window.__IS_SSR__=true
window.__INITIAL_STATE__={
"attachmentsReducer": {
"audio_0": {
"type": "attachments",
"id": "audio_0",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background0.jpg"
}
}
},
"audio_1": {
"type": "attachments",
"id": "audio_1",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background1.jpg"
}
}
},
"audio_2": {
"type": "attachments",
"id": "audio_2",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background2.jpg"
}
}
},
"audio_3": {
"type": "attachments",
"id": "audio_3",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background3.jpg"
}
}
},
"audio_4": {
"type": "attachments",
"id": "audio_4",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background4.jpg"
}
}
},
"placeholder": {
"type": "attachments",
"id": "placeholder",
"imgSizes": {
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-160x107.jpg",
"width": 160,
"height": 107,
"mimeType": "image/jpeg"
},
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-800x533.jpg",
"width": 800,
"height": 533,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-768x512.jpg",
"width": 768,
"height": 512,
"mimeType": "image/jpeg"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1020x680.jpg",
"width": 1020,
"height": 680,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1536x1024.jpg",
"width": 1536,
"height": 1024,
"mimeType": "image/jpeg"
},
"fd-lrg": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1536x1024.jpg",
"width": 1536,
"height": 1024,
"mimeType": "image/jpeg"
},
"fd-med": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1020x680.jpg",
"width": 1020,
"height": 680,
"mimeType": "image/jpeg"
},
"fd-sm": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-800x533.jpg",
"width": 800,
"height": 533,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"xxsmall": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-160x107.jpg",
"width": 160,
"height": 107,
"mimeType": "image/jpeg"
},
"xsmall": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"small": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"xlarge": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1020x680.jpg",
"width": 1020,
"height": 680,
"mimeType": "image/jpeg"
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1920x1280.jpg",
"width": 1920,
"height": 1280,
"mimeType": "image/jpeg"
},
"guest-author-32": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 32,
"height": 32,
"mimeType": "image/jpeg"
},
"guest-author-50": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 50,
"height": 50,
"mimeType": "image/jpeg"
},
"guest-author-64": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 64,
"height": 64,
"mimeType": "image/jpeg"
},
"guest-author-96": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 96,
"height": 96,
"mimeType": "image/jpeg"
},
"guest-author-128": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 128,
"height": 128,
"mimeType": "image/jpeg"
},
"detail": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 160,
"height": 160,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1.jpg",
"width": 2000,
"height": 1333
}
}
},
"arts_10023752": {
"type": "attachments",
"id": "arts_10023752",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10023752",
"found": true
},
"parent": 23752,
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/12/heavenly-states-248x1406.jpg",
"width": 248,
"height": 140
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/12/heavenly-states-248x1406-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
}
},
"publishDate": 1228261358,
"modified": 1228261358,
"caption": null,
"description": null,
"title": "The Heavenly States-",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10023741": {
"type": "attachments",
"id": "arts_10023741",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10023741",
"found": true
},
"parent": 23741,
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/11/miami-248x140.jpg",
"width": 248,
"height": 140
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/11/miami-248x140-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/11/miami-248x140-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/11/miami-248x140-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/11/miami-248x140-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/11/miami-248x140-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1227642864,
"modified": 1227642864,
"caption": null,
"description": null,
"title": "French Miami-",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10023725": {
"type": "attachments",
"id": "arts_10023725",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10023725",
"found": true
},
"parent": 23725,
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/11/cansei-248x140.jpg",
"width": 248,
"height": 140
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/11/cansei-248x140-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/11/cansei-248x140-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/11/cansei-248x140-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/11/cansei-248x140-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/11/cansei-248x140-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1227231512,
"modified": 1227231512,
"caption": null,
"description": null,
"title": "The Late, Late Shows-",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10023694": {
"type": "attachments",
"id": "arts_10023694",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10023694",
"found": true
},
"parent": 23694,
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/11/of-montreal-248x140.jpg",
"width": 248,
"height": 140
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/11/of-montreal-248x140-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/11/of-montreal-248x140-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/11/of-montreal-248x140-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/11/of-montreal-248x140-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/11/of-montreal-248x140-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1227208737,
"modified": 1227208737,
"caption": null,
"description": null,
"title": "November 2008 featuring Of Montreal, Vivian Girls, and more!-",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10023689": {
"type": "attachments",
"id": "arts_10023689",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10023689",
"found": true
},
"parent": 23689,
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/11/music-for-animals-248x140.jpg",
"width": 248,
"height": 140
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/11/music-for-animals-248x140-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/11/music-for-animals-248x140-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/11/music-for-animals-248x140-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/11/music-for-animals-248x140-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/11/music-for-animals-248x140-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1227033012,
"modified": 1227033012,
"caption": null,
"description": null,
"title": "Music for Animals-",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10023670": {
"type": "attachments",
"id": "arts_10023670",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10023670",
"found": true
},
"parent": 23670,
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/11/holy-pictures-248x140.jpg",
"width": 248,
"height": 140
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/11/holy-pictures-248x140-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/11/holy-pictures-248x140-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/11/holy-pictures-248x140-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/11/holy-pictures-248x140-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/11/holy-pictures-248x140-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1226626767,
"modified": 1226626767,
"caption": null,
"description": null,
"title": "David Holmes: The Holy Pictures-",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10023664": {
"type": "attachments",
"id": "arts_10023664",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10023664",
"found": true
},
"parent": 23664,
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/11/spectacle-248x140.jpg",
"width": 248,
"height": 140
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/11/spectacle-248x140-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/11/spectacle-248x140-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/11/spectacle-248x140-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/11/spectacle-248x140-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/11/spectacle-248x140-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1226622512,
"modified": 1226622512,
"caption": null,
"description": null,
"title": "Mike Relm: Spectacle-",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10023614": {
"type": "attachments",
"id": "arts_10023614",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10023614",
"found": true
},
"parent": 23614,
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/10/of-great-men-248x140.jpg",
"width": 248,
"height": 140
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/10/of-great-men-248x140-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/10/of-great-men-248x140-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/10/of-great-men-248x140-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/10/of-great-men-248x140-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/10/of-great-men-248x140-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1225237392,
"modified": 1225237392,
"caption": null,
"description": null,
"title": "Of Great and Mortal Men: 43 Songs for 43 U.S. Presidencies-",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10023608": {
"type": "attachments",
"id": "arts_10023608",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10023608",
"found": true
},
"parent": 23608,
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/10/maushaus-248x1405.jpg",
"width": 248,
"height": 140
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/10/maushaus-248x1405-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
}
},
"publishDate": 1225221695,
"modified": 1225221695,
"caption": null,
"description": null,
"title": "maus haus-",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10023574": {
"type": "attachments",
"id": "arts_10023574",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10023574",
"found": true
},
"parent": 23574,
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/10/offend-maggie-248x1404.jpg",
"width": 248,
"height": 140
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/10/offend-maggie-248x1404-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
}
},
"publishDate": 1224637459,
"modified": 1224637459,
"caption": null,
"description": null,
"title": "Deerhoof: Offend Maggie-",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10023548": {
"type": "attachments",
"id": "arts_10023548",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10023548",
"found": true
},
"parent": 23548,
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/10/dave-smallen-248x140.jpg",
"width": 248,
"height": 140
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/10/dave-smallen-248x140-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/10/dave-smallen-248x140-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/10/dave-smallen-248x140-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/10/dave-smallen-248x140-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/10/dave-smallen-248x140-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1224108015,
"modified": 1224108015,
"caption": null,
"description": null,
"title": "October 2008 featuring The All Girl Summer Fun Band, Alias and More!-",
"credit": null,
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_10023546": {
"type": "attachments",
"id": "arts_10023546",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10023546",
"found": true
},
"parent": 23546,
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/10/psmith-248x140.jpg",
"width": 232,
"height": 131
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/10/psmith-248x140-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/10/psmith-248x140-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/10/psmith-248x140-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/10/psmith-248x140-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2008/10/psmith-248x140-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1224103680,
"modified": 1224103680,
"caption": null,
"description": null,
"title": "Patti Smith: Dream of Life-",
"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_23664": {
"type": "authors",
"id": "byline_arts_23664",
"meta": {
"override": true
},
"slug": "byline_arts_23664",
"name": "Emily Logan",
"isLoading": false
},
"byline_arts_23574": {
"type": "authors",
"id": "byline_arts_23574",
"meta": {
"override": true
},
"slug": "byline_arts_23574",
"name": "Emily Logan",
"isLoading": false
},
"bmarks": {
"type": "authors",
"id": "26",
"meta": {
"index": "authors_1716337520",
"id": "26",
"found": true
},
"name": "Ben Marks",
"firstName": "Ben",
"lastName": "Marks",
"slug": "bmarks",
"email": "gobenmarks@yahoo.com",
"display_author_email": false,
"staff_mastheads": [],
"title": null,
"bio": "Ben Marks is a peninsula-based writer and editor. He has covered theater, visual arts, and restaurants for numerous publications. He has also been a lobster and scallop fisherman in Maine, run a restaurant in Seattle, blown glass for Dale Chihuly, and boasts numerous other so-called accomplishments that have surprisingly little to do with the arts in the South Bay, which is his focus at KQED.org.",
"avatar": "https://secure.gravatar.com/avatar/ac0075b66fea4e8075d298dafc66d269?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"Contributor",
"subscriber"
]
}
],
"headData": {
"title": "Ben Marks | KQED",
"description": null,
"ogImgSrc": "https://secure.gravatar.com/avatar/ac0075b66fea4e8075d298dafc66d269?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/ac0075b66fea4e8075d298dafc66d269?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/bmarks"
},
"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"
}
},
