasonable to wonder whether \u003ca href=\"http://www.npr.org/artists/15121560/sufjan-stevens\" target=\"_blank\" rel=\"noopener\">Sufjan Stevens\u003c/a>‘ feet might ever touch the ground again. From \u003cem>Illinois \u003c/em>to \u003cem>The Age of Adz \u003c/em>via \u003cem>The BQE,\u003c/em> Stevens built an ornate, dense collection of epic songs that was awe-inspiring but not always welcoming. On \u003cem>Carrie & Lowell,\u003c/em> Stevens dials things back to a whisper to reckon with the 2012 death of his mother. If it sounds like a “classic” Sufjan album on the surface, it conceals its mastery of subtle changes only lightly, all the ambition of his previous albums on the head of a pin. A deep pool of familial regret and pain in “Should Have Known Better” ripples with hope and acceptance. The gentle propulsion of “Drawn To The Blood” gives way to ambient shimmer. The most immediately “Sufjan-like” song on the album, “Eugene,” begins with lines about lemon yogurt and the “hysterical” light in the Oregon town of the title. It sounds like it could be the set-up for a new entry in his long-abandoned 50 States project, but turns despondent: “What’s the point of singing songs if they’ll never even hear you?” Stevens sings before the song abruptly ends. “We’re all gonna die,” he repeats later. And then, “F*** me, I’m falling apart.” By the album’s end, he’s lost and alone, but take a breath and put the album on again and you’ll hear him forgive his mother in the opening song. Healing doesn’t follow a straight line; neither does art. \u003cem>–Jacob Ganz\u003c/em>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/417426717/418403102\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\">\u003c/iframe>\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>TORRES \u003cbr>\u003cem>Sprinter\u003c/em>\u003cbr>\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/torres_custom-652d0a4375a8db48ae92774154c903dc34e7735b.jpg\" alt=\"Sprinter by Torres\" width=\"200\" height=\"199\" class=\"alignright size-full wp-image-10817767\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/torres_custom-652d0a4375a8db48ae92774154c903dc34e7735b.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/torres_custom-652d0a4375a8db48ae92774154c903dc34e7735b-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/torres_custom-652d0a4375a8db48ae92774154c903dc34e7735b-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/torres_custom-652d0a4375a8db48ae92774154c903dc34e7735b-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/torres_custom-652d0a4375a8db48ae92774154c903dc34e7735b-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/torres_custom-652d0a4375a8db48ae92774154c903dc34e7735b-75x75.jpg 75w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003c/p>\n\u003cp>\u003cem>Sprinter\u003c/em> is the sound of an artist at the moment her vision snaps into startling focus. Mackenzie Scott had showed promise before; her early work as \u003ca href=\"http://www.npr.org/artists/390468475/tores\" target=\"_blank\" rel=\"noopener\">Torres \u003c/a>exuded moody cool and unsettling atmosphere. \u003cem>Sprinter\u003c/em>, though, is something else, and it’s apparent within its opening minute. “Strange Hellos” opens with a strained whisper through clenched teeth, and by the time 60 seconds have passed, the song has accelerated into something approaching a full roar — it’s confident and scary and mysterious and crowd-pleasing all at once. From there, the ideas keep pouring out, as Scott explores crises of faith and identity with equal parts aggression and grace. \u003ca href=\"http://www.npr.org/artists/15405929/pj-harvey\" target=\"_blank\" rel=\"noopener\">PJ Harvey\u003c/a> is as fine a reference point as any, but \u003cem>Sprinter\u003c/em> also plays around with quieter atmospheres in songs that storm, seethe and surprise. \u003cem>–Stephen Thompson\u003c/em>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/417426717/418403057\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\">\u003c/iframe>\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>VIJAY IYER TRIO\u003cbr>\u003cem>Break Stuff \u003c/em>\u003cbr>\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/vijayiyer_custom-9883795d16e245f4f5700c4d832a5d1dbedaa58d.jpg\" alt=\"Hood by Vijay Iyer Trio\" width=\"200\" height=\"200\" class=\"alignright size-full wp-image-10817768\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/vijayiyer_custom-9883795d16e245f4f5700c4d832a5d1dbedaa58d.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/vijayiyer_custom-9883795d16e245f4f5700c4d832a5d1dbedaa58d-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/vijayiyer_custom-9883795d16e245f4f5700c4d832a5d1dbedaa58d-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/vijayiyer_custom-9883795d16e245f4f5700c4d832a5d1dbedaa58d-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/vijayiyer_custom-9883795d16e245f4f5700c4d832a5d1dbedaa58d-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/vijayiyer_custom-9883795d16e245f4f5700c4d832a5d1dbedaa58d-75x75.jpg 75w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003c/p>\n\u003cp>To say \u003ca href=\"http://www.npr.org/artists/92749291/vijay-iyer\" target=\"_blank\" rel=\"noopener\">Vijay Iyer\u003c/a> has expanded the boundaries of jazz has become old hat. For my money he has accomplished the same kind of innovation and forward thinking that \u003ca href=\"http://www.npr.org/artists/15368370/miles-davis\" target=\"_blank\" rel=\"noopener\">Miles Davis\u003c/a> used to brag about. There are some of the usual trappings: a jazz trio; larger big bands full of saxophones and brass; quirky, angular compositions that echo the best of the most challenging jazz. But what Iyer brings to every group context and performance is the kind of wandering spirit that us jazz fans cherish but rarely encounter. Plenty of musicians experiment and even dip into the screech and howl of the avant-garde but so precious few ever master the jazz tradition enough to be able abandon it and carve out a place for their own. \u003cem>Break Stuff\u003c/em> is but another chorus in the continuing song that is the life and music of Vijay Iyer. I have no doubt the next album as will be as good as his last. So for now, I spend time with his current album and marvel at how he does it. \u003cem>–Felix Contreras\u003c/em>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/417426717/418402988\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\">\u003c/iframe>\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>WILLIAM BASINSKI \u003cbr>\u003cem>Cascade \u003c/em>\u003cbr>\u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/williambasinski_custom-902b71dfaf91310b397ab1ba56a964a270bf8a4b.jpg\" alt=\"Cascade by William Basinski\" width=\"200\" height=\"200\" class=\"alignright size-full wp-image-10817769\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/williambasinski_custom-902b71dfaf91310b397ab1ba56a964a270bf8a4b.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/williambasinski_custom-902b71dfaf91310b397ab1ba56a964a270bf8a4b-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/williambasinski_custom-902b71dfaf91310b397ab1ba56a964a270bf8a4b-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/williambasinski_custom-902b71dfaf91310b397ab1ba56a964a270bf8a4b-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/williambasinski_custom-902b71dfaf91310b397ab1ba56a964a270bf8a4b-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/williambasinski_custom-902b71dfaf91310b397ab1ba56a964a270bf8a4b-75x75.jpg 75w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003c/p>\n\u003cp>A master of tape loop manipulation, composer \u003ca href=\"http://www.npr.org/artists/163552901/william-basinski\" target=\"_blank\" rel=\"noopener\">William Basinski\u003c/a> is known best for his mournful, mysterious, five-hour-long recording \u003cem>The Disintegration Loops.