"pagesReducer": {
"arts_category_music": {
"type": "terms",
"id": "arts_69",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "69",
"score": 10.85072
},
"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": 398
},
"blocks": [
{
"blockName": "kqed/post-list",
"attrs": {
"layout": "cardArticle2",
"query": "posts/arts?category=music",
"seeMore": false,
"paginated": true,
"page": 398
}
},
{
"blockName": "kqed/ad"
}
]
}
},
"pfsSessionReducer": {},
"postsReducer": {
"stream_live": {
"type": "live",
"id": "stream_live",
"audioUrl": "https://streams.kqed.org/kqedradio",
"title": "Live Stream",
"excerpt": "Live Stream information currently unavailable.",
"link": "/radio",
"featImg": "",
"label": {
"name": "KQED Live",
"link": "/"
}
},
"stream_kqedNewscast": {
"type": "posts",
"id": "stream_kqedNewscast",
"audioUrl": "https://www.kqed.org/.stream/anon/radio/RDnews/newscast.mp3?_=1",
"title": "KQED Newscast",
"featImg": "",
"label": {
"name": "88.5 FM",
"link": "/"
}
},
"arts_23752": {
"type": "posts",
"id": "arts_23752",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "23752",
"score": null,
"sort": [
1228261358000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 147
},
"blocks": [],
"publishDate": 1228261358,
"format": "audio",
"title": "The Heavenly States",
"headTitle": "The Heavenly States | KQED",
"content": "\u003cp>Long before the excellent Oakland rock quartet The Heavenly States headlined our \u003cb>Presents\u003c/b> show in late 2007, we began eagerly awaiting the follow-up to their well received 2005 album \u003cb>Black Comet\u003c/b>. Released earlier this year on The Rebel Group label, \u003cb>Delayer\u003c/b> is a strong work which displays the band’s skill at applying rich instrumental texture to all-out rockers and more contemplative numbers alike. At the same time, the lyrics consistently resonate with wit and honesty, giving the whole CD the feeling of a unified and personal worldview.\u003c/p>\n\u003cp>As we learned during our interview, the delay (no pun intended) in the new record’s arrival is in part attributable to the attention the band received for being the first American act to tour Libya following the lifting of the trade embargo between the the US and the former “rogue state.” And while that trip cut short the band’s recording schedule for \u003cb>Black Comet\u003c/b>, they spent significantly more time in the studio on the new CD, self-producing the record as a group. Needless to say, they’re very excited for people to hear the results.\u003c/p>\n\u003cp>We spoke with all four members at \u003cb>The Bay Bridged\u003c/b> headquarters and discussed the new album’s place in their discography, reflections on the Libyan tour, and a slew of frequently hilarious anecdotes. Too many, in fact, for us to include them all in one episode and, for time, some great stuff remains on the cutting room floor. Along with the talk, we’ve got four Heavenly States songs, including two from \u003cb>Delayer\u003c/b> and another two from their past works.\u003c/p>\n\u003cp>The Heavenly States celebrate the release of the Foggy Holiday Compilation put out by Talking House Records:\u003cbr>Friday, December 5th\u003cbr>Bottom of the Hill\u003cbr>with The Trophy Fire, The Federalists and I the Mighty\u003cbr>8:30pm, $10\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 312,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 6
},
"modified": 1705052897,
"excerpt": "This week \u003cb>The Bay Bridged\u003c/b> spotlights The Heavenly States, a four piece rock group out of the East Bay who released their latest full length \u003cb>Delayer\u003c/b> earlier this year.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "This week The Bay Bridged spotlights The Heavenly States, a four piece rock group out of the East Bay who released their latest full length Delayer earlier this year.",
"title": "The Heavenly States | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "The Heavenly States",
"datePublished": "2008-12-02T15:42:38-08:00",
"dateModified": "2024-01-12T01:48:17-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "the_heavenly_states",
"status": "publish",
"sourceUrl": "http://www.kqed.org/arts/programs/baybridged/",
"audioUrl": "http://media.libsyn.com/media/thebaybridged/Heavenly_States_Show_KQED.mp3",
"sticky": false,
"path": "/arts/23752/the_heavenly_states",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Long before the excellent Oakland rock quartet The Heavenly States headlined our \u003cb>Presents\u003c/b> show in late 2007, we began eagerly awaiting the follow-up to their well received 2005 album \u003cb>Black Comet\u003c/b>. Released earlier this year on The Rebel Group label, \u003cb>Delayer\u003c/b> is a strong work which displays the band’s skill at applying rich instrumental texture to all-out rockers and more contemplative numbers alike. At the same time, the lyrics consistently resonate with wit and honesty, giving the whole CD the feeling of a unified and personal worldview.\u003c/p>\n\u003cp>As we learned during our interview, the delay (no pun intended) in the new record’s arrival is in part attributable to the attention the band received for being the first American act to tour Libya following the lifting of the trade embargo between the the US and the former “rogue state.” And while that trip cut short the band’s recording schedule for \u003cb>Black Comet\u003c/b>, they spent significantly more time in the studio on the new CD, self-producing the record as a group. Needless to say, they’re very excited for people to hear the results.\u003c/p>\n\u003cp>We spoke with all four members at \u003cb>The Bay Bridged\u003c/b> headquarters and discussed the new album’s place in their discography, reflections on the Libyan tour, and a slew of frequently hilarious anecdotes. Too many, in fact, for us to include them all in one episode and, for time, some great stuff remains on the cutting room floor. Along with the talk, we’ve got four Heavenly States songs, including two from \u003cb>Delayer\u003c/b> and another two from their past works.\u003c/p>\n\u003cp>The Heavenly States celebrate the release of the Foggy Holiday Compilation put out by Talking House Records:\u003cbr>Friday, December 5th\u003cbr>Bottom of the Hill\u003cbr>with The Trophy Fire, The Federalists and I the Mighty\u003cbr>8:30pm, $10\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/23752/the_heavenly_states",
"authors": [
"92"
],
"categories": [
"arts_69"
],
"affiliates": [
"arts_147"
],
"featImg": "arts_10023752",
"label": "arts_147"
},
"arts_23741": {
"type": "posts",
"id": "arts_23741",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "23741",
"score": null,
"sort": [
1227642864000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 147
},
"blocks": [],
"publishDate": 1227642864,
"format": "audio",
"title": "French Miami",
"headTitle": "French Miami | KQED",
"content": "\u003cp>Few groups have left the impression that this trio did when we first saw them perform at this year’s \u003cb>Rock Make Street Festival\u003c/b>, where they delivered a compelling performance combining the precision of prog- and math-rock with an addictive melodic streak. It’s the rare band that can balance equal parts heaviness and catchiness without coming off as a disjointed mess, and French Miami manages to fuse the two with impeccable skill.\u003c/p>\n\u003cp>While the guys won us over with their live show, last week they celebrated the release of their first full length effort, a self-titled album on Dinner Party Records. Working with Phil Manley (Trans Am/The F—ing Champs), \u003cb>French Miami\u003c/b> (the album) captures the bassless trio’s big sound well. It’s a brawny record full of sharp interplay between multi-instrumentalists Jay Heiselmann and Roland Curtis on compositions that favor repetition and dynamic shifts. Heiselmann’s vocals shift and adapt to the music as it goes, and he can be Mackaye-intense or Ocasek-poppy as each phrase requires. It’s an impressive release from a creative group that we hope will emerge as one of the Bay Area’s breakout bands in 2009.\u003c/p>\n\u003cp>We sat down with Roland, Jay, and drummer Chris Crawford a few weeks ago to discuss the band’s early quest to find a sound, as well as the inspiration behind the band members’ interest in music. Along with the interview, we’ve included four songs from the new album.\u003c/p>\n\u003cp>\u003cb>Upcoming Shows:\u003c/b>\u003cbr>Friday, December 19th\u003cbr>Bottom of the Hill\u003cbr>with Happy Hollows (Los Angeles) and Master/Slave\u003cbr>10pm, $8\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 280,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 6
},
"modified": 1705052900,
"excerpt": "This week, \u003cb>The Bay Bridged\u003c/b> spotlights French Miami, a San Francisco band whose synth-rock sound is as immediately gripping as it is difficult to pigeonhole.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "This week, The Bay Bridged spotlights French Miami, a San Francisco band whose synth-rock sound is as immediately gripping as it is difficult to pigeonhole.",
"title": "French Miami | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "French Miami",
"datePublished": "2008-11-25T11:54:24-08:00",
"dateModified": "2024-01-12T01:48:20-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "french_miami",
"status": "publish",
"sourceUrl": "http://www.kqed.org/arts/programs/baybridged/",
"audioUrl": "http://media.libsyn.com/media/thebaybridged/French_Miami_Show.mp3",
"sticky": false,
"path": "/arts/23741/french_miami",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Few groups have left the impression that this trio did when we first saw them perform at this year’s \u003cb>Rock Make Street Festival\u003c/b>, where they delivered a compelling performance combining the precision of prog- and math-rock with an addictive melodic streak. It’s the rare band that can balance equal parts heaviness and catchiness without coming off as a disjointed mess, and French Miami manages to fuse the two with impeccable skill.\u003c/p>\n\u003cp>While the guys won us over with their live show, last week they celebrated the release of their first full length effort, a self-titled album on Dinner Party Records. Working with Phil Manley (Trans Am/The F—ing Champs), \u003cb>French Miami\u003c/b> (the album) captures the bassless trio’s big sound well. It’s a brawny record full of sharp interplay between multi-instrumentalists Jay Heiselmann and Roland Curtis on compositions that favor repetition and dynamic shifts. Heiselmann’s vocals shift and adapt to the music as it goes, and he can be Mackaye-intense or Ocasek-poppy as each phrase requires. It’s an impressive release from a creative group that we hope will emerge as one of the Bay Area’s breakout bands in 2009.\u003c/p>\n\u003cp>We sat down with Roland, Jay, and drummer Chris Crawford a few weeks ago to discuss the band’s early quest to find a sound, as well as the inspiration behind the band members’ interest in music. Along with the interview, we’ve included four songs from the new album.\u003c/p>\n\u003cp>\u003cb>Upcoming Shows:\u003c/b>\u003cbr>Friday, December 19th\u003cbr>Bottom of the Hill\u003cbr>with Happy Hollows (Los Angeles) and Master/Slave\u003cbr>10pm, $8\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/23741/french_miami",
"authors": [
"92"
],
"categories": [
"arts_69"
],
"affiliates": [
"arts_147"
],
"featImg": "arts_10023741",
"label": "arts_147"
},
"arts_23725": {
"type": "posts",
"id": "arts_23725",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "23725",
"score": null,
"sort": [
1227231512000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1227231512,
"format": "standard",
"title": "The Late, Late Shows",
"headTitle": "The Late, Late Shows | KQED",
"content": "\u003cp>I’m very excited that arty Brazilian electro pop punks \u003ca href=\"http://www.csshurts.com/\" target=\"offsite\" rel=\"noopener\">Cansei de Ser Sexy\u003c/a> are returning to San Francisco in December. I’ve been trying to see CSS for almost two years now, missing numerous shows on at least two different continents along the way. I even had tickets to see them play the \u003ca href=\"http://www.mezzaninesf.com/calendar.asp\" target=\"offsite\" rel=\"noopener\">Mezzanine\u003c/a> in June last year, and I made it to the venue on the night, but I still didn’t get to see them play. Why?\u003c/p>\n\u003cp>Well, as a relative newcomer to the Bay Area, I’ve had real difficulty adjusting to how late live music shows seem to start and end here. I lived in London for many years, where most gigs finish by around 11pm, or midnight at the latest. This is because, until relatively recently, most pubs and bars there weren’t licensed to stay open past 11pm, and the Tube doesn’t run much after midnight (an important fact of life when you live in such a big, sprawling city). There are many things to dislike about the London music scene, but the civilized hours it keeps isn’t one of them.\u003c/p>\n\u003cp>Here, venues seem happy when shows drag on much later, regardless of whether it’s a weekend or a school night. I’ve been trying to adjust, and I didn’t even bother turning up to the Mezzanine to see CSS until what I took to be the fashionably late hour of 11pm. As I walked in, I was slightly disappointed to see a different act only just walking onstage. Maybe this was the opener doing a quick encore? Nope, it was the start of their set. Then I realized that this wasn’t even the final opener, but the second of three support acts. At a rough estimate I reckoned CSS wouldn’t be on stage until at least 1am (allowing an hour per opener is a remarkably accurate rule of thumb in these situations).\u003c/p>\n\u003cp>As I absorbed this news, the keyboard botherers who had just taken to the stage were doing their avant garde best to let me known exactly how long the next two hours would be. The Mezzanine has a muscular sound system, and it relays music at impressively high volume to pretty much every part of the venue. This is great if you’re enjoying the music, but not so much fun when you’re an unsuspecting punter trying to flee the sonic assault of an act you didn’t come to see.\u003c/p>\n\u003cp>I really wanted to see CSS. I had been trying to see them for a year. But I realized that I also couldn’t take another two hours of aural abuse, expensive beer, and shouting hipsters, so I did something I rarely do at live music shows: I walked out.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>To be fair to the venue and promoters, the show was advertised as an “afterparty” for Live105’s BFD concert. But I took this to mean that there would be DJs playing music for several hours after the live acts were through, not that the headline band wouldn’t appear until the early hours. Plus, judging by other gigs I’ve been to at the same venue, most shows there tend to run absurdly late, even by San Francisco’s insomniac standards.\u003c/p>\n\u003cp>Now, I’m fully aware that this is going to make me sound like an old codger, but me and my comfy slippers don’t care. Just because I like seeing live music doesn’t mean I’m some sort of nocturnal party vampire. Is a midnight curfew really too much to ask for?\u003c/p>\n\u003cp>CSS play \u003ca href=\"http://www.bimbos365club.com/bands.html\" target=\"offsite\" rel=\"noopener\">Bimbo’s 365\u003c/a> on December 12, 2008. Keith hopes that this time they’ll take the stage well before his bedtime.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>What do you think? Should shows start earlier? Or do you enjoy rocking into the wee hours? You can leave a comment below.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 680,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 11
},
"modified": 1705052902,
"excerpt": "In San Francisco, music venues seem happy when shows drag on well past bedtime, regardless of whether it's a weekend or a school night.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "In San Francisco, music venues seem happy when shows drag on well past bedtime, regardless of whether it's a weekend or a school night.",
"title": "The Late, Late Shows | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "The Late, Late Shows",
"datePublished": "2008-11-20T17:38:32-08:00",
"dateModified": "2024-01-12T01:48:22-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "the_late_late_shows",
"status": "publish",
"sourceUrl": "http://www.kqed.org/arts/category/music/",
"sticky": false,
"path": "/arts/23725/the_late_late_shows",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I’m very excited that arty Brazilian electro pop punks \u003ca href=\"http://www.csshurts.com/\" target=\"offsite\" rel=\"noopener\">Cansei de Ser Sexy\u003c/a> are returning to San Francisco in December. I’ve been trying to see CSS for almost two years now, missing numerous shows on at least two different continents along the way. I even had tickets to see them play the \u003ca href=\"http://www.mezzaninesf.com/calendar.asp\" target=\"offsite\" rel=\"noopener\">Mezzanine\u003c/a> in June last year, and I made it to the venue on the night, but I still didn’t get to see them play. Why?\u003c/p>\n\u003cp>Well, as a relative newcomer to the Bay Area, I’ve had real difficulty adjusting to how late live music shows seem to start and end here. I lived in London for many years, where most gigs finish by around 11pm, or midnight at the latest. This is because, until relatively recently, most pubs and bars there weren’t licensed to stay open past 11pm, and the Tube doesn’t run much after midnight (an important fact of life when you live in such a big, sprawling city). There are many things to dislike about the London music scene, but the civilized hours it keeps isn’t one of them.\u003c/p>\n\u003cp>Here, venues seem happy when shows drag on much later, regardless of whether it’s a weekend or a school night. I’ve been trying to adjust, and I didn’t even bother turning up to the Mezzanine to see CSS until what I took to be the fashionably late hour of 11pm. As I walked in, I was slightly disappointed to see a different act only just walking onstage. Maybe this was the opener doing a quick encore? Nope, it was the start of their set. Then I realized that this wasn’t even the final opener, but the second of three support acts. At a rough estimate I reckoned CSS wouldn’t be on stage until at least 1am (allowing an hour per opener is a remarkably accurate rule of thumb in these situations).\u003c/p>\n\u003cp>As I absorbed this news, the keyboard botherers who had just taken to the stage were doing their avant garde best to let me known exactly how long the next two hours would be. The Mezzanine has a muscular sound system, and it relays music at impressively high volume to pretty much every part of the venue. This is great if you’re enjoying the music, but not so much fun when you’re an unsuspecting punter trying to flee the sonic assault of an act you didn’t come to see.\u003c/p>\n\u003cp>I really wanted to see CSS. I had been trying to see them for a year. But I realized that I also couldn’t take another two hours of aural abuse, expensive beer, and shouting hipsters, so I did something I rarely do at live music shows: I walked out.\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>To be fair to the venue and promoters, the show was advertised as an “afterparty” for Live105’s BFD concert. But I took this to mean that there would be DJs playing music for several hours after the live acts were through, not that the headline band wouldn’t appear until the early hours. Plus, judging by other gigs I’ve been to at the same venue, most shows there tend to run absurdly late, even by San Francisco’s insomniac standards.\u003c/p>\n\u003cp>Now, I’m fully aware that this is going to make me sound like an old codger, but me and my comfy slippers don’t care. Just because I like seeing live music doesn’t mean I’m some sort of nocturnal party vampire. Is a midnight curfew really too much to ask for?\u003c/p>\n\u003cp>CSS play \u003ca href=\"http://www.bimbos365club.com/bands.html\" target=\"offsite\" rel=\"noopener\">Bimbo’s 365\u003c/a> on December 12, 2008. Keith hopes that this time they’ll take the stage well before his bedtime.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>What do you think? Should shows start earlier? Or do you enjoy rocking into the wee hours? You can leave a comment below.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/23725/the_late_late_shows",
"authors": [
"24"
],
"categories": [
"arts_69"
],
"featImg": "arts_10023725",
"label": "arts"
},
"arts_23694": {
"type": "posts",
"id": "arts_23694",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "23694",
"score": null,
"sort": [
1227208737000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 146
},
"blocks": [],
"publishDate": 1227208737,
"format": "audio",
"title": "November 2008 featuring Of Montreal, Vivian Girls, and more!",
"headTitle": "November 2008 featuring Of Montreal, Vivian Girls, and more! | KQED",
"content": "\u003cp>This month’s \u003cb>Noise Pop New Music Podcast\u003c/b> features brand new tracks of independent and underground music from Athens, Georgia’s Of Montreal, ex-Bis member Manda Rin, a double shot of Brooklyn with Vivian Girls and Crystal Stilts, as well as Bay Area locals Facing New York, Bye Bye Blackbirds, Swann Danger, and more!\u003c/p>\n\u003cp>\u003cb>Track Listing:\u003c/b>\u003cbr>“Cops On Bikes” by Facing New York, \u003cb>Get Hot\u003c/b>\u003cbr>“Tell The World” by Vivian Girls\u003cbr>“The Ghosts Are Alright” by Bye Bye Blackbirds, \u003cb>Houses & Homes\u003c/b>\u003cbr>“Shattered Shine” by Crystal Stilts, \u003cb>Alight of Night\u003c/b>\u003cbr>“If you think you can stop it you should” by Lasertag\u003cbr> “Typeface” by Manda Rin, \u003cb>My DNA\u003c/b>\u003cbr>“Every Week Ends” by Cale Parks, \u003cb>Sparklace\u003c/b>\u003cbr>“Bad Touch” by The Marches, \u003cb>4am Is The New Midnight\u003c/b>\u003cbr>“Stripper” by Swann Danger\u003cbr>“Nonpareil of Favor” by Of Montreal, \u003cb>Skeletal Lamping\u003c/b>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 161,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 4
},
"modified": 1705052910,
"excerpt": "\u003cp>This month's \u003cb>Noise Pop New Music Podcast\u003c/b> features brand new tracks from Of Montreal, Manda Rin, Vivian Girls,Crystal Stilts, Facing New York, Bye Bye Blackbirds, Swann Danger, and more!\u003c/p>",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "This month's Noise Pop New Music Podcast features brand new tracks from Of Montreal, Manda Rin, Vivian Girls,Crystal Stilts, Facing New York, Bye Bye Blackbirds, Swann Danger, and more!",
"title": "November 2008 featuring Of Montreal, Vivian Girls, and more! | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "November 2008 featuring Of Montreal, Vivian Girls, and more!",
"datePublished": "2008-11-20T11:18:57-08:00",
"dateModified": "2024-01-12T01:48:30-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "november_2008_featuring_of_montreal_vivian_girls_and_more",
"status": "publish",
"sourceUrl": "http://www.kqed.org/arts/programs/noisepop/",
"audioUrl": "http://media.libsyn.com/media/noisepop/November_2008_featuring_Of_Montreal_Vivian_Girls_Facing_New_York_and_more.mp3",
"sticky": false,
"path": "/arts/23694/november_2008_featuring_of_montreal_vivian_girls_and_more",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This month’s \u003cb>Noise Pop New Music Podcast\u003c/b> features brand new tracks of independent and underground music from Athens, Georgia’s Of Montreal, ex-Bis member Manda Rin, a double shot of Brooklyn with Vivian Girls and Crystal Stilts, as well as Bay Area locals Facing New York, Bye Bye Blackbirds, Swann Danger, and more!\u003c/p>\n\u003cp>\u003cb>Track Listing:\u003c/b>\u003cbr>“Cops On Bikes” by Facing New York, \u003cb>Get Hot\u003c/b>\u003cbr>“Tell The World” by Vivian Girls\u003cbr>“The Ghosts Are Alright” by Bye Bye Blackbirds, \u003cb>Houses & Homes\u003c/b>\u003cbr>“Shattered Shine” by Crystal Stilts, \u003cb>Alight of Night\u003c/b>\u003cbr>“If you think you can stop it you should” by Lasertag\u003cbr> “Typeface” by Manda Rin, \u003cb>My DNA\u003c/b>\u003cbr>“Every Week Ends” by Cale Parks, \u003cb>Sparklace\u003c/b>\u003cbr>“Bad Touch” by The Marches, \u003cb>4am Is The New Midnight\u003c/b>\u003cbr>“Stripper” by Swann Danger\u003cbr>“Nonpareil of Favor” by Of Montreal, \u003cb>Skeletal Lamping\u003c/b>\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/23694/november_2008_featuring_of_montreal_vivian_girls_and_more",
"authors": [
"92"
],
"categories": [
"arts_69"
],
"affiliates": [
"arts_146"
],
"featImg": "arts_10023694",
"label": "arts_146"
},
"arts_23689": {
"type": "posts",
"id": "arts_23689",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "23689",
"score": null,
"sort": [
1227033012000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 147
},
"blocks": [],
"publishDate": 1227033012,
"format": "audio",
"title": "Music for Animals",
"headTitle": "Music for Animals | KQED",
"content": "\u003cp>Music for Animals is a San Francisco quartet that mixes a fondness for classic rock-pop hooks with a stripped-down modern aesthetic. Like their self-titled album, Music for Animals’ latest work, the \u003cb>If Looks Could Kill\u003c/b> EP is full of catchy choruses and danceable songs. But it also demonstrates the band pushing in new directions, with some slower tempos and production choices that highlight the their nuanced songwriting.\u003c/p>\n\u003cp>Ben and Christian sat down with Jay, Eli and Nick from Music for Animals a few weeks ago, discussing the new EP and the band’s ability to write songs that work equally well on record and on stage. We’ve also included four songs from the band’s catalog — including two from the new EP.\u003c/p>\n\u003cp>\u003cb>Upcoming Shows:\u003c/b>\u003cbr>Saturday, November 22nd\u003cbr>El Rio\u003cbr>with Transfer, The Silent Comedy, and Apside\u003cbr>9pm, $7\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 146,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 5
},
"modified": 1705052912,
"excerpt": "\u003cb>The Bay Bridged\u003c/b> interviews Music for Animals, a San Francisco quartet mixing a fondness for classic rock-pop hooks with a stripped-down modern aesthetic.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The Bay Bridged interviews Music for Animals, a San Francisco quartet mixing a fondness for classic rock-pop hooks with a stripped-down modern aesthetic.",
"title": "Music for Animals | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Music for Animals",
"datePublished": "2008-11-18T10:30:12-08:00",
"dateModified": "2024-01-12T01:48:32-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "music_for_animals",
"status": "publish",
"sourceUrl": "http://www.kqed.org/arts/programs/baybridged/",
"audioUrl": "http://media.libsyn.com/media/thebaybridged/Music_for_Animals_Show.mp3",
"sticky": false,
"path": "/arts/23689/music_for_animals",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Music for Animals is a San Francisco quartet that mixes a fondness for classic rock-pop hooks with a stripped-down modern aesthetic. Like their self-titled album, Music for Animals’ latest work, the \u003cb>If Looks Could Kill\u003c/b> EP is full of catchy choruses and danceable songs. But it also demonstrates the band pushing in new directions, with some slower tempos and production choices that highlight the their nuanced songwriting.\u003c/p>\n\u003cp>Ben and Christian sat down with Jay, Eli and Nick from Music for Animals a few weeks ago, discussing the new EP and the band’s ability to write songs that work equally well on record and on stage. We’ve also included four songs from the band’s catalog — including two from the new EP.\u003c/p>\n\u003cp>\u003cb>Upcoming Shows:\u003c/b>\u003cbr>Saturday, November 22nd\u003cbr>El Rio\u003cbr>with Transfer, The Silent Comedy, and Apside\u003cbr>9pm, $7\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/23689/music_for_animals",
"authors": [
"92"
],
"categories": [
"arts_69"
],
"affiliates": [
"arts_147"
],
"featImg": "arts_10023689",
"label": "arts_147"
},
"arts_23670": {
"type": "posts",
"id": "arts_23670",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "23670",
"score": null,
"sort": [
1226626767000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1226626767,
"format": "standard",
"title": "David Holmes: The Holy Pictures",