\u003c/em> Fifteen years ago, while digitizing fragile reels of tape, he discovered a transitory beauty as they literally crumbled in the tape deck, but found new life as digital files. Now again, Basinski has rescued old tapes to create \u003cem>Cascade,\u003c/em> another mesmerizing ambient landscape. “I agonized over these and almost threw them in the trash,” he wrote in a promotional email. \u003cem>Cascade\u003c/em> appears to be built from a single fragile piano riff, drenched in reverb, slightly overmodulated and looped for nearly 40 minutes. But as usual with this most subtle composer, there’s much below Cascade’s shimmering surface. Instead of stasis, a slight tug of current floats you down a rippling streamlet. The music emerges from nowhere, shifts almost imperceptibly, then quietly recedes. Why it packs as much emotional punch as it does is a mystery best left unanswered. \u003cem>Cascade,\u003c/em> aside from its dark beauty and quiet power, is a vindication for all packrats — proof that having second thoughts about what to trash and what to save can be a glorious thing. \u003cem>–Tom Huizenga\u003c/em> \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/417426717/418401447\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\">\u003c/iframe>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=NPR+Music%27s+25+Favorite+Albums+Of+2015+%28So+Far%29&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/10817743/npr-musics-25-favorite-albums-of-2015-so-far",
"authors": [
"92"
],
"categories": [
"arts_69"
],
"tags": [
"arts_596"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_10817744",
"label": "arts_137"
},
"arts_10819679": {
"type": "posts",
"id": "arts_10819679",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "10819679",
"score": null,
"sort": [
1436082395000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1436082395,
"format": "standard",
"title": "For Danny Elfman, the Strange Worlds of Tim Burton Just Make Sense",
"headTitle": "For Danny Elfman, the Strange Worlds of Tim Burton Just Make Sense | KQED",
"content": "\u003cp>Tim Burton’s shadowy tales have taken audiences from a pastel suburban paradise in \u003cem>Edward Scissorhands\u003c/em> to the dark streets of Gotham City in \u003cem>Batman\u003c/em>.\u003c/p>\n\u003cp>Accompanying Burton’s strange worlds are the mysterious and unforgettable scores by composer Danny Elfman. Over the last 30 years, the two have forged an iconic partnership.\u003c/p>\n\u003cp>“There was instant chemistry in terms of what we were into,” Danny Elfman says about the first time he met Tim Burton. “We had a lot of common roots … we both grew up as horror movie kids.”\u003c/p>\n\u003cp>Burton’s latest film, \u003cem>Big Eyes\u003c/em>, marks the duo’s 16th collaboration together.\u003c/p>\n\u003cp>To celebrate, the Lincoln Center Festival in New York City opens Monday with \u003cem>\u003ca href=\"http://www.lincolncenterfestival.org/2015/danny-elfman-s-music-from-the-films-of-tim-burton\" target=\"_blank\" rel=\"noopener\">Danny Elfman’s Music from the Films of Tim Burton\u003c/a> \u003c/em>at Avery Fisher Hall.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The first act features music from \u003cem>Pee-Wee’s Big Adventure\u003c/em> — the first movie the two worked on together. While filming, Burton asked Elfman to score the film.\u003c/p>\n\u003cp>“I had a four-track tape player and I went and recorded a demo,” he says. “Sent them to him on a cassette. That was it.”\u003c/p>\n\u003cp>Burton called back a few weeks later and offered Elfman the job.\u003c/p>\n\u003cp>“In the beginning and over the years of working together, considering that it’s been 16 films, we’ve talked very little about them,” Elfman says. “Tim doesn’t like to analyze his films. Tim’s never been that way. And so we usually will see a film, he’ll tell me how he feels, a little bit about this character, that character, and we don’t really communicate until I have music to play.”\u003c/p>\n\u003cp>“I grew up feeling that I was from another planet,” Elfman says. “And I get the feeling that Tim also grew up similarly … The worlds he created didn’t seem that weird to me, it just seemed like, ‘Okay, yeah.’ ”\u003c/p>\n\u003cp>\u003cem>Hear the full piece at the audio link below.\u003c/em> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/419643892/420097073\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\">\u003c/iframe>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=For+Danny+Elfman%2C+The+Strange+Worlds+Of+Tim+Burton+Just+Make+Sense&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 366,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 14
},
"modified": 1705046833,
"excerpt": "Tim Burton's shadowy tales have taken us from a pastel suburban paradise to the dark streets of Gotham City. But what would Burton's mysterious films be without Danny Elfman's iconic music?",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Tim Burton's shadowy tales have taken us from a pastel suburban paradise to the dark streets of Gotham City. But what would Burton's mysterious films be without Danny Elfman's iconic music?",
"title": "For Danny Elfman, the Strange Worlds of Tim Burton Just Make Sense | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "For Danny Elfman, the Strange Worlds of Tim Burton Just Make Sense",
"datePublished": "2015-07-05T00:46:35-07:00",
"dateModified": "2024-01-12T00:07:13-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "for-danny-elfman-the-strange-worlds-of-tim-burton-just-make-sense",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=419643892&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Daniel Hajek",
"nprStoryDate": "Sat, 04 Jul 2015 17:04:58 -0400",
"nprLastModifiedDate": "Sat, 04 Jul 2015 17:04:58 -0400",
"sticky": false,
"nprHtmlLink": "http://www.npr.org/2015/07/04/419643892/for-danny-elfman-the-strange-worlds-of-tim-burton-just-make-sense?ft=nprml&f=419643892",
"nprAudio": "http://pd.npr.org/anon.npr-mp3/npr/atc/2015/07/20150704_atc_for_danny_elfman_the_strange_worlds_of_tim_burton_just_make_sense.mp3?orgId=1&topicId=1039&d=429&p=2&story=419643892&t=progseg&e=420097014&seg=10&ft=nprml&f=419643892",
"nprAudioM3u": "http://api.npr.org/m3u/1420097073-f9648d.m3u?orgId=1&topicId=1039&d=429&p=2&story=419643892&t=progseg&e=420097014&seg=10&ft=nprml&f=419643892",
"nprStoryId": "419643892",
"nprRetrievedStory": "1",
"nprPubDate": "Sat, 04 Jul 2015 18:42:00 -0400",
"path": "/arts/10819679/for-danny-elfman-the-strange-worlds-of-tim-burton-just-make-sense",
"audioUrl": "http://pd.npr.org/anon.npr-mp3/npr/atc/2015/07/20150704_atc_for_danny_elfman_the_strange_worlds_of_tim_burton_just_make_sense.mp3?orgId=1&topicId=1039&d=429&p=2&story=419643892&t=progseg&e=420097014&seg=10&ft=nprml&f=419643892",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Tim Burton’s shadowy tales have taken audiences from a pastel suburban paradise in \u003cem>Edward Scissorhands\u003c/em> to the dark streets of Gotham City in \u003cem>Batman\u003c/em>.\u003c/p>\n\u003cp>Accompanying Burton’s strange worlds are the mysterious and unforgettable scores by composer Danny Elfman. Over the last 30 years, the two have forged an iconic partnership.\u003c/p>\n\u003cp>“There was instant chemistry in terms of what we were into,” Danny Elfman says about the first time he met Tim Burton. “We had a lot of common roots … we both grew up as horror movie kids.”\u003c/p>\n\u003cp>Burton’s latest film, \u003cem>Big Eyes\u003c/em>, marks the duo’s 16th collaboration together.\u003c/p>\n\u003cp>To celebrate, the Lincoln Center Festival in New York City opens Monday with \u003cem>\u003ca href=\"http://www.lincolncenterfestival.org/2015/danny-elfman-s-music-from-the-films-of-tim-burton\" target=\"_blank\" rel=\"noopener\">Danny Elfman’s Music from the Films of Tim Burton\u003c/a> \u003c/em>at Avery Fisher Hall.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The first act features music from \u003cem>Pee-Wee’s Big Adventure\u003c/em> — the first movie the two worked on together. While filming, Burton asked Elfman to score the film.\u003c/p>\n\u003cp>“I had a four-track tape player and I went and recorded a demo,” he says. “Sent them to him on a cassette. That was it.”\u003c/p>\n\u003cp>Burton called back a few weeks later and offered Elfman the job.\u003c/p>\n\u003cp>“In the beginning and over the years of working together, considering that it’s been 16 films, we’ve talked very little about them,” Elfman says. “Tim doesn’t like to analyze his films. Tim’s never been that way. And so we usually will see a film, he’ll tell me how he feels, a little bit about this character, that character, and we don’t really communicate until I have music to play.”\u003c/p>\n\u003cp>“I grew up feeling that I was from another planet,” Elfman says. “And I get the feeling that Tim also grew up similarly … The worlds he created didn’t seem that weird to me, it just seemed like, ‘Okay, yeah.’ ”\u003c/p>\n\u003cp>\u003cem>Hear the full piece at the audio link below.\u003c/em> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/419643892/420097073\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\">\u003c/iframe>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=For+Danny+Elfman%2C+The+Strange+Worlds+Of+Tim+Burton+Just+Make+Sense&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/10819679/for-danny-elfman-the-strange-worlds-of-tim-burton-just-make-sense",
"authors": [
"byline_arts_10819679"
],
"categories": [
"arts_74",
"arts_69"
],
"tags": [
"arts_596"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_10819680",
"label": "arts_137"
},
"arts_10793082": {
"type": "posts",
"id": "arts_10793082",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "10793082",
"score": null,
"sort": [
1435950058000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 146
},
"blocks": [],
"publishDate": 1435950058,
"format": "standard",
"title": "Best of the Blogs, June 2015",
"headTitle": "Best of the Blogs, June 2015 | KQED",
"content": "\u003caside class=\"aligncenter\">\n\u003ch4>Listen to the Noise Pop Podcast’s latest mix of the best new music released over the past month.\u003c/h4>\n\u003cp>http://traffic.libsyn.com/noisepop/June_Best_of_Blogs.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>Every month we scour the deepest corners of the internet to find the best and most influential new music that’s circulating between blogs and social media. This month we have Boss’ed-out new songs from Destroyer and Titus Andronicus, a driving synth anthem from HEALTH, a meditation on jealousy by Widowspeak and more.\n\u003c/p>\n\u003cp>Enjoy the mix!\u003c/p>\n\u003cp>\u003cspan style=\"text-decoration: underline\">Track Listing:\u003c/span>\u003c/p>\n\u003col>\n\u003cli>“Creature” – It Looks Sad., \u003ci>Kaiju\u003c/i>\u003c/li>\n\u003cli>“Dream Lover” – Destroyer, \u003ci>Poison Season\u003c/i>\u003c/li>\n\u003cli>“Apple Cherry” – Nao, \u003ci>February 15 EP\u003c/i>\u003c/li>\n\u003cli>“Before the World Was Big” – Girlpool, \u003ci>Before the World Was Big\u003c/i>\u003c/li>\n\u003cli>“Fatal Flaw” – Titus Andronicus, \u003ci>The Most Lamentable Tragedy\u003c/i>\u003c/li>\n\u003cli>“High on Love” – Class Actress, \u003ci>Movies\u003c/i>\u003c/li>\n\u003cli>“Girls” – Widowspeak, \u003ci>All Yours\u003c/i>\u003c/li>\n\u003cli>“Windows” – Donnie Trumpet & The Social Experiment, \u003ci>Surf\u003c/i>\u003c/li>\n\u003cli>“Stonefist” – HEALTH, \u003ci>Death Magic\u003c/i>\u003c/li>\n\u003cli>“No No No” – Beirut, \u003ci>No No No\u003c/i>\u003c/li>\n\u003c/ol>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 185,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 5
},
"modified": 1705046838,
"excerpt": "Listen to the Noise Pop Podcast's latest mix of the best new music released over the past month.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Listen to the Noise Pop Podcast's latest mix of the best new music released over the past month.",
"title": "Best of the Blogs, June 2015 | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Best of the Blogs, June 2015",
"datePublished": "2015-07-03T12:00:58-07:00",
"dateModified": "2024-01-12T00:07:18-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "best-of-the-blogs-june-2015",
"status": "publish",
"sticky": false,
"path": "/arts/10793082/best-of-the-blogs-june-2015",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"aligncenter\">\n\u003ch4>Listen to the Noise Pop Podcast’s latest mix of the best new music released over the past month.\u003c/h4>\n\u003cp>http://traffic.libsyn.com/noisepop/June_Best_of_Blogs.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>Every month we scour the deepest corners of the internet to find the best and most influential new music that’s circulating between blogs and social media. This month we have Boss’ed-out new songs from Destroyer and Titus Andronicus, a driving synth anthem from HEALTH, a meditation on jealousy by Widowspeak and more.\n\u003c/p>\n\u003cp>Enjoy the mix!\u003c/p>\n\u003cp>\u003cspan style=\"text-decoration: underline\">Track Listing:\u003c/span>\u003c/p>\n\u003col>\n\u003cli>“Creature” – It Looks Sad., \u003ci>Kaiju\u003c/i>\u003c/li>\n\u003cli>“Dream Lover” – Destroyer, \u003ci>Poison Season\u003c/i>\u003c/li>\n\u003cli>“Apple Cherry” – Nao, \u003ci>February 15 EP\u003c/i>\u003c/li>\n\u003cli>“Before the World Was Big” – Girlpool, \u003ci>Before the World Was Big\u003c/i>\u003c/li>\n\u003cli>“Fatal Flaw” – Titus Andronicus, \u003ci>The Most Lamentable Tragedy\u003c/i>\u003c/li>\n\u003cli>“High on Love” – Class Actress, \u003ci>Movies\u003c/i>\u003c/li>\n\u003cli>“Girls” – Widowspeak, \u003ci>All Yours\u003c/i>\u003c/li>\n\u003cli>“Windows” – Donnie Trumpet & The Social Experiment, \u003ci>Surf\u003c/i>\u003c/li>\n\u003cli>“Stonefist” – HEALTH, \u003ci>Death Magic\u003c/i>\u003c/li>\n\u003cli>“No No No” – Beirut, \u003ci>No No No\u003c/i>\u003c/li>\n\u003c/ol>\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/10793082/best-of-the-blogs-june-2015",
"authors": [
"177"
],
"categories": [
"arts_69"
],
"tags": [
"arts_596"
],
"affiliates": [
"arts_146"
],
"featImg": "arts_10814968",
"label": "arts_146"
},
"arts_10820708": {
"type": "posts",
"id": "arts_10820708",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "10820708",
"score": null,
"sort": [
1435935613000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 147
},
"blocks": [],
"publishDate": 1435935613,
"format": "standard",
"title": "Live This Month: July 2015",
"headTitle": "Live This Month: July 2015 | KQED",