"headTitle": "David Holmes: The Holy Pictures | KQED",
"content": "\u003cp>I hesitate to use the phrase “greatest living Irishman” while Shaquille O’Neal is still shuffling his size 23s around the NBA, but Belfast musician and DJ \u003ca href=\"http://www.myspace.com/davidholmesofficial\" target=\"offsite\" rel=\"noopener\">David Holmes\u003c/a> is certainly one of the most talented still to find fame in the States. Which is surprising considering that his new album the \u003cb>The Holy Pictures\u003c/b> will be his fifth full-length release, or ninth if you count his mix albums. And then there are his movie soundtracks, at least five of which have been released on CD, not to mention his work as a remixer and a movie producer and …\u003c/p>\n\u003cp>And at this point we begin to understand why, despite his undoubted talents, Holmes languishes in relative obscurity here in the US. Like many artists before him, he has committed a cardinal sin in the eyes of the American music industry: eclecticism. The techno thump of his first album \u003cb>This Film’s Crap Let’s Slash the Seats\u003c/b> in 1995 tagged him as an electronic artist. But, with each subsequent release, he has become harder to pin down, and therefore less likely to win radio airplay or find a comfortable spot in your local record store.\u003c/p>\n\u003cp>First he let loose with a headlong rush of big beat and drum’n’bass on 1997’s \u003cb>Let’s Get Killed\u003c/b>. Things got a little muddier with \u003cb>Bow Down to the Exit Sign\u003c/b> in 2000 as he added dark dub and even a little indie into the mix. Then two years later he pulled a retro-inspired one-eighty by first releasing his mix album of dirty funk and Sixties soul \u003cb>Come Get It, I Got It\u003c/b>, then forming a dirty, funky soul band of his own to record \u003cb>David Holmes Presents the Free Association\u003c/b>. In between times, he has also released crate-digging mix albums that veer from strange sci-fi pop to funky modern hip-hop, while never pausing for a moment to consider the consequences.\u003c/p>\n\u003cp>The only coherent thread throughout has been an unmistakable cinematic quality to his output; his music is most often described as “a soundtrack in search of a movie.” However, this is less true of his actual movie soundtrack albums, which, confusingly, are less like standard movie tie-ins and are more excellent albums in their own right (best known are his collaborations with Steven Soderbergh on \u003cb>Out of Sight\u003c/b> and the \u003cb>Ocean’s\u003c/b> movies).\u003c/p>\n\u003cp>Which brings us, slightly disoriented, but also intrigued, to \u003cb>The Holy Pictures\u003c/b>, 10 years in the making and his most personal and accessible work yet. Inspired by the death of his mother in 1996, this is an album firmly rooted in the past, but one that thankfully doesn’t wallow in it. A lifetime’s worth of diverse influences are combined to create something fresh and (oh yes) full of surprising new directions.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Love Reign Over Me” has a dazed trippiness that invokes the spirit of the Happy Mondays or Stone Roses, but is more of a friendly, fuzzy-toned flashback than a full-blooded ecstasy-fuelled nostalgia trip. “I Heard Wonders” and “Melanie” both owe a debt to the retro-modern drone of Stereolab, while washes of shoegazing guitar noise creep in all over the place. The atmospherics of Brian Eno’s ambient works underpin several tracks. And when David Holmes sings (a first on any of his releases), he does so with a low, breathing rasp that brings to mind The Jesus and Mary Chain or Spacemen 3.\u003c/p>\n\u003cp>There are also plenty of dance floor influences, but they are muted and subtle. For example, the instrumental “Story of the Ink” incorporates a deep bass melody that sounds like a distant echo of a half-remembered acid house sample. Elsewhere, rhythms range from the complex metronomic percusiveness of Kraftwerk to more straightforward four-to-the-floor beats, but to call this electronic music would be to ignore its organic soul.\u003c/p>\n\u003cp>Because David Holmes has an amazing ear for the textures of sound. The instrumental tracks are so rich in tone that words are barely missed, and the whole album seems sepia tinted (or perhaps a more accurate visual metaphor would be that pinkish wash that slowly creeps into old color photographs taken in the Seventies and Eighties). In particular, final track “The Ballad of Sarah and Jack” has the kind of irresistible emotional power that will make you stop whatever you are doing and gaze wistfully into space, contemplating the moment and your surroundings in all their sudden, unexpected beauty.\u003c/p>\n\u003cp>Which is the best thing about listening to music that comes across like a soundtrack in search of a movie: you get to provide the pictures.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>David Holmes’s \u003cb>The Holy Pictures\u003c/b> is released November 18, 2008 on Universal.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 818,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 12
},
"modified": 1705052918,
"excerpt": "Inspired by the death of his mother in 1996, this is an album firmly rooted in the past, but one that thankfully doesn't wallow in it. A lifetime's worth of diverse influences are combined to create something fresh and (oh yes) full of surprising new directions.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Inspired by the death of his mother in 1996, this is an album firmly rooted in the past, but one that thankfully doesn't wallow in it. A lifetime's worth of diverse influences are combined to create something fresh and (oh yes) full of surprising new directions.",
"title": "David Holmes: The Holy Pictures | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "David Holmes: The Holy Pictures",
"datePublished": "2008-11-13T17:39:27-08:00",
"dateModified": "2024-01-12T01:48:38-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "david_holmes_the_holy_pictures",
"status": "publish",
"sourceUrl": "http://www.kqed.org/arts/category/music/music-review/",
"sticky": false,
"path": "/arts/23670/david_holmes_the_holy_pictures",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I hesitate to use the phrase “greatest living Irishman” while Shaquille O’Neal is still shuffling his size 23s around the NBA, but Belfast musician and DJ \u003ca href=\"http://www.myspace.com/davidholmesofficial\" target=\"offsite\" rel=\"noopener\">David Holmes\u003c/a> is certainly one of the most talented still to find fame in the States. Which is surprising considering that his new album the \u003cb>The Holy Pictures\u003c/b> will be his fifth full-length release, or ninth if you count his mix albums. And then there are his movie soundtracks, at least five of which have been released on CD, not to mention his work as a remixer and a movie producer and …\u003c/p>\n\u003cp>And at this point we begin to understand why, despite his undoubted talents, Holmes languishes in relative obscurity here in the US. Like many artists before him, he has committed a cardinal sin in the eyes of the American music industry: eclecticism. The techno thump of his first album \u003cb>This Film’s Crap Let’s Slash the Seats\u003c/b> in 1995 tagged him as an electronic artist. But, with each subsequent release, he has become harder to pin down, and therefore less likely to win radio airplay or find a comfortable spot in your local record store.\u003c/p>\n\u003cp>First he let loose with a headlong rush of big beat and drum’n’bass on 1997’s \u003cb>Let’s Get Killed\u003c/b>. Things got a little muddier with \u003cb>Bow Down to the Exit Sign\u003c/b> in 2000 as he added dark dub and even a little indie into the mix. Then two years later he pulled a retro-inspired one-eighty by first releasing his mix album of dirty funk and Sixties soul \u003cb>Come Get It, I Got It\u003c/b>, then forming a dirty, funky soul band of his own to record \u003cb>David Holmes Presents the Free Association\u003c/b>. In between times, he has also released crate-digging mix albums that veer from strange sci-fi pop to funky modern hip-hop, while never pausing for a moment to consider the consequences.\u003c/p>\n\u003cp>The only coherent thread throughout has been an unmistakable cinematic quality to his output; his music is most often described as “a soundtrack in search of a movie.” However, this is less true of his actual movie soundtrack albums, which, confusingly, are less like standard movie tie-ins and are more excellent albums in their own right (best known are his collaborations with Steven Soderbergh on \u003cb>Out of Sight\u003c/b> and the \u003cb>Ocean’s\u003c/b> movies).\u003c/p>\n\u003cp>Which brings us, slightly disoriented, but also intrigued, to \u003cb>The Holy Pictures\u003c/b>, 10 years in the making and his most personal and accessible work yet. Inspired by the death of his mother in 1996, this is an album firmly rooted in the past, but one that thankfully doesn’t wallow in it. A lifetime’s worth of diverse influences are combined to create something fresh and (oh yes) full of surprising new directions.\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>“Love Reign Over Me” has a dazed trippiness that invokes the spirit of the Happy Mondays or Stone Roses, but is more of a friendly, fuzzy-toned flashback than a full-blooded ecstasy-fuelled nostalgia trip. “I Heard Wonders” and “Melanie” both owe a debt to the retro-modern drone of Stereolab, while washes of shoegazing guitar noise creep in all over the place. The atmospherics of Brian Eno’s ambient works underpin several tracks. And when David Holmes sings (a first on any of his releases), he does so with a low, breathing rasp that brings to mind The Jesus and Mary Chain or Spacemen 3.\u003c/p>\n\u003cp>There are also plenty of dance floor influences, but they are muted and subtle. For example, the instrumental “Story of the Ink” incorporates a deep bass melody that sounds like a distant echo of a half-remembered acid house sample. Elsewhere, rhythms range from the complex metronomic percusiveness of Kraftwerk to more straightforward four-to-the-floor beats, but to call this electronic music would be to ignore its organic soul.\u003c/p>\n\u003cp>Because David Holmes has an amazing ear for the textures of sound. The instrumental tracks are so rich in tone that words are barely missed, and the whole album seems sepia tinted (or perhaps a more accurate visual metaphor would be that pinkish wash that slowly creeps into old color photographs taken in the Seventies and Eighties). In particular, final track “The Ballad of Sarah and Jack” has the kind of irresistible emotional power that will make you stop whatever you are doing and gaze wistfully into space, contemplating the moment and your surroundings in all their sudden, unexpected beauty.\u003c/p>\n\u003cp>Which is the best thing about listening to music that comes across like a soundtrack in search of a movie: you get to provide the pictures.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>David Holmes’s \u003cb>The Holy Pictures\u003c/b> is released November 18, 2008 on Universal.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/23670/david_holmes_the_holy_pictures",
"authors": [
"24"
],
"categories": [
"arts_69"
],
"featImg": "arts_10023670",
"label": "arts"
},
"arts_23664": {
"type": "posts",
"id": "arts_23664",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "23664",
"score": null,
"sort": [
1226622512000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1226622512,
"format": "standard",
"title": "Mike Relm: Spectacle",
"headTitle": "Mike Relm: Spectacle | KQED",
"content": "\u003cp>Mike Relm’s new album is serious. But I don’t mean it lacks fun in any way. The album is both a stray from some of the comedic live mash-ups he is famous for and a symbol of Relm’s recent success and his ascent into the “serious” music business. But what’s interesting to consider is how Relm got to be where he is — he’s always embraced a quite paradoxical blend between the silly and the serious.\u003c/p>\n\u003cp>When Relm is performing, the stage distends with pumping beats that are often out-there mixes of ’80s classics, cartoon themes — the most unlikely hip hop/electronic tunes. He makes his audience laugh, but all the while dresses in a full black suit and works the tables like the best DJs out there. His new album \u003cb>Spectacle\u003c/b>, released on Radio Fried Records, trumps the old party mashups for original beats and hip hop tunes, showing a maturity that will surely be embraced by his true fans and perhaps disregarded by the party people.\u003c/p>\n\u003cp>There’s no doubt that it’s hard to recreate the energy of a live set on an album. And it’s also pretty clear that a DJ faces a lot of pressure when he decides to branch out in the way that Relm did with this project. But he made good choices with the mix, and kept the energy up, which is a good first step. And tracks like “Body Rock” make you stop and remember that this guy’s ultimate job is to help people party, and at that he’s an expert. No question.\u003c/p>\n\u003cp>Some of the sounds used on the album feel a little dated, but not necessarily in a bad way. Relm blends tracks that use ’80s-sounding synths and piles them onto modern dance beats. The song “Tron” is a perfect example; robotic sounds blend into house bass drum sounds, followed by an ’80s pop synth melody.\u003c/p>\n\u003cp>The first single from the album is “Every Time You Break My Heart,” which is broken into three different versions (as is the title) and interspersed throughout the record. While it feels like one too many versions of the same song, the chorus (with vocals by Adrian Hartley) is infectious. Each version features a different rap, which changes the song, but only slightly.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>A couple of highlights on the album are “The Cube” and “Vertiglo,” not solely because they are instrumental tracks. “The Cube” is a song that builds from a basic beat and bass line to a fully danceable club track, and “Vertiglo” is similar — a repetitive but excessively fun mix. These two songs show Relm’s creativity in a way that gets buried by the talents of the MCs and vocalists in others.\u003c/p>\n\u003cp>The flow of the album is broken up with short clips: changing channels on TV, a split second movie sound bite, TV news and odd commercials. It’s unconvincing that these tracks are necessary, but they add a little humor and novelty to the album, at least for the first few listens. And Relm being Relm, there had to be some quirkiness in there somewhere.\u003c/p>\n\u003cp>Mike Relm performs at The Mezzanine on Friday, December 5, 2008 with Peanut Butter Wolf. He will also be showing off his visual mash-up skills at this gig. \u003cb>Spectacle\u003c/b> is out now.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Emily Logan is the News Editor for \u003ca href=\"http://www.thebaybridged.com\">The Bay Bridged\u003c/a>.\u003c/i>\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 606,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 11