"content": "\u003caside class=\"aligncenter\">\n\u003ch4>Listen to The Bay Bridged mix of bands playing live in July.\u003c/h4>\n\u003cp>http://media.libsyn.com/media/thebaybridged/LTM_July_2015.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>\u003cem>In \u003ca href=\"http://www.thebaybridged.com/category/podcast/live-this-month/\">Live This Month\u003c/a>, we sample some of the great local and out-of-town bands performing in the coming month in the San Francisco Bay Area.\u003c/em>\u003c/p>\n\u003cp>While the returns of Thee Oh Sees and Ty Segall to SF this month are certainly cause for excitement, one former local we’re especially psyched to see is \u003cstrong>\u003ca href=\"https://www.facebook.com/pages/Tamaryn/21877892594\">Tamaryn\u003c/a>\u003c/strong> (pictured above), previewing songs from next month’s \u003cem>Cranekiss\u003c/em> at the Rickshaw Stop. While the artist’s first two LPs found her voice floating amidst atmospheric waves of guitar, her new album incorporates elements of dance-pop as well, and finds her collaborating with another former local, Shaun Durkan (of Weekend), as well as Violens’ Jorge Elbrecht.\u003c/p>\n\u003cp>Speaking of atmosphere, San Francisco experimental punk pioneers \u003cstrong>\u003ca href=\"https://www.facebook.com/chromechronicles\">Chrome\u003c/a>\u003c/strong> are hitting the road for a West Coast tour that ends at Bottom of the Hill later this month. Founded 40 years ago, the Helios Creed-led group released its most recent LP, \u003cem>Feel It Like a Scientist\u003c/em>, last year, and ought to be more heralded for its groundbreaking sonic weirdness.\u003c/p>\n\u003cp>Plenty of great touring bands are coming through town this month, too, including Providence’s \u003cstrong>\u003ca href=\"https://www.facebook.com/DowntownBoys\">Downtown Boys\u003c/a>\u003c/strong>. The group’s debut LP, \u003cem>Full Communism\u003c/em>, is one of the most exciting punk albums we’ve heard lately, delivering intensity, heart, and brains packed into some killer songs. Also highly recommended is the latest from \u003cstrong>\u003ca href=\"https://www.facebook.com/dickdiverband\">Dick Diver\u003c/a>\u003c/strong>, one of the many terrific Melbourne bands from the Mikey Young/Eddy Current/Total Control/UV Race universe. Whatever is going on Australia, it’s working, and Dick Diver’s new LP, \u003cem>Melbourne, Florida\u003c/em>, is a jangle-pop delight.\u003c/p>\n\u003cp>Finally, we have to mention how excited we are for the \u003ca href=\"http://www.phonodelsol.com/\">\u003cstrong>2015 Phono del Sol Music and Food Festival\u003c/strong>\u003c/a> on July 11. Produced by The Bay Bridged, the fest features 11 stellar local and touring bands, ten food trucks, and a whole day of fun. We’ll see you there!\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Enjoy the podcast — and then go see some concerts!\u003c/p>\n\u003cp>\u003cspan style=\"text-decoration: underline\">\u003cstrong>About the Bands:\u003c/strong>\u003c/span>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/reptoidrock\">Andy Human and the Reptoids\u003c/a>\u003c/strong> – “I Got Soul”\u003cbr>\nPlaying at \u003ca href=\"http://www.theeparkside.com/\">Thee Parkside\u003c/a> with Scraper, Vaguess, and Rays on July 30.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/DowntownBoys\">Downtown Boys\u003c/a>\u003c/strong> – “Wave of History”\u003cbr>\nThe Providence punk band heads to the \u003ca href=\"http://www.hemlocktavern.com/calendar/month/\">Hemlock Tavern\u003c/a> on July 12; Hard Left and The World open the show.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/kingtuffy\">King Tuff\u003c/a>\u003c/strong> – “Headbanger”\u003cbr>\nCo-headlining the \u003ca href=\"http://www.phonodelsol.com/\">2015 Phono del Sol Music and Food Festival\u003c/a> on July 11 in Potrero del Sol Park; additional performers include Tanlines, Generationals, VÉRITÉ, Sonny & The Sunsets, and many more.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/rintintiger\">Rin Tin Tiger\u003c/a>\u003c/strong> – “Small Cuts That Bleed A Lot”\u003cbr>\nCelebrating the release of \u003cem>Burial Grounds\u003c/em> on July 10 at \u003ca href=\"http://www.theindependentsf.com\">The Independent\u003c/a>; fellow locals Owl Paws and Growwler also perform.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/pages/Tamaryn/21877892594\">Tamaryn\u003c/a>\u003c/strong> – “Hands All Over Me”\u003cbr>\nReturning to SF for a July 20 show at the \u003ca href=\"http://www.rickshawstop.com/calendar/\">Rickshaw Stop\u003c/a> with Bellavista, VOWWS, and DJ Omar.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/YumiZouma\">Yumi Zouma\u003c/a>\u003c/strong> – “Alena”\u003cbr>\nHeadlining the \u003ca href=\"http://www.rickshawstop.com/calendar/\">Rickshaw Stop\u003c/a> on July 28; Jaakko Eino Kalevi and Silver Swans support.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/RATATAT\">Ratatat\u003c/a>\u003c/strong> – “Abrasive”\u003cbr>\nThe Brooklyn band returns with a tour coming to the \u003ca href=\"http://www.theregencyballroom.com/events\">Regency Ballroom\u003c/a> on July 31.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/paisanomusic\">Paisano\u003c/a>\u003c/strong> – “Shoot Shoot!”\u003cbr>\nPlaying at \u003ca href=\"http://amnesiathebar.com/newp/calendar/\">Amnesia\u003c/a> with other great local bands on July 17 and July 31.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://www.millercarr.com/\">Miller Carr\u003c/a>\u003c/strong> – “Trickster In Exile”\u003cbr>\nPerforming every Sunday night at the \u003ca href=\"http://www.makeoutroom.com/calendar.html\">Make-Out Room\u003c/a> with Luke Sweeney and other local artists.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/dickdiverband\">Dick Diver\u003c/a>\u003c/strong> – “Waste The Alphabet”\u003cbr>\nThe band’s US tour comes to the \u003ca href=\"http://www.makeoutroom.com/calendar.html\">Make-Out Room\u003c/a> on July 18 with Maniac and Dirty Ghosts.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/straighttothekisser\">POW!\u003c/a>\u003c/strong> – “Liquid Daydream”\u003cbr>\nSupporting Thee Oh Sees on all three nights of the band’s residency at \u003ca href=\"http://www.thechapelsf.com/\">The Chapel\u003c/a> July 14 through July 16.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/chromechronicles\">Chrome\u003c/a>\u003c/strong> – “Prophecy”\u003cbr>\nOn July 18, the band headlines \u003ca href=\"http://www.bottomofthehill.com/calendar.html#sthash.u5Nm36lF.dpbs\">Bottom of the Hill\u003c/a> with Dispirit and GalaXxy Chamber.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/porcelainraft\">Porcelain Raft\u003c/a>\u003c/strong> – “All In My Head”\u003cbr>\nPlaying \u003ca href=\"http://www.bottomofthehill.com/calendar.html#sthash.u5Nm36lF.dpbs\">Bottom of the Hill\u003c/a> on July 9 with Gracie and Rachel and Andrew St. James.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 698,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 22
},
"modified": 1705046840,
"excerpt": "Listen to The Bay Bridged mix of bands playing live in July.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Listen to The Bay Bridged mix of bands playing live in July.",
"title": "Live This Month: July 2015 | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Live This Month: July 2015",
"datePublished": "2015-07-03T08:00:13-07:00",
"dateModified": "2024-01-12T00:07:20-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "live-this-month-july-2015",
"status": "publish",
"sticky": false,
"path": "/arts/10820708/live-this-month-july-2015",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"aligncenter\">\n\u003ch4>Listen to The Bay Bridged mix of bands playing live in July.\u003c/h4>\n\u003cp>http://media.libsyn.com/media/thebaybridged/LTM_July_2015.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>\u003cem>In \u003ca href=\"http://www.thebaybridged.com/category/podcast/live-this-month/\">Live This Month\u003c/a>, we sample some of the great local and out-of-town bands performing in the coming month in the San Francisco Bay Area.\u003c/em>\u003c/p>\n\u003cp>While the returns of Thee Oh Sees and Ty Segall to SF this month are certainly cause for excitement, one former local we’re especially psyched to see is \u003cstrong>\u003ca href=\"https://www.facebook.com/pages/Tamaryn/21877892594\">Tamaryn\u003c/a>\u003c/strong> (pictured above), previewing songs from next month’s \u003cem>Cranekiss\u003c/em> at the Rickshaw Stop. While the artist’s first two LPs found her voice floating amidst atmospheric waves of guitar, her new album incorporates elements of dance-pop as well, and finds her collaborating with another former local, Shaun Durkan (of Weekend), as well as Violens’ Jorge Elbrecht.\u003c/p>\n\u003cp>Speaking of atmosphere, San Francisco experimental punk pioneers \u003cstrong>\u003ca href=\"https://www.facebook.com/chromechronicles\">Chrome\u003c/a>\u003c/strong> are hitting the road for a West Coast tour that ends at Bottom of the Hill later this month. Founded 40 years ago, the Helios Creed-led group released its most recent LP, \u003cem>Feel It Like a Scientist\u003c/em>, last year, and ought to be more heralded for its groundbreaking sonic weirdness.\u003c/p>\n\u003cp>Plenty of great touring bands are coming through town this month, too, including Providence’s \u003cstrong>\u003ca href=\"https://www.facebook.com/DowntownBoys\">Downtown Boys\u003c/a>\u003c/strong>. The group’s debut LP, \u003cem>Full Communism\u003c/em>, is one of the most exciting punk albums we’ve heard lately, delivering intensity, heart, and brains packed into some killer songs. Also highly recommended is the latest from \u003cstrong>\u003ca href=\"https://www.facebook.com/dickdiverband\">Dick Diver\u003c/a>\u003c/strong>, one of the many terrific Melbourne bands from the Mikey Young/Eddy Current/Total Control/UV Race universe. Whatever is going on Australia, it’s working, and Dick Diver’s new LP, \u003cem>Melbourne, Florida\u003c/em>, is a jangle-pop delight.\u003c/p>\n\u003cp>Finally, we have to mention how excited we are for the \u003ca href=\"http://www.phonodelsol.com/\">\u003cstrong>2015 Phono del Sol Music and Food Festival\u003c/strong>\u003c/a> on July 11. Produced by The Bay Bridged, the fest features 11 stellar local and touring bands, ten food trucks, and a whole day of fun. We’ll see you there!\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>Enjoy the podcast — and then go see some concerts!\u003c/p>\n\u003cp>\u003cspan style=\"text-decoration: underline\">\u003cstrong>About the Bands:\u003c/strong>\u003c/span>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/reptoidrock\">Andy Human and the Reptoids\u003c/a>\u003c/strong> – “I Got Soul”\u003cbr>\nPlaying at \u003ca href=\"http://www.theeparkside.com/\">Thee Parkside\u003c/a> with Scraper, Vaguess, and Rays on July 30.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/DowntownBoys\">Downtown Boys\u003c/a>\u003c/strong> – “Wave of History”\u003cbr>\nThe Providence punk band heads to the \u003ca href=\"http://www.hemlocktavern.com/calendar/month/\">Hemlock Tavern\u003c/a> on July 12; Hard Left and The World open the show.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/kingtuffy\">King Tuff\u003c/a>\u003c/strong> – “Headbanger”\u003cbr>\nCo-headlining the \u003ca href=\"http://www.phonodelsol.com/\">2015 Phono del Sol Music and Food Festival\u003c/a> on July 11 in Potrero del Sol Park; additional performers include Tanlines, Generationals, VÉRITÉ, Sonny & The Sunsets, and many more.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/rintintiger\">Rin Tin Tiger\u003c/a>\u003c/strong> – “Small Cuts That Bleed A Lot”\u003cbr>\nCelebrating the release of \u003cem>Burial Grounds\u003c/em> on July 10 at \u003ca href=\"http://www.theindependentsf.com\">The Independent\u003c/a>; fellow locals Owl Paws and Growwler also perform.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/pages/Tamaryn/21877892594\">Tamaryn\u003c/a>\u003c/strong> – “Hands All Over Me”\u003cbr>\nReturning to SF for a July 20 show at the \u003ca href=\"http://www.rickshawstop.com/calendar/\">Rickshaw Stop\u003c/a> with Bellavista, VOWWS, and DJ Omar.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/YumiZouma\">Yumi Zouma\u003c/a>\u003c/strong> – “Alena”\u003cbr>\nHeadlining the \u003ca href=\"http://www.rickshawstop.com/calendar/\">Rickshaw Stop\u003c/a> on July 28; Jaakko Eino Kalevi and Silver Swans support.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/RATATAT\">Ratatat\u003c/a>\u003c/strong> – “Abrasive”\u003cbr>\nThe Brooklyn band returns with a tour coming to the \u003ca href=\"http://www.theregencyballroom.com/events\">Regency Ballroom\u003c/a> on July 31.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/paisanomusic\">Paisano\u003c/a>\u003c/strong> – “Shoot Shoot!”\u003cbr>\nPlaying at \u003ca href=\"http://amnesiathebar.com/newp/calendar/\">Amnesia\u003c/a> with other great local bands on July 17 and July 31.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://www.millercarr.com/\">Miller Carr\u003c/a>\u003c/strong> – “Trickster In Exile”\u003cbr>\nPerforming every Sunday night at the \u003ca href=\"http://www.makeoutroom.com/calendar.html\">Make-Out Room\u003c/a> with Luke Sweeney and other local artists.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/dickdiverband\">Dick Diver\u003c/a>\u003c/strong> – “Waste The Alphabet”\u003cbr>\nThe band’s US tour comes to the \u003ca href=\"http://www.makeoutroom.com/calendar.html\">Make-Out Room\u003c/a> on July 18 with Maniac and Dirty Ghosts.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/straighttothekisser\">POW!\u003c/a>\u003c/strong> – “Liquid Daydream”\u003cbr>\nSupporting Thee Oh Sees on all three nights of the band’s residency at \u003ca href=\"http://www.thechapelsf.com/\">The Chapel\u003c/a> July 14 through July 16.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/chromechronicles\">Chrome\u003c/a>\u003c/strong> – “Prophecy”\u003cbr>\nOn July 18, the band headlines \u003ca href=\"http://www.bottomofthehill.com/calendar.html#sthash.u5Nm36lF.dpbs\">Bottom of the Hill\u003c/a> with Dispirit and GalaXxy Chamber.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/porcelainraft\">Porcelain Raft\u003c/a>\u003c/strong> – “All In My Head”\u003cbr>\nPlaying \u003ca href=\"http://www.bottomofthehill.com/calendar.html#sthash.u5Nm36lF.dpbs\">Bottom of the Hill\u003c/a> on July 9 with Gracie and Rachel and Andrew St. James.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/10820708/live-this-month-july-2015",
"authors": [
"178"
],
"categories": [
"arts_69"
],
"tags": [
"arts_596"
],
"affiliates": [
"arts_147"
],
"featImg": "arts_10820709",
"label": "arts_147"
},
"arts_10814714": {
"type": "posts",
"id": "arts_10814714",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "10814714",
"score": null,
"sort": [
1435874429000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1435874429,
"format": "standard",
"title": "Q&A: Terry Riley at 80",
"headTitle": "Q&A: Terry Riley at 80 | KQED",