},
"modified": 1705052920,
"excerpt": "Mike Relm's new album is serious. But I don't mean it lacks fun in any way. The album is both a stray from some of the comedic live mash-ups he is famous for and a symbol of Relm's recent ascent into the \"serious\" music business.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Mike Relm's new album is serious. But I don't mean it lacks fun in any way. The album is both a stray from some of the comedic live mash-ups he is famous for and a symbol of Relm's recent ascent into the "serious" music business.",
"title": "Mike Relm: Spectacle | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Mike Relm: Spectacle",
"datePublished": "2008-11-13T16:28:32-08:00",
"dateModified": "2024-01-12T01:48:40-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "mike_relm_spectacle",
"status": "publish",
"sourceUrl": "http://www.kqed.org/arts/category/music/music-review/",
"nprByline": "Emily Logan",
"sticky": false,
"path": "/arts/23664/mike_relm_spectacle",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Mike Relm’s new album is serious. But I don’t mean it lacks fun in any way. The album is both a stray from some of the comedic live mash-ups he is famous for and a symbol of Relm’s recent success and his ascent into the “serious” music business. But what’s interesting to consider is how Relm got to be where he is — he’s always embraced a quite paradoxical blend between the silly and the serious.\u003c/p>\n\u003cp>When Relm is performing, the stage distends with pumping beats that are often out-there mixes of ’80s classics, cartoon themes — the most unlikely hip hop/electronic tunes. He makes his audience laugh, but all the while dresses in a full black suit and works the tables like the best DJs out there. His new album \u003cb>Spectacle\u003c/b>, released on Radio Fried Records, trumps the old party mashups for original beats and hip hop tunes, showing a maturity that will surely be embraced by his true fans and perhaps disregarded by the party people.\u003c/p>\n\u003cp>There’s no doubt that it’s hard to recreate the energy of a live set on an album. And it’s also pretty clear that a DJ faces a lot of pressure when he decides to branch out in the way that Relm did with this project. But he made good choices with the mix, and kept the energy up, which is a good first step. And tracks like “Body Rock” make you stop and remember that this guy’s ultimate job is to help people party, and at that he’s an expert. No question.\u003c/p>\n\u003cp>Some of the sounds used on the album feel a little dated, but not necessarily in a bad way. Relm blends tracks that use ’80s-sounding synths and piles them onto modern dance beats. The song “Tron” is a perfect example; robotic sounds blend into house bass drum sounds, followed by an ’80s pop synth melody.\u003c/p>\n\u003cp>The first single from the album is “Every Time You Break My Heart,” which is broken into three different versions (as is the title) and interspersed throughout the record. While it feels like one too many versions of the same song, the chorus (with vocals by Adrian Hartley) is infectious. Each version features a different rap, which changes the song, but only slightly.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A couple of highlights on the album are “The Cube” and “Vertiglo,” not solely because they are instrumental tracks. “The Cube” is a song that builds from a basic beat and bass line to a fully danceable club track, and “Vertiglo” is similar — a repetitive but excessively fun mix. These two songs show Relm’s creativity in a way that gets buried by the talents of the MCs and vocalists in others.\u003c/p>\n\u003cp>The flow of the album is broken up with short clips: changing channels on TV, a split second movie sound bite, TV news and odd commercials. It’s unconvincing that these tracks are necessary, but they add a little humor and novelty to the album, at least for the first few listens. And Relm being Relm, there had to be some quirkiness in there somewhere.\u003c/p>\n\u003cp>Mike Relm performs at The Mezzanine on Friday, December 5, 2008 with Peanut Butter Wolf. He will also be showing off his visual mash-up skills at this gig. \u003cb>Spectacle\u003c/b> is out now.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Emily Logan is the News Editor for \u003ca href=\"http://www.thebaybridged.com\">The Bay Bridged\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/23664/mike_relm_spectacle",
"authors": [
"byline_arts_23664"
],
"categories": [
"arts_69"
],
"featImg": "arts_10023664",
"label": "arts"
},
"arts_23614": {
"type": "posts",
"id": "arts_23614",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "23614",
"score": null,
"sort": [
1225237392000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1225237392,
"format": "standard",
"title": "Of Great and Mortal Men: 43 Songs for 43 U.S. Presidencies",
"headTitle": "Of Great and Mortal Men: 43 Songs for 43 U.S. Presidencies | KQED",
"content": "\u003cp>While the rest of us have been busy wondering who is going to become the next president of the United States, three musicians (Jefferson Pitcher of New York, and J. Matthew Gerken and Christian Kiefer, both from Sacramento, CA) have decided instead to look back at the previous occupants of this country’s highest office. The result is an ambitious musical opus \u003ca href=\"http://ofgreatandmortalmen.wordpress.com/\" target=\"offsite\" rel=\"noopener\">Of Great and Mortal Men: 43 Songs for 43 U.S. Presidencies\u003c/a>.\u003c/p>\n\u003cp>As well as writing a third of the tracks each, Gerken, Kiefer, and Pitcher also recruited an impressive cabal of guests to help them with recording duties, including \u003ca href=\"http://chairkickers.com/\" target=\"offsite\" rel=\"noopener\">Low\u003c/a>‘s Alan Sparhawk, Bill \u003ca href=\"http://www.dragcity.com/bands/smog.html\" target=\"offsite\" rel=\"noopener\">“Smog”\u003c/a> Callahan, and \u003ca href=\"http://www.markkozelek.com/\" target=\"offsite\" rel=\"noopener\">Mark Kozelek\u003c/a> of Sun Kil Moon and Red House Painters. In total, there are around 100 musicians and artists credited with helping to create an impressive package that, despite the name, is much more than just a collection of 43 songs.\u003c/p>\n\u003cp>Which is good news, as the music would have to be pretty extraordinary to carry us through all three CDs and 219 years of history alone. As it is, there are some exceptional tracks, with the highlights ranging in style from the gentle alt-country of “Rough and Ready” (which covers the incumbency of Zachery Taylor, 1849-50) and “Helicopters Above Oakland” (Ulysses S. Grant, 1869-77), all the way to the haunting, Mogwai-esque drone of “There Was No Longer Use to Hide the Fact That It Was Gout” (William Howard Taft, 1909-13). But elsewhere the tone sometimes errs towards the overly somber and wordy, both of which are understandable sins given many of the themes being tackled (you try writing a song about the threat of secession and make it sound poppy or pithy).\u003c/p>\n\u003cp>Which means that if you think of this as just another triple album about the U.S. presidency, then you might end up feeling a little disappointed by the end. But to concentrate only on the music is to miss the point, as this project offers much more: quirky lessons in our history and mythology, some intriguing works of poetry (both written and performed), an entertaining series of potted presidential political biographies, and art — an accompanying book features original illustrations printed alongside lyrics for each track. Even the song titles read like miniature historical haikus, such as the description of Thomas Jefferson as the “The Mouldboard of Least Resistance,” or the image of Nixon “2 Under Par Off the Coast of Africa.”\u003c/p>\n\u003cp>Having said this, \u003cb>Of Great and Mortal Men\u003c/b> won’t provide you with a particularly comprehensive history lesson either, so you might need to do a bit of additional research as you listen, to get the most from the experience. Such effort is richly rewarded though. While many listeners may be tempted to skip straight to the end to hear the verdict handed down to the man who has spent the past eight years doing his best to ruin the reputation of the presidency (“I hope I did my best. I hope my friends stay rich. I hope my dad is proud.”), the most intriguing insights are found lurking in the older, forgotten corners of the Oval Office.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For example, Bill Callahan’s contribution “In Hindsight” tells the story of John Tyler (1841-45), the first vice president to stumble into the big job upon the death of his boss. His legacy has been tarnished as a consequence, but Callahan could sing the phone book and give it an unexpected, quiet dignity. When he intones “I’ll be a hero, back in Virginia,” what is seen by many as a tale of dumb luck becomes something far more noble. “They woke me and said it was my time. By god they’ll remember me now.”\u003c/p>\n\u003cp>Elsewhere we learn about everything from George Washington’s hippo teeth to Truman’s doubts over the bombing of Hiroshima. These illuminations, both grand and humbling, provide fresh perspectives on lives you thought you already knew and others you’ll be surprised never to have heard of.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Of Great and Mortal Men: 43 Songs for 43 U.S. Presidencies\u003c/b> is out now via the Standard Recording Company.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 724,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 10
},
"modified": 1705052936,
"excerpt": "While the rest of us have been busy wondering who is going to become the next president of the United States, three musicians have decided instead to look back at the previous occupants of this country's highest office.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "While the rest of us have been busy wondering who is going to become the next president of the United States, three musicians have decided instead to look back at the previous occupants of this country's highest office.",
"title": "Of Great and Mortal Men: 43 Songs for 43 U.S. Presidencies | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Of Great and Mortal Men: 43 Songs for 43 U.S. Presidencies",
"datePublished": "2008-10-28T16:43:12-07:00",
"dateModified": "2024-01-12T01:48:56-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "of_great_and_mortal_men_43_songs_for_43_us_presidencies",
"status": "publish",
"sourceUrl": "http://www.kqed.org/arts/category/music/music-review/",
"sticky": false,
"path": "/arts/23614/of_great_and_mortal_men_43_songs_for_43_us_presidencies",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>While the rest of us have been busy wondering who is going to become the next president of the United States, three musicians (Jefferson Pitcher of New York, and J. Matthew Gerken and Christian Kiefer, both from Sacramento, CA) have decided instead to look back at the previous occupants of this country’s highest office. The result is an ambitious musical opus \u003ca href=\"http://ofgreatandmortalmen.wordpress.com/\" target=\"offsite\" rel=\"noopener\">Of Great and Mortal Men: 43 Songs for 43 U.S. Presidencies\u003c/a>.\u003c/p>\n\u003cp>As well as writing a third of the tracks each, Gerken, Kiefer, and Pitcher also recruited an impressive cabal of guests to help them with recording duties, including \u003ca href=\"http://chairkickers.com/\" target=\"offsite\" rel=\"noopener\">Low\u003c/a>‘s Alan Sparhawk, Bill \u003ca href=\"http://www.dragcity.com/bands/smog.html\" target=\"offsite\" rel=\"noopener\">“Smog”\u003c/a> Callahan, and \u003ca href=\"http://www.markkozelek.com/\" target=\"offsite\" rel=\"noopener\">Mark Kozelek\u003c/a> of Sun Kil Moon and Red House Painters. In total, there are around 100 musicians and artists credited with helping to create an impressive package that, despite the name, is much more than just a collection of 43 songs.\u003c/p>\n\u003cp>Which is good news, as the music would have to be pretty extraordinary to carry us through all three CDs and 219 years of history alone. As it is, there are some exceptional tracks, with the highlights ranging in style from the gentle alt-country of “Rough and Ready” (which covers the incumbency of Zachery Taylor, 1849-50) and “Helicopters Above Oakland” (Ulysses S. Grant, 1869-77), all the way to the haunting, Mogwai-esque drone of “There Was No Longer Use to Hide the Fact That It Was Gout” (William Howard Taft, 1909-13). But elsewhere the tone sometimes errs towards the overly somber and wordy, both of which are understandable sins given many of the themes being tackled (you try writing a song about the threat of secession and make it sound poppy or pithy).\u003c/p>\n\u003cp>Which means that if you think of this as just another triple album about the U.S. presidency, then you might end up feeling a little disappointed by the end. But to concentrate only on the music is to miss the point, as this project offers much more: quirky lessons in our history and mythology, some intriguing works of poetry (both written and performed), an entertaining series of potted presidential political biographies, and art — an accompanying book features original illustrations printed alongside lyrics for each track. Even the song titles read like miniature historical haikus, such as the description of Thomas Jefferson as the “The Mouldboard of Least Resistance,” or the image of Nixon “2 Under Par Off the Coast of Africa.”\u003c/p>\n\u003cp>Having said this, \u003cb>Of Great and Mortal Men\u003c/b> won’t provide you with a particularly comprehensive history lesson either, so you might need to do a bit of additional research as you listen, to get the most from the experience. Such effort is richly rewarded though. While many listeners may be tempted to skip straight to the end to hear the verdict handed down to the man who has spent the past eight years doing his best to ruin the reputation of the presidency (“I hope I did my best. I hope my friends stay rich. I hope my dad is proud.”), the most intriguing insights are found lurking in the older, forgotten corners of the Oval Office.\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>For example, Bill Callahan’s contribution “In Hindsight” tells the story of John Tyler (1841-45), the first vice president to stumble into the big job upon the death of his boss. His legacy has been tarnished as a consequence, but Callahan could sing the phone book and give it an unexpected, quiet dignity. When he intones “I’ll be a hero, back in Virginia,” what is seen by many as a tale of dumb luck becomes something far more noble. “They woke me and said it was my time. By god they’ll remember me now.”\u003c/p>\n\u003cp>Elsewhere we learn about everything from George Washington’s hippo teeth to Truman’s doubts over the bombing of Hiroshima. These illuminations, both grand and humbling, provide fresh perspectives on lives you thought you already knew and others you’ll be surprised never to have heard of.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Of Great and Mortal Men: 43 Songs for 43 U.S. Presidencies\u003c/b> is out now via the Standard Recording Company.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/23614/of_great_and_mortal_men_43_songs_for_43_us_presidencies",
"authors": [
"24"
],
"categories": [
"arts_69"
],
"featImg": "arts_10023614",
"label": "arts"
},
"arts_23608": {
"type": "posts",
"id": "arts_23608",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "23608",
"score": null,
"sort": [
1225221695000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 147
},
"blocks": [],
"publishDate": 1225221695,
"format": "audio",
"title": "maus haus",
"headTitle": "maus haus | KQED",
"content": "\u003cp>We were intrigued when we first heard that Aaron Weiss (ex-Social Studies) and Jason Kick (The Lovely Public, Social Studies) were working on a new project called maus haus. The band’s self-distributed demos set early expectations quite high with a unique sound that eschewed guitars for a pastiche-driven mix of synthesizers, classical instruments and drum machines.\u003c/p>\n\u003cp>Maus haus’s debut album, \u003cb>Lark Marvels\u003c/b>, out this week, reflects the twin touchstones of Krautrock and off-kilter baroque pop. Somehow, the members of maus haus seem free to try anything, while maintaining the focus needed to harness an apparantly limitless sound palette. It’s remarkable that a group with this many members, who have all been involved in other acclaimed musical projects, could succeed cohesively in the studio or on the stage.\u003c/p>\n\u003cp>We spoke with five-sixths of maus haus a few weeks ago, discussing how the band has managed to channel its members’ diverse musical ideas and interests. We’re excited to include four songs from \u003cb>Lark Marvels\u003c/b> alongside excerpts from the interview.\u003c/p>\n\u003cp>\u003cb>Upcoming Shows:\u003c/b>\u003c/p>\n\u003cp>Wednesday, October 29, 2008\u003cbr>Rickshaw Stop (Record release show!)\u003cbr>Casy #38; Brian and Religious Girls\u003cbr>8pm, $8\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Saturday, November 15, 2008\u003cbr>UC Merced (Merced, CA)\u003cbr>with Scissors for Lefty and Rademacher\u003cbr>1pm, all ages\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 215,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 8
},
"modified": 1705052937,
"excerpt": "This week's podcast features San Francisco experimental pop sextet maus haus, a band that ranks as one of the most promising young groups in Bay Area indie music.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "This week's podcast features San Francisco experimental pop sextet maus haus, a band that ranks as one of the most promising young groups in Bay Area indie music.",
"title": "maus haus | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "maus haus",
"datePublished": "2008-10-28T12:21:35-07:00",
"dateModified": "2024-01-12T01:48:57-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "maus_haus",
"status": "publish",
"sourceUrl": "http://www.kqed.org/arts/programs/baybridged/",
"audioUrl": "http://media.libsyn.com/media/thebaybridged/Maus_Haus_Show.mp3",
"sticky": false,
"path": "/arts/23608/maus_haus",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>We were intrigued when we first heard that Aaron Weiss (ex-Social Studies) and Jason Kick (The Lovely Public, Social Studies) were working on a new project called maus haus. The band’s self-distributed demos set early expectations quite high with a unique sound that eschewed guitars for a pastiche-driven mix of synthesizers, classical instruments and drum machines.\u003c/p>\n\u003cp>Maus haus’s debut album, \u003cb>Lark Marvels\u003c/b>, out this week, reflects the twin touchstones of Krautrock and off-kilter baroque pop. Somehow, the members of maus haus seem free to try anything, while maintaining the focus needed to harness an apparantly limitless sound palette. It’s remarkable that a group with this many members, who have all been involved in other acclaimed musical projects, could succeed cohesively in the studio or on the stage.\u003c/p>\n\u003cp>We spoke with five-sixths of maus haus a few weeks ago, discussing how the band has managed to channel its members’ diverse musical ideas and interests. We’re excited to include four songs from \u003cb>Lark Marvels\u003c/b> alongside excerpts from the interview.\u003c/p>\n\u003cp>\u003cb>Upcoming Shows:\u003c/b>\u003c/p>\n\u003cp>Wednesday, October 29, 2008\u003cbr>Rickshaw Stop (Record release show!)\u003cbr>Casy #38; Brian and Religious Girls\u003cbr>8pm, $8\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Saturday, November 15, 2008\u003cbr>UC Merced (Merced, CA)\u003cbr>with Scissors for Lefty and Rademacher\u003cbr>1pm, all ages\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/23608/maus_haus",
"authors": [
"92"
],
"categories": [
"arts_69"
],
"affiliates": [
"arts_147"
],
"featImg": "arts_10023608",
"label": "arts_147"
},
"arts_23574": {
"type": "posts",
"id": "arts_23574",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "23574",
"score": null,
"sort": [
1224637459000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1224637459,
"format": "standard",
"title": "Deerhoof: Offend Maggie",
"headTitle": "Deerhoof: Offend Maggie | KQED",
"content": "\u003cp>I’ll probably get myself in trouble for saying that I think \u003cb>Offend Maggie\u003c/b> is Deerhoof’s best project yet. While many critics have been quick to point out that the band has settled into a pattern of similar-sounding experimental music after 10 albums, this project brings a kind of lightness and optimism that is quite new for them. Many of their previous efforts have necessitated the listener have a certain, shall we say, sonic open-mindedness.\u003c/p>\n\u003cp>It’s hard to gauge how the lifers will respond, both to this more melodic Deerhoof and to the more trendy fans it is likely to spawn. The songs on \u003cb>Offend Maggie\u003c/b> are generally much less aggressive — many sublime, and some even danceable. And the emotion on these albums is put in a more relatable musical context, while of course still maintaining the dissonance and experimentation that has gotten them to where they are.\u003c/p>\n\u003cp>Despite any subtle or even more substantial changes, there still is no experience quite like listening to a Deerhoof song. Discussing originality or novelty in the context of a Deerhoof album is quite futile, and I think a lot of critics (myself included) still have trouble critiquing something that is not so much musically unique as a redefinition of aural pleasure. \u003cb>Offend Maggie\u003c/b> brings this to a new, easier to reach level.\u003c/p>\n\u003cp>The first song on the album, “The Tears and Music of Love,” starts with a powerful, rhythmic guitar line and vocalist Satomi Matsuzaki quickly begins her forcefully adorable treatment of a mostly tonal melody. But classic Deerhoof comes through as they chop every forth measure in half, creating a kind of hiccup in the rhythm.\u003c/p>\n\u003cp>Another highlight of the album, “Basket Ball Get Your Groove Back,” literally made me giggle the first time I heard it because of its silly lyrics (repeat of words like “b-ball” and “rebound” and something that sounds like “bunny jump”) and the childlike combination of the rhythm and melody. This song as well as others on the record really treat the voice as a percussion instrument as much as a melodic one, which creates a fantastic mood and drive.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I won’t dwell on this next point, but I’m seeing a pattern in indie music where fans are much more apt to gravitate toward gibberish and/or languages they do not understand. Of course, the bands that make such music, are often fronted by voices radiant enough to overcome any lyrical deficiencies, as is the case with Matsuzaki. But I wonder how far this trend can go before people start yearning for a good poem again.\u003c/p>\n\u003cp>The song “Family of Others” is certainly one of the more oddball tracks on the album. It begins with noisy dissonance and soon a kind of bizarre modern vocal counterpoint comes in, only to quickly change again into a lighthearted acoustic tune. It’s one of the most disjointed songs on the album, as if the band didn’t think each segment warranted its own song, so they magically formulated a way to sew them together. It works, but that’s just how Deerhoof does it.\u003c/p>\n\u003cp>This is the music theory nerd in me talking, but I have to wonder how formulated these odd harmonies and dissonances are. It’s possible that they just come out of the band naturally, without much calculation. That seems most likely, considering how laborious it would be for any band to figure out that a C# thirteenth flat nine chord works for a particular section of a song. But the musical sensibility that allows for extreme dissonance and arhythm while still making the music listenable is precisely why Deerhoof is still around, and still surprising us.\u003c/p>\n\u003cp>Deerhoof will return to the Bay Area for a show at the Mezzanine on November 15, 2008.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Emily Logan is the News Editor for \u003ca href=\"http://www.thebaybridged.com\">The Bay Bridged\u003c/a>.\u003c/i>\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 670,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 12
},
"modified": 1705052946,
"excerpt": "It's hard to gauge how the lifers will respond, both to this more melodic Deerhoof and to the more trendy fans it is likely to spawn. The songs on \u003cb>Offend Maggie\u003c/b> are generally much less aggressive -- many sublime, and some even danceable.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "It's hard to gauge how the lifers will respond, both to this more melodic Deerhoof and to the more trendy fans it is likely to spawn. The songs on Offend Maggie are generally much less aggressive -- many sublime, and some even danceable.",
"title": "Deerhoof: Offend Maggie | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Deerhoof: Offend Maggie",
"datePublished": "2008-10-21T18:04:19-07:00",
"dateModified": "2024-01-12T01:49:06-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "deerhoof_offend_maggie",
"status": "publish",
"sourceUrl": "http://www.kqed.org/arts/category/music/music-review/",
"nprByline": "Emily Logan",
"sticky": false,