"content": "\u003cp>Terry Riley is one of the world’s most legendary living composers. His 1964 work \u003cem>In C\u003c/em> is widely revered as a foundational text of the musical form eventually known as minimalism — where very short repeated phrases gradually morph into different musical shapes, often to mesmerizing effect.\u003c/p>\n\u003cp>In 1970, Riley became a disciple of Pandit Pran Nath, the famed North Indian classical music vocalist, and immersed himself deeply in the study of Indian music. But Riley’s varied compositions over the past six decades bridge gaps between non-Western and Western music, and between improvisation and composition. His openhearted, expansive approach to music has inspired legions of musicians worldwide, cutting across the usual divides of rock and roll, jazz, classical and electronic music.\u003c/p>\n\u003cp>On June 24, the northern California-based composer celebrated his 80th birthday. For the past few months, organizations around the globe, from the Massachusetts Institute of Technology (MIT) to the Musiekgebouw in Amsterdam to London’s Barbican Center, have hosted concerts and festivals in the composer’s honor.\u003c/p>\n\u003cp>Last weekend, closer to home, the Kronos Quartet — which has collaborated with Riley for 35 years — produced a three-day festival of concerts celebrating his life and work at the SFJAZZ Center. The event featured a wide array of Riley’s friends and guest musicians, including tabla virtuoso Zakir Hussain and pipa player and composer Wu Man.\u003c/p>\n\u003cp>Read our \u003ca href=\"http://ww2.kqed.org/arts/2015/06/30/live-review-terry-riley-festival-with-kronos-quartet-at-sfjazz-center/\" target=\"_blank\" rel=\"noopener\">review of the festival here\u003c/a>, and continue below for a conversation with Riley about turning 80, the evolution of his creative process, and the reason he never made it to Yoko Ono’s loft in the 1960s.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_10814797\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-10814797\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/KronosRileyCake50-1180x914.jpg\" alt=\"Terry Riley in 1985, celebrating his 50th birthday with the Kronos Quartet. \" width=\"640\" height=\"496\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/KronosRileyCake50-1180x914.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/KronosRileyCake50-400x310.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/KronosRileyCake50-775x600.jpg 775w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/KronosRileyCake50-960x743.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/KronosRileyCake50.jpg 1240w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Terry Riley in 1985, celebrating his 50th birthday with the Kronos Quartet. (Photo courtesy Kronos Presents)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>How do all of these 80th birthday celebrations around the world feel to you? Does it seem strange to look back on your life’s work?\u003c/strong>\u003c/p>\n\u003cp>I’ve never been 80 before, so it’s not weird — it’s just new territory. Each decade brings different kinds of experiences. This particular past week there was just more intensity, more things happening, more interest and more demands on me and my time. But it wasn’t weird — it was just, everything got jacked up to a higher level. You try to match it in some way, flow with it. I’m enjoying it to a certain degree. It’s also challenging and I like challenges.\u003c/p>\n\u003cp>I think looking back at my life and what I’ve been interested in at different times, I’ve usually spent quite a bit of time on one or two pieces or processes. Every time I begin to work with a new process, I usually spend quite a few years with that and immerse myself in it. It’s almost like being in college for three years here, two years there — each period was a period of discovery. If I look back over my life, these periods lasted as much as 10 years. When I was doing solo all-night keyboard concerts, that was a long period — 10 years of doing that.\u003c/p>\n\u003cp>Then Pandit Pran Nath came into my life and I did drop everything and just worked on raga for a few years. The whole thing for me is taking enough time to deepen in whatever I was trying to get at to study; taking enough time with it.\u003c/p>\n\u003cp>\u003cstrong>You went very deep in your studies with Pandit Pran Nath, becoming his disciple.\u003c/strong>\u003c/p>\n\u003cp>I was very happy to do anything that was required of me, to charm him into teaching me what he knew, to go really deep into this music. There’s a reason why there’s a guru and his disciple — the reason is the transmission of the energies of raga. The knowledge of raga can’t take place on a casual basis.\u003c/p>\n\u003cp>\u003cstrong>Early in your life, when you were studying piano, you loved the composers Debussy and Ravel.\u003c/strong>\u003c/p>\n\u003cp>A lot of that had to do with what Debussy was bringing from Balinese and Indian music. There’s this long train of ideas going through, especially through recent music history, that all connect; they all seem to be different aspects of the same thing. I was fascinated with Schoenberg, Webern and Stockhausen for a while because it was opening up a sonic vista. I found it didn’t particularly suit me as a musician to continue with that. But I listened to their music a lot.\u003c/p>\n\u003cfigure id=\"attachment_10814803\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10814803\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/Terry_Riley_85.jpg\" alt=\"Terry Riley at the Great American Music Hall, San Francisco, in 1985. \" width=\"600\" height=\"443\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Terry_Riley_85.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Terry_Riley_85-400x295.jpg 400w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Terry Riley at the Great American Music Hall, San Francisco, in 1985. (Photo: Brian McMillen)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>You’re still actively composing. What inspires you to keep making music?\u003c/strong>\u003c/p>\n\u003cp>Every time I set out to create a new piece it’s always a learning process. You have to draw on your experience, and you’re also studying what’s going on and trying to solve whatever problems come up with a new concert or new composition. I like that. Without learning something new, it wouldn’t be as exciting.\u003c/p>\n\u003cp>\u003cstrong>Was there a personal highlight of the three-day festival for your 80th birthday at SFJAZZ this weekend?\u003c/strong>\u003c/p>\n\u003cp>I think the highest moment I experienced was during “Conquest of the War Demons” (from the second quartet of the cycle \u003cem>Salome Dances for Peace\u003c/em> (1985-1986), originally composed by Riley for Kronos) when Kronos went into a very soft mesmerizing floating passage that seemed like the whole hall was levitating. I had never quite heard it sound like that before. It’s something I often try for – a very subtle, very powerful vibration. They just had a great moment, and they did it a couple times. I loved the Yoko Ono piece. I was very touched that she wrote a piece for me.\u003c/p>\n\u003cp>\u003cstrong>Did you and Yoko Ono know each other well?\u003c/strong>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>No, not at all. I’ve known about Yoko and I’m sure she’s known about me since [minimalist composer] \u003ca href=\"https://en.wikipedia.org/wiki/La_Monte_Young\" target=\"_blank\" rel=\"noopener\">La Monte Young\u003c/a> first went to New York. An interesting connection was that La Monte was doing a series at her loft in probably ’62, ’63. He asked a bunch of people to do performances there. And my plan was to ride my motorcycle to New York and do this concert at her loft. I remember jumping on my motorcycle and heading to New York. I got as far as San Jose and my motorcycle blew a head gasket. I managed to nurse it back to San Francisco. That was as far as I got to performing in Yoko Ono’s loft.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1138,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 21