"path": "/arts/23574/deerhoof_offend_maggie",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I’ll probably get myself in trouble for saying that I think \u003cb>Offend Maggie\u003c/b> is Deerhoof’s best project yet. While many critics have been quick to point out that the band has settled into a pattern of similar-sounding experimental music after 10 albums, this project brings a kind of lightness and optimism that is quite new for them. Many of their previous efforts have necessitated the listener have a certain, shall we say, sonic open-mindedness.\u003c/p>\n\u003cp>It’s hard to gauge how the lifers will respond, both to this more melodic Deerhoof and to the more trendy fans it is likely to spawn. The songs on \u003cb>Offend Maggie\u003c/b> are generally much less aggressive — many sublime, and some even danceable. And the emotion on these albums is put in a more relatable musical context, while of course still maintaining the dissonance and experimentation that has gotten them to where they are.\u003c/p>\n\u003cp>Despite any subtle or even more substantial changes, there still is no experience quite like listening to a Deerhoof song. Discussing originality or novelty in the context of a Deerhoof album is quite futile, and I think a lot of critics (myself included) still have trouble critiquing something that is not so much musically unique as a redefinition of aural pleasure. \u003cb>Offend Maggie\u003c/b> brings this to a new, easier to reach level.\u003c/p>\n\u003cp>The first song on the album, “The Tears and Music of Love,” starts with a powerful, rhythmic guitar line and vocalist Satomi Matsuzaki quickly begins her forcefully adorable treatment of a mostly tonal melody. But classic Deerhoof comes through as they chop every forth measure in half, creating a kind of hiccup in the rhythm.\u003c/p>\n\u003cp>Another highlight of the album, “Basket Ball Get Your Groove Back,” literally made me giggle the first time I heard it because of its silly lyrics (repeat of words like “b-ball” and “rebound” and something that sounds like “bunny jump”) and the childlike combination of the rhythm and melody. This song as well as others on the record really treat the voice as a percussion instrument as much as a melodic one, which creates a fantastic mood and drive.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I won’t dwell on this next point, but I’m seeing a pattern in indie music where fans are much more apt to gravitate toward gibberish and/or languages they do not understand. Of course, the bands that make such music, are often fronted by voices radiant enough to overcome any lyrical deficiencies, as is the case with Matsuzaki. But I wonder how far this trend can go before people start yearning for a good poem again.\u003c/p>\n\u003cp>The song “Family of Others” is certainly one of the more oddball tracks on the album. It begins with noisy dissonance and soon a kind of bizarre modern vocal counterpoint comes in, only to quickly change again into a lighthearted acoustic tune. It’s one of the most disjointed songs on the album, as if the band didn’t think each segment warranted its own song, so they magically formulated a way to sew them together. It works, but that’s just how Deerhoof does it.\u003c/p>\n\u003cp>This is the music theory nerd in me talking, but I have to wonder how formulated these odd harmonies and dissonances are. It’s possible that they just come out of the band naturally, without much calculation. That seems most likely, considering how laborious it would be for any band to figure out that a C# thirteenth flat nine chord works for a particular section of a song. But the musical sensibility that allows for extreme dissonance and arhythm while still making the music listenable is precisely why Deerhoof is still around, and still surprising us.\u003c/p>\n\u003cp>Deerhoof will return to the Bay Area for a show at the Mezzanine on November 15, 2008.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Emily Logan is the News Editor for \u003ca href=\"http://www.thebaybridged.com\">The Bay Bridged\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/23574/deerhoof_offend_maggie",
"authors": [
"byline_arts_23574"
],
"categories": [
"arts_69"
],
"featImg": "arts_10023574",
"label": "arts"
},
"arts_23548": {
"type": "posts",
"id": "arts_23548",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "23548",
"score": null,
"sort": [
1224108015000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 146
},
"blocks": [],
"publishDate": 1224108015,
"format": "audio",
"title": "October 2008 featuring The All Girl Summer Fun Band, Alias and More!",
"headTitle": "October 2008 featuring The All Girl Summer Fun Band, Alias and More! | KQED",
"content": "\u003cp>New host, Spenser Cooper Russell-Snyder, spins ten songs for October’s podcast, including:\u003c/p>\n\u003cp>“America” by Dave Smallen\u003cbr>“Death Watch” by Alias, \u003cb>Resurgam\u003c/b>\u003cbr>“This Will Never End” by All Girl Summer Fun Band, \u003cb>Looking Into It\u003c/b>\u003cbr>“Red Line Season” by These Arms Are Snakes, \u003cb>Tail Wallower and Dove\u003c/b>\u003cbr>“Loredo” by Adventure\u003cbr>“Angel Kisses” by Alphastates\u003cbr>“Japanese Candy” by Little Teeth, \u003cb>Child Bearing Man\u003c/b>\u003cbr>“OSTINATO” by Ole Hole, \u003cb>Hole Mole\u003c/b>\u003cbr>“Oh, The Places We’ll Go” by Lake, \u003cb>Oh, The Places We’ll Go\u003c/b>\u003cbr>“Transformer” by Marnie Stern, \u003cb>This Is It and I Am It and You Are It and So Is That and He Is It and She Is It and It Is It and That Is That\u003c/b>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 143,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 4
},
"modified": 1705052950,
"excerpt": "The October 2008 episode of the Noise Pop New Music Podcast features new music from Seattle's These Arms Are Snakes, New York City's Marnie Stern, Anticon Records' resident beat doctor Alias, as well as Bay Area locals Little Teeth, Ole Hole, and ex-Street To Nowhere front man Dave Smallen. Brought to you by new host, Spenser Cooper Russell-Snyder.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The October 2008 episode of the Noise Pop New Music Podcast features new music from Seattle's These Arms Are Snakes, New York City's Marnie Stern, Anticon Records' resident beat doctor Alias, as well as Bay Area locals Little Teeth, Ole Hole, and ex-Street To Nowhere front man Dave Smallen. Brought to you by new host, Spenser Cooper Russell-Snyder.",
"title": "October 2008 featuring The All Girl Summer Fun Band, Alias and More! | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "October 2008 featuring The All Girl Summer Fun Band, Alias and More!",
"datePublished": "2008-10-15T15:00:15-07:00",
"dateModified": "2024-01-12T01:49:10-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "october_2008_featuring_the_all_girl_summer_fun_band_alias_and",
"status": "publish",
"sourceUrl": "http://www.kqed.org/arts/programs/noisepop/",
"audioUrl": "http://media.libsyn.com/media/noisepop/October_2008_featuring_The_All_Girl_Summer_Fun_Band_Alias_Dave_Smallen_and_More.mp3",
"sticky": false,
"path": "/arts/23548/october_2008_featuring_the_all_girl_summer_fun_band_alias_and",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>New host, Spenser Cooper Russell-Snyder, spins ten songs for October’s podcast, including:\u003c/p>\n\u003cp>“America” by Dave Smallen\u003cbr>“Death Watch” by Alias, \u003cb>Resurgam\u003c/b>\u003cbr>“This Will Never End” by All Girl Summer Fun Band, \u003cb>Looking Into It\u003c/b>\u003cbr>“Red Line Season” by These Arms Are Snakes, \u003cb>Tail Wallower and Dove\u003c/b>\u003cbr>“Loredo” by Adventure\u003cbr>“Angel Kisses” by Alphastates\u003cbr>“Japanese Candy” by Little Teeth, \u003cb>Child Bearing Man\u003c/b>\u003cbr>“OSTINATO” by Ole Hole, \u003cb>Hole Mole\u003c/b>\u003cbr>“Oh, The Places We’ll Go” by Lake, \u003cb>Oh, The Places We’ll Go\u003c/b>\u003cbr>“Transformer” by Marnie Stern, \u003cb>This Is It and I Am It and You Are It and So Is That and He Is It and She Is It and It Is It and That Is That\u003c/b>\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/23548/october_2008_featuring_the_all_girl_summer_fun_band_alias_and",
"authors": [
"92"
],
"categories": [
"arts_69"
],
"affiliates": [
"arts_146"
],
"featImg": "arts_10023548",
"label": "arts_146"
},
"arts_23546": {
"type": "posts",
"id": "arts_23546",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "23546",
"score": null,
"sort": [
1224103680000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1224103680,
"format": "standard",
"title": "Patti Smith: Dream of Life",
"headTitle": "Patti Smith: Dream of Life | KQED",
"content": "\u003cp>If all you know from Patti Smith is the wicked parody by Gilda Radner, whose foul-mouthed Candy Slice debuted on \u003cb>Saturday Night Live\u003c/b> in 1978, then \u003cb>Patti Smith: Dream of Life\u003c/b> is probably not for you. This new documentary by Steven Sebring is going to seem too serious, too arty, too insufferably pretentious by half. It’s all those things, whether you are a Patti Smith devotee or not, but it’s also a remarkable and intimate character study of a singular individual, who just happens to be one of the most influential artists of our time.\u003c/p>\n\u003cp>Eleven years in the making, with all the lack of continuity that you’d expect from such an extended shooting schedule, \u003cb>Dream of Life\u003c/b> is like some sort of qualude-soaked sleep walk, more dream at times than life. We ride with Smith on trains and in her limo; join her as she visits the graves of literary heroes William Blake and Gregory Corso; hang out with her and her parents in their New Jersey kitchen (the charming couple passed away before the film was completed); walk with her as she listens for the breath of ghosts at late husband Fred “Sonic” Smith’s house outside Detroit; join her backstage and on stage in Atlanta and London; watch her children, Jesse and Jackson, grow up before our eyes as the cameras roll and roll and roll. We learn that Smith is an unromantic romantic, peering over her shoulder in the Chelsea Hotel in New York to watch her unpack little treasures and keepsakes — from a handmade dress she wore as a little girl to an urn containing some of her dear friend Robert Mapplethorpes’s ashes, the contents of which she opens and pours into her hand while describing the texture of the photographer’s remains. (All I could think about were pieces of the dead man’s teeth.)\u003c/p>\n\u003cp>In a conversation with Flea of the Red Hot Chili Peppers, we are informed that once, on a long flight in a tiny airplane, Smith had to pee so badly that she urinated in a bottle without the person sitting next to her (the pilot) noticing. Sam Shepard, she tells us, gave her a 1930s black Gibson acoustic guitar in 1971; she still plays it (painfully, at one point in the film, with Shepard) and “Bob Dylan himself” tuned it in 1975, as if we could believe that Patti Smith was ever impressed by someone as mainstream as Bob Dylan. She was, watching \u003cb>Don’t Look Back\u003c/b> so many times that she can demonstrate the silly way Dylan tries to hail a cab in that film, which her documentarian confesses he has never seen.\u003c/p>\n\u003cp>If all this sounds melancholic, nostalgic, and random, it is, which is not to say \u003cb>Dream of Life\u003c/b> is an impossible film to watch. It follows, for better or worse, Smith’s opening line of narration: “Life is an adventure of our own design, intersected by fate and a series of lucky and unlucky accidents.” Not exactly the most inspiring words to use as the organizational structure for a film, let alone to live by, but you have to admire their economy. Although the insertion of the word “adventure” gives the statement an unsettlingly bourgeois tinge when applied to Patti Smith’s life. Then again, this is an artist who meditates before the altar of pure freedom and, for all her disregard for convention, likes to shop at Prada. Even less insightful is the poem Smith tells us that Allen Ginsberg sent her upon the death of her husband in 1994: “Let go of the spirit of the departed and continue your life’s celebration.” Must be from Ginsberg’s little-studied Hallmark period…\u003c/p>\n\u003cp>The thing that makes the film worth its almost two-hour running time, of course, is Patti Smith, who comes across as gracious, funny, and completely sincere. Unfortunately, as she is sharing herself so openly with us, director Steven Sebring is busy digging into his bag of tricks as a fashion photographer, pulling out shots and crops and dalliances in black and white that would look perfectly at home in a Coach, DKNY, or Ralph Lauren ad, to name but a few of his clients. Sebring, for example, is incapable of simply showing performers at CBGB’s in real time and with real sounds emanating from their guitars; instead we get impressionistic, slow-motion, headless horsemen, with mournful cello music in the background.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>At least when we see Smith on stage, the director restrains himself and documents his subject reasonably faithfully, putting his artistic vision on the shelf for a change. I could have done with a lot more performance footage, not because I wish Sebring had made more of a concert film than a memento mori, but to permit the artist’s art to speak for itself.\u003c/p>\n\u003cp>\u003cb>Patti Smith: Dream of Life\u003c/b> opens October 17, 2008 at the Lumiere Theatre in San Francisco and the Shattuck Cinemas in Berkeley. Patti Smith and director Steven Sebring will be at the Lumiere on October 19 to talk about the film and sign copies of the companion book. For \u003ca href=\"http://www.landmarktheatres.com\" target=\"offsite\" rel=\"noopener\">tickets and information\u003c/a>, visit landmarktheatres.com.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Patti Smith and her band perform live at the Warfield on Monday, October 20, 2008. For \u003ca href=\"http://aeglive.com/showdetail.php?id=19830&detail_type=event\" target=\"offsite\" rel=\"noopener\">concert tickets\u003c/a>, visit aeglive.com.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 917,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 10
},
"modified": 1705052952,
"excerpt": "Eleven years in the making, with all the lack continuity that you'd expect from such an extended shooting schedule, \u003cb>Dream of Life\u003c/b> is like some sort of qualude-soaked sleep walk, more dream at times than life.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Eleven years in the making, with all the lack continuity that you'd expect from such an extended shooting schedule, Dream of Life is like some sort of qualude-soaked sleep walk, more dream at times than life.",
"title": "Patti Smith: Dream of Life | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Patti Smith: Dream of Life",
"datePublished": "2008-10-15T13:48:00-07:00",
"dateModified": "2024-01-12T01:49:12-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "patti_smith_dream_of_life",
"status": "publish",
"sourceUrl": "http://www.kqed.org/arts/category/movies/movies-review/",
"sticky": false,