},
"modified": 1705046844,
"excerpt": "A conversation with the minimalist composer about entering his ninth decade, the evolution of his creative process, and the reason he never made it to Yoko Ono's loft.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "A conversation with the minimalist composer about entering his ninth decade, the evolution of his creative process, and the reason he never made it to Yoko Ono's loft.",
"title": "Q&A: Terry Riley at 80 | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Q&A: Terry Riley at 80",
"datePublished": "2015-07-02T15:00:29-07:00",
"dateModified": "2024-01-12T00:07:24-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "qa-terry-riley-at-80",
"status": "publish",
"nprByline": "Geeta Dayal",
"sticky": false,
"path": "/arts/10814714/qa-terry-riley-at-80",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Terry Riley is one of the world’s most legendary living composers. His 1964 work \u003cem>In C\u003c/em> is widely revered as a foundational text of the musical form eventually known as minimalism — where very short repeated phrases gradually morph into different musical shapes, often to mesmerizing effect.\u003c/p>\n\u003cp>In 1970, Riley became a disciple of Pandit Pran Nath, the famed North Indian classical music vocalist, and immersed himself deeply in the study of Indian music. But Riley’s varied compositions over the past six decades bridge gaps between non-Western and Western music, and between improvisation and composition. His openhearted, expansive approach to music has inspired legions of musicians worldwide, cutting across the usual divides of rock and roll, jazz, classical and electronic music.\u003c/p>\n\u003cp>On June 24, the northern California-based composer celebrated his 80th birthday. For the past few months, organizations around the globe, from the Massachusetts Institute of Technology (MIT) to the Musiekgebouw in Amsterdam to London’s Barbican Center, have hosted concerts and festivals in the composer’s honor.\u003c/p>\n\u003cp>Last weekend, closer to home, the Kronos Quartet — which has collaborated with Riley for 35 years — produced a three-day festival of concerts celebrating his life and work at the SFJAZZ Center. The event featured a wide array of Riley’s friends and guest musicians, including tabla virtuoso Zakir Hussain and pipa player and composer Wu Man.\u003c/p>\n\u003cp>Read our \u003ca href=\"http://ww2.kqed.org/arts/2015/06/30/live-review-terry-riley-festival-with-kronos-quartet-at-sfjazz-center/\" target=\"_blank\" rel=\"noopener\">review of the festival here\u003c/a>, and continue below for a conversation with Riley about turning 80, the evolution of his creative process, and the reason he never made it to Yoko Ono’s loft in the 1960s.\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\u003cfigure id=\"attachment_10814797\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-10814797\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/KronosRileyCake50-1180x914.jpg\" alt=\"Terry Riley in 1985, celebrating his 50th birthday with the Kronos Quartet. \" width=\"640\" height=\"496\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/KronosRileyCake50-1180x914.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/KronosRileyCake50-400x310.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/KronosRileyCake50-775x600.jpg 775w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/KronosRileyCake50-960x743.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/KronosRileyCake50.jpg 1240w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Terry Riley in 1985, celebrating his 50th birthday with the Kronos Quartet. (Photo courtesy Kronos Presents)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>How do all of these 80th birthday celebrations around the world feel to you? Does it seem strange to look back on your life’s work?\u003c/strong>\u003c/p>\n\u003cp>I’ve never been 80 before, so it’s not weird — it’s just new territory. Each decade brings different kinds of experiences. This particular past week there was just more intensity, more things happening, more interest and more demands on me and my time. But it wasn’t weird — it was just, everything got jacked up to a higher level. You try to match it in some way, flow with it. I’m enjoying it to a certain degree. It’s also challenging and I like challenges.\u003c/p>\n\u003cp>I think looking back at my life and what I’ve been interested in at different times, I’ve usually spent quite a bit of time on one or two pieces or processes. Every time I begin to work with a new process, I usually spend quite a few years with that and immerse myself in it. It’s almost like being in college for three years here, two years there — each period was a period of discovery. If I look back over my life, these periods lasted as much as 10 years. When I was doing solo all-night keyboard concerts, that was a long period — 10 years of doing that.\u003c/p>\n\u003cp>Then Pandit Pran Nath came into my life and I did drop everything and just worked on raga for a few years. The whole thing for me is taking enough time to deepen in whatever I was trying to get at to study; taking enough time with it.\u003c/p>\n\u003cp>\u003cstrong>You went very deep in your studies with Pandit Pran Nath, becoming his disciple.\u003c/strong>\u003c/p>\n\u003cp>I was very happy to do anything that was required of me, to charm him into teaching me what he knew, to go really deep into this music. There’s a reason why there’s a guru and his disciple — the reason is the transmission of the energies of raga. The knowledge of raga can’t take place on a casual basis.\u003c/p>\n\u003cp>\u003cstrong>Early in your life, when you were studying piano, you loved the composers Debussy and Ravel.\u003c/strong>\u003c/p>\n\u003cp>A lot of that had to do with what Debussy was bringing from Balinese and Indian music. There’s this long train of ideas going through, especially through recent music history, that all connect; they all seem to be different aspects of the same thing. I was fascinated with Schoenberg, Webern and Stockhausen for a while because it was opening up a sonic vista. I found it didn’t particularly suit me as a musician to continue with that. But I listened to their music a lot.\u003c/p>\n\u003cfigure id=\"attachment_10814803\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10814803\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/Terry_Riley_85.jpg\" alt=\"Terry Riley at the Great American Music Hall, San Francisco, in 1985. \" width=\"600\" height=\"443\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Terry_Riley_85.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/Terry_Riley_85-400x295.jpg 400w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Terry Riley at the Great American Music Hall, San Francisco, in 1985. (Photo: Brian McMillen)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>You’re still actively composing. What inspires you to keep making music?