"path": "/arts/23546/patti_smith_dream_of_life",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If all you know from Patti Smith is the wicked parody by Gilda Radner, whose foul-mouthed Candy Slice debuted on \u003cb>Saturday Night Live\u003c/b> in 1978, then \u003cb>Patti Smith: Dream of Life\u003c/b> is probably not for you. This new documentary by Steven Sebring is going to seem too serious, too arty, too insufferably pretentious by half. It’s all those things, whether you are a Patti Smith devotee or not, but it’s also a remarkable and intimate character study of a singular individual, who just happens to be one of the most influential artists of our time.\u003c/p>\n\u003cp>Eleven years in the making, with all the lack of continuity that you’d expect from such an extended shooting schedule, \u003cb>Dream of Life\u003c/b> is like some sort of qualude-soaked sleep walk, more dream at times than life. We ride with Smith on trains and in her limo; join her as she visits the graves of literary heroes William Blake and Gregory Corso; hang out with her and her parents in their New Jersey kitchen (the charming couple passed away before the film was completed); walk with her as she listens for the breath of ghosts at late husband Fred “Sonic” Smith’s house outside Detroit; join her backstage and on stage in Atlanta and London; watch her children, Jesse and Jackson, grow up before our eyes as the cameras roll and roll and roll. We learn that Smith is an unromantic romantic, peering over her shoulder in the Chelsea Hotel in New York to watch her unpack little treasures and keepsakes — from a handmade dress she wore as a little girl to an urn containing some of her dear friend Robert Mapplethorpes’s ashes, the contents of which she opens and pours into her hand while describing the texture of the photographer’s remains. (All I could think about were pieces of the dead man’s teeth.)\u003c/p>\n\u003cp>In a conversation with Flea of the Red Hot Chili Peppers, we are informed that once, on a long flight in a tiny airplane, Smith had to pee so badly that she urinated in a bottle without the person sitting next to her (the pilot) noticing. Sam Shepard, she tells us, gave her a 1930s black Gibson acoustic guitar in 1971; she still plays it (painfully, at one point in the film, with Shepard) and “Bob Dylan himself” tuned it in 1975, as if we could believe that Patti Smith was ever impressed by someone as mainstream as Bob Dylan. She was, watching \u003cb>Don’t Look Back\u003c/b> so many times that she can demonstrate the silly way Dylan tries to hail a cab in that film, which her documentarian confesses he has never seen.\u003c/p>\n\u003cp>If all this sounds melancholic, nostalgic, and random, it is, which is not to say \u003cb>Dream of Life\u003c/b> is an impossible film to watch. It follows, for better or worse, Smith’s opening line of narration: “Life is an adventure of our own design, intersected by fate and a series of lucky and unlucky accidents.” Not exactly the most inspiring words to use as the organizational structure for a film, let alone to live by, but you have to admire their economy. Although the insertion of the word “adventure” gives the statement an unsettlingly bourgeois tinge when applied to Patti Smith’s life. Then again, this is an artist who meditates before the altar of pure freedom and, for all her disregard for convention, likes to shop at Prada. Even less insightful is the poem Smith tells us that Allen Ginsberg sent her upon the death of her husband in 1994: “Let go of the spirit of the departed and continue your life’s celebration.” Must be from Ginsberg’s little-studied Hallmark period…\u003c/p>\n\u003cp>The thing that makes the film worth its almost two-hour running time, of course, is Patti Smith, who comes across as gracious, funny, and completely sincere. Unfortunately, as she is sharing herself so openly with us, director Steven Sebring is busy digging into his bag of tricks as a fashion photographer, pulling out shots and crops and dalliances in black and white that would look perfectly at home in a Coach, DKNY, or Ralph Lauren ad, to name but a few of his clients. Sebring, for example, is incapable of simply showing performers at CBGB’s in real time and with real sounds emanating from their guitars; instead we get impressionistic, slow-motion, headless horsemen, with mournful cello music in the background.\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>At least when we see Smith on stage, the director restrains himself and documents his subject reasonably faithfully, putting his artistic vision on the shelf for a change. I could have done with a lot more performance footage, not because I wish Sebring had made more of a concert film than a memento mori, but to permit the artist’s art to speak for itself.\u003c/p>\n\u003cp>\u003cb>Patti Smith: Dream of Life\u003c/b> opens October 17, 2008 at the Lumiere Theatre in San Francisco and the Shattuck Cinemas in Berkeley. Patti Smith and director Steven Sebring will be at the Lumiere on October 19 to talk about the film and sign copies of the companion book. For \u003ca href=\"http://www.landmarktheatres.com\" target=\"offsite\" rel=\"noopener\">tickets and information\u003c/a>, visit landmarktheatres.com.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Patti Smith and her band perform live at the Warfield on Monday, October 20, 2008. For \u003ca href=\"http://aeglive.com/showdetail.php?id=19830&detail_type=event\" target=\"offsite\" rel=\"noopener\">concert tickets\u003c/a>, visit aeglive.com.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/23546/patti_smith_dream_of_life",
"authors": [
"26"
],
"categories": [
"arts_69"
],
"featImg": "arts_10023546",
"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": 4764,
"size": 12
},
"vitalsOnly": false,
"totalRequested": 12,
"isLoading": false,
"isLoadingMore": true,
"total": {
"value": 4927,
"relation": "eq"
},
"items": [
"arts_23752",
"arts_23741",
"arts_23725",
"arts_23694",
"arts_23689",
"arts_23670",
"arts_23664",
"arts_23614",
"arts_23608",
"arts_23574",
"arts_23548",
"arts_23546"
],
"complete": true
}
},
"recallGuideReducer": {
"intros": {},
"policy": {},
"candidates": {}
},
"savedArticleReducer": {
"articles": [],
"status": {}
},
"newslettersReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"newsletters": {},
"isSubscribing": false,
"isUnsubscribing": false,
"subscribedNewsletters": {}
},
"termsReducer": {
"about": {
"name": "About",
"type": "terms",
"id": "about",
"slug": "about",
"link": "/about",
"taxonomy": "site"
},
"arts": {
"name": "Arts & Culture",
"grouping": [
"arts",
"pop",
"trulyca"
],
"description": "KQED Arts provides daily in-depth coverage of the Bay Area's music, art, film, performing arts, literature and arts news, as well as cultural commentary and criticism.",
"type": "terms",
"id": "arts",
"slug": "arts",
"link": "/arts",
"taxonomy": "site"
},
"artschool": {
"name": "Art School",
"parent": "arts",
"type": "terms",
"id": "artschool",
"slug": "artschool",
"link": "/artschool",
"taxonomy": "site"
},
"bayareabites": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"parent": "food",
"type": "terms",
"id": "bayareabites",
"slug": "bayareabites",
"link": "/food",
"taxonomy": "site"
},
"bayareahiphop": {
"name": "Bay Area Hiphop",
"type": "terms",
"id": "bayareahiphop",
"slug": "bayareahiphop",
"link": "/bayareahiphop",
"taxonomy": "site"
},
"campaign21": {
"name": "Campaign 21",
"type": "terms",
"id": "campaign21",
"slug": "campaign21",
"link": "/campaign21",
"taxonomy": "site"
},
"careers": {
"name": "Careers",
"type": "terms",
"id": "careers",
"slug": "careers",
"link": "/careers",
"taxonomy": "site"
},
"checkplease": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"parent": "food",
"type": "terms",
"id": "checkplease",
"slug": "checkplease",
"link": "/food",
"taxonomy": "site"
},
"education": {
"name": "Education",
"grouping": [
"education"
],
"type": "terms",
"id": "education",
"slug": "education",
"link": "/education",
"taxonomy": "site"
},
"elections": {
"name": "Elections",
"type": "terms",
"id": "elections",
"slug": "elections",
"link": "/elections",
"taxonomy": "site"
},
"events": {
"name": "Events",
"type": "terms",
"id": "events",
"slug": "events",
"link": "/events",
"taxonomy": "site"
},
"event": {
"name": "Event",
"alias": "events",
"type": "terms",
"id": "event",
"slug": "event",
"link": "/event",
"taxonomy": "site"
},
"filmschoolshorts": {
"name": "Film School Shorts",
"type": "terms",
"id": "filmschoolshorts",
"slug": "filmschoolshorts",
"link": "/filmschoolshorts",
"taxonomy": "site"
},
"food": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"type": "terms",
"id": "food",
"slug": "food",
"link": "/food",
"taxonomy": "site"
},
"forum": {
"name": "Forum",
"relatedContentQuery": "posts/forum?",
"parent": "news",
"type": "terms",
"id": "forum",
"slug": "forum",
"link": "/forum",
"taxonomy": "site"
},
"futureofyou": {
"name": "Future of You",
"grouping": [
"science",
"futureofyou"
],
"parent": "science",
"type": "terms",
"id": "futureofyou",
"slug": "futureofyou",
"link": "/futureofyou",
"taxonomy": "site"
},
"jpepinheart": {
"name": "KQED food",
"relatedContentQuery": "posts/food,bayareabites,checkplease",
"parent": "food",
"type": "terms",
"id": "jpepinheart",
"slug": "jpepinheart",
"link": "/food",
"taxonomy": "site"
},
"liveblog": {
"name": "Live Blog",
"type": "terms",
"id": "liveblog",
"slug": "liveblog",
"link": "/liveblog",
"taxonomy": "site"
},
"livetv": {
"name": "Live TV",
"parent": "tv",
"type": "terms",
"id": "livetv",
"slug": "livetv",
"link": "/livetv",
"taxonomy": "site"
},
"lowdown": {
"name": "The Lowdown",
"relatedContentQuery": "posts/lowdown?",
"parent": "news",
"type": "terms",
"id": "lowdown",
"slug": "lowdown",
"link": "/lowdown",
"taxonomy": "site"
},
"mindshift": {
"name": "Mindshift",
"parent": "news",
"description": "MindShift explores the future of education by highlighting the innovative – and sometimes counterintuitive – ways educators and parents are helping all children succeed.",
"type": "terms",
"id": "mindshift",
"slug": "mindshift",
"link": "/mindshift",
"taxonomy": "site"
},
"news": {
"name": "News",
"grouping": [
"news",
"forum"
],
"type": "terms",
"id": "news",
"slug": "news",
"link": "/news",
"taxonomy": "site"
},
"newsletters": {
"name": "newsletters",
"type": "terms",
"id": "newsletters",
"slug": "newsletters",
"link": "/newsletters",
"taxonomy": "site"
},
"perspectives": {
"name": "Perspectives",
"parent": "radio",
"type": "terms",
"id": "perspectives",
"slug": "perspectives",
"link": "/perspectives",
"taxonomy": "site"
},
"podcasts": {
"name": "Podcasts",
"type": "terms",
"id": "podcasts",
"slug": "podcasts",
"link": "/podcasts",
"taxonomy": "site"
},
"pop": {
"name": "Pop",
"parent": "arts",
"type": "terms",
"id": "pop",
"slug": "pop",
"link": "/pop",
"taxonomy": "site"
},
"pressroom": {
"name": "Pressroom",
"type": "terms",
"id": "pressroom",
"slug": "pressroom",
"link": "/pressroom",
"taxonomy": "site"
},
"quest": {
"name": "Quest",
"parent": "science",
"type": "terms",
"id": "quest",
"slug": "quest",
"link": "/quest",
"taxonomy": "site"
},
"radio": {
"name": "Radio",
"grouping": [
"forum",
"perspectives"
],
"description": "Listen to KQED Public Radio – home of Forum and The California Report – on 88.5 FM in San Francisco, 89.3 FM in Sacramento, 88.3 FM in Santa Rosa and 88.1 FM in Martinez.",
"type": "terms",
"id": "radio",
"slug": "radio",
"link": "/radio",
"taxonomy": "site"
},
"root": {
"name": "KQED",
"image": "https://ww2.kqed.org/app/uploads/2020/02/KQED-OG-Image@1x.png",
"imageWidth": 1200,
"imageHeight": 630,
"headData": {
"title": "KQED | News, Radio, Podcasts, TV | Public Media for Northern California",
"description": "KQED provides public radio, television, and independent reporting on issues that matter to the Bay Area. We’re the NPR and PBS member station for Northern California."
},
"type": "terms",
"id": "root",
"slug": "root",
"link": "/root",
"taxonomy": "site"
},
"science": {
"name": "Science",
"grouping": [
"science",
"futureofyou"
],
"description": "KQED Science brings you award-winning science and environment coverage from the Bay Area and beyond.",
"type": "terms",
"id": "science",
"slug": "science",
"link": "/science",
"taxonomy": "site"
},
"stateofhealth": {
"name": "State of Health",
"parent": "science",
"type": "terms",
"id": "stateofhealth",
"slug": "stateofhealth",
"link": "/stateofhealth",
"taxonomy": "site"
},
"support": {
"name": "Support",
"type": "terms",
"id": "support",
"slug": "support",
"link": "/support",
"taxonomy": "site"
},
"thedolist": {
"name": "The Do List",
"parent": "arts",
"type": "terms",
"id": "thedolist",
"slug": "thedolist",
"link": "/thedolist",
"taxonomy": "site"
},
"trulyca": {
"name": "Truly CA",
"grouping": [
"arts",
"pop",
"trulyca"
],
"parent": "arts",
"type": "terms",
"id": "trulyca",
"slug": "trulyca",
"link": "/trulyca",
"taxonomy": "site"
},
"tv": {
"name": "TV",
"type": "terms",
"id": "tv",
"slug": "tv",
"link": "/tv",
"taxonomy": "site"
},
"voterguide": {
"name": "Voter Guide",
"parent": "elections",
"alias": "elections",
"type": "terms",
"id": "voterguide",
"slug": "voterguide",
"link": "/voterguide",
"taxonomy": "site"
},
"guiaelectoral": {
"name": "Guia Electoral",
"parent": "elections",
"alias": "elections",
"type": "terms",
"id": "guiaelectoral",
"slug": "guiaelectoral",
"link": "/guiaelectoral",
"taxonomy": "site"
},
"arts_category_music": {
"isLoading": true
},
"arts_69": {
"type": "terms",
"id": "arts_69",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "69",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Music",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Music Archives | KQED Arts",
"ogDescription": null
},
"ttid": 70,
"slug": "music",
"isLoading": false,
"link": "/arts/category/music"
},
"arts_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"
},
"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"
}
},
"userPermissionsReducer": {
"wpLoggedIn": false
},
"eventsReducer": {},
"fssReducer": {},
"tvDailyScheduleReducer": {},
"tvWeeklyScheduleReducer": {},
"tvPrimetimeScheduleReducer": {},
"tvMonthlyScheduleReducer": {},
"userAccountReducer": {
"user": {
"email": null,
"emailStatus": "EMAIL_UNVALIDATED",
"loggedStatus": "LOGGED_OUT",
"loggingChecked": false,
"articles": [],
"firstName": null,
"lastName": null,
"phoneNumber": null,
"fetchingMembership": false,
"membershipError": false,
"memberships": [
{
"id": null,
"startDate": null,
"firstName": null,
"lastName": null,
"familyNumber": null,
"memberNumber": null,
"memberSince": null,
"expirationDate": null,
"pfsEligible": false,
"isSustaining": false,
"membershipLevel": "Prospect",
"membershipStatus": "Non Member",
"lastGiftDate": null,
"renewalDate": null,
"lastDonationAmount": null
}
]
},
"authModal": {
"isOpen": false,
"view": "LANDING_VIEW"
},
"error": null
},
"youthMediaReducer": {},
"checkPleaseReducer": {
"filterData": {
"region": {
"key": "Restaurant Region",
"filters": [
"Any Region"
]
},
"cuisine": {
"key": "Restaurant Cuisine",
"filters": [
"Any Cuisine"
]
}
},
"restaurantDataById": {},
"restaurantIdsSorted": [],
"error": null
},
"userAgentReducer": {
"userAgent": "Mozilla/5.0 AppleWebKit/537.36 (KHTML, like Gecko; compatible; ClaudeBot/1.0; +claudebot@anthropic.com)",
"isBot": true
},
"requestOutcomesReducer": {
"notFound": []
}
}