\u003c/strong>\u003c/p>\n\u003cp>Every time I set out to create a new piece it’s always a learning process. You have to draw on your experience, and you’re also studying what’s going on and trying to solve whatever problems come up with a new concert or new composition. I like that. Without learning something new, it wouldn’t be as exciting.\u003c/p>\n\u003cp>\u003cstrong>Was there a personal highlight of the three-day festival for your 80th birthday at SFJAZZ this weekend?\u003c/strong>\u003c/p>\n\u003cp>I think the highest moment I experienced was during “Conquest of the War Demons” (from the second quartet of the cycle \u003cem>Salome Dances for Peace\u003c/em> (1985-1986), originally composed by Riley for Kronos) when Kronos went into a very soft mesmerizing floating passage that seemed like the whole hall was levitating. I had never quite heard it sound like that before. It’s something I often try for – a very subtle, very powerful vibration. They just had a great moment, and they did it a couple times. I loved the Yoko Ono piece. I was very touched that she wrote a piece for me.\u003c/p>\n\u003cp>\u003cstrong>Did you and Yoko Ono know each other well?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>No, not at all. I’ve known about Yoko and I’m sure she’s known about me since [minimalist composer] \u003ca href=\"https://en.wikipedia.org/wiki/La_Monte_Young\" target=\"_blank\" rel=\"noopener\">La Monte Young\u003c/a> first went to New York. An interesting connection was that La Monte was doing a series at her loft in probably ’62, ’63. He asked a bunch of people to do performances there. And my plan was to ride my motorcycle to New York and do this concert at her loft. I remember jumping on my motorcycle and heading to New York. I got as far as San Jose and my motorcycle blew a head gasket. I managed to nurse it back to San Francisco. That was as far as I got to performing in Yoko Ono’s loft.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/10814714/qa-terry-riley-at-80",
"authors": [
"byline_arts_10814714"
],
"categories": [
"arts_69"
],
"tags": [
"arts_596"
],
"featImg": "arts_10814793",
"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": {},
"radioSchedulesReducer": {},
"listsReducer": {
"posts/arts?category=music": {
"isFetching": false,
"latestQuery": {
"from": 3972,
"size": 12
},
"vitalsOnly": false,
"totalRequested": 12,
"isLoading": false,
"isLoadingMore": true,
"total": {
"value": 4899,
"relation": "eq"
},
"items": [
"pop_17023",
"arts_10833145",
"arts_10826871",
"arts_10828545",
"arts_10820528",
"arts_10812895",
"arts_10820705",
"arts_10817743",
"arts_10819679",
"arts_10793082",
"arts_10820708",
"arts_10814714"
],
"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"
},
"pop_4": {
"type": "terms",
"id": "pop_4",
"meta": {
"index": "terms_1716263798",
"site": "pop",
"id": "4",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Music",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Music Archives | KQED Arts",
"ogDescription": null
},
"ttid": 4,
"slug": "music",
"isLoading": false,
"link": "/pop/category/music"
},
"pop_2770": {
"type": "terms",
"id": "pop_2770",
"meta": {
"index": "terms_1716263798",
"site": "pop",
"id": "2770",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Jidenna",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Jidenna Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2776,
"slug": "jidenna",
"isLoading": false,
"link": "/pop/tag/jidenna"
},
"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_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_137": {
"type": "terms",
"id": "arts_137",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "137",
"found": true
},
"relationships": {},
"featImg": "https://ww2.kqed.org/app/uploads/sites/2/2014/04/logo-npr-lg1.png",
"name": "NPR",
"description": null,
"taxonomy": "affiliate",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "NPR Archives | KQED Arts",
"ogDescription": null
},
"ttid": 138,
"slug": "npr",
"isLoading": false,
"link": "/arts/affiliate/npr"
},
"arts_967": {
"type": "terms",
"id": "arts_967",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "967",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Theater",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Theater Archives | KQED Arts",
"ogDescription": null
},
"ttid": 985,
"slug": "theater",
"isLoading": false,
"link": "/arts/category/theater"
},
"arts_1207": {
"type": "terms",
"id": "arts_1207",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1207",
"found": true
},
"relationships": {},
"featImg": null,
"name": "listen in",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "listen in Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1219,
"slug": "listen-in",
"isLoading": false,
"link": "/arts/tag/listen-in"
},
"arts_1310": {
"type": "terms",
"id": "arts_1310",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1310",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Art in the Open",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Art in the Open Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1322,
"slug": "art-in-the-open",
"isLoading": false,
"link": "/arts/tag/art-in-the-open"
},
"arts_3649": {
"type": "terms",
"id": "arts_3649",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3649",
"found": true
},
"relationships": {},
"featImg": null,
"name": "galleries",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "galleries Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3661,
"slug": "galleries",
"isLoading": false,
"link": "/arts/tag/galleries"
},
"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_146": {
"type": "terms",
"id": "arts_146",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "146",
"found": true
},
"relationships": {},
"featImg": "https://ww2.kqed.org/app/uploads/sites/2/2014/04/masthead-noisepop1.png",
"name": "Noise Pop",
"description": "The Noise Pop Podcast is a bi-monthly series showcasing noteworthy new releases from the independent and underground music scene, produced by Noise Pop: San Francisco’s favorite indie music, arts and film festival. KQED Arts has discontinued distributing the podcast, but you can find it \u003ca href=\"http://www.noisepop.com/podcast/\" target=\"_blank\">on their website\u003c/a>. ",
"taxonomy": "affiliate",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": "The Noise Pop Podcast is a bi-monthly series showcasing noteworthy new releases from the independent and underground music scene, produced by Noise Pop: San Francisco’s favorite indie music, arts and film festival. KQED Arts has discontinued distributing the podcast, but you can find it on their website.",
"title": "Noise Pop Archives | KQED Arts",
"ogDescription": null
},
"ttid": 147,
"slug": "noise-pop",
"isLoading": false,
"link": "/arts/affiliate/noise-pop"
},
"arts_147": {
"type": "terms",
"id": "arts_147",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "147",
"found": true
},
"relationships": {},
"featImg": "https://ww2.kqed.org/app/uploads/sites/2/2014/04/logo-thebaybridged1.png",
"name": "The Bay Bridged",
"description": null,
"taxonomy": "affiliate",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "The Bay Bridged Archives | KQED Arts",
"ogDescription": null
},
"ttid": 148,
"slug": "the-bay-bridged",
"isLoading": false,
"link": "/arts/affiliate/the-bay-bridged"
}
},
"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
}
}
