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_13966428": {
"type": "attachments",
"id": "arts_13966428",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13966428",
"found": true
},
"title": "giant robot",
"publishDate": 1728594462,
"status": "inherit",
"parent": 13966390,
"modified": 1728594536,
"caption": "‘Giant Robot: Thirty Years of Defining Asian American Pop Culture.’",
"credit": "Robot Factory Incorporated/Drawn & Quarterly",
"altTag": "An illustration of an angry robot rampaging through a street.",
"description": null,
"imgSizes": {
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/giant-robot-800x538.png",
"width": 800,
"height": 538,
"mimeType": "image/png"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/giant-robot-1020x686.png",
"width": 1020,
"height": 686,
"mimeType": "image/png"
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/giant-robot-160x108.png",
"width": 160,
"height": 108,
"mimeType": "image/png"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/giant-robot-768x516.png",
"width": 768,
"height": 516,
"mimeType": "image/png"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/giant-robot-1536x1033.png",
"width": 1536,
"height": 1033,
"mimeType": "image/png"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/giant-robot-672x372.png",
"width": 672,
"height": 372,
"mimeType": "image/png"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/giant-robot-1038x576.png",
"width": 1038,
"height": 576,
"mimeType": "image/png"
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/giant-robot-1920x1291.png",
"width": 1920,
"height": 1291,
"mimeType": "image/png"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/giant-robot.png",
"width": 2000,
"height": 1345
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13966772": {
"type": "attachments",
"id": "arts_13966772",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13966772",
"found": true
},
"title": "PWLFF_SammyShiblaq-007-cropped",
"publishDate": 1729195026,
"status": "inherit",
"parent": 13966771,
"modified": 1729195274,
"caption": "On his album 'The Project of Liberation,' Sammy Shiblaq made drill-rap protest anthems and poetic meditations on Palestinians' struggle for dignity and freedom. ",
"credit": "Zofia Beck Anchondo (@zofotography)",
"altTag": "Sammy Shiblaq raps on stage with men behind him with their faces wrapped in keffiyehs.",
"description": null,
"imgSizes": {
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/PWLFF_SammyShiblaq-007-cropped-800x450.jpg",
"width": 800,
"height": 450,
"mimeType": "image/jpeg"
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/PWLFF_SammyShiblaq-007-cropped-160x90.jpg",
"width": 160,
"height": 90,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/PWLFF_SammyShiblaq-007-cropped-768x432.jpg",
"width": 768,
"height": 432,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/PWLFF_SammyShiblaq-007-cropped-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/PWLFF_SammyShiblaq-007-cropped.jpg",
"width": 819,
"height": 461
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13966758": {
"type": "attachments",
"id": "arts_13966758",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13966758",
"found": true
},
"title": "Liam Payne performing in 2019 in Birmingham, England.",
"publishDate": 1729125626,
"status": "inherit",
"parent": 13966756,
"modified": 1729125693,
"caption": "Liam Payne performing in 2019 in Birmingham, England. ",
"credit": "Katja Ogrin/Getty Images",
"altTag": "A young man with tattooed arms sings passionately on stage.",
"description": null,
"imgSizes": {
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/liam-800x494.jpg",
"width": 800,
"height": 494,
"mimeType": "image/jpeg"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/liam-1020x629.jpg",
"width": 1020,
"height": 629,
"mimeType": "image/jpeg"
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/liam-160x99.jpg",
"width": 160,
"height": 99,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/liam-768x474.jpg",
"width": 768,
"height": 474,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/liam-1536x948.jpg",
"width": 1536,
"height": 948,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/liam-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/liam-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/liam-1920x1185.jpg",
"width": 1920,
"height": 1185,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/liam.jpg",
"width": 2000,
"height": 1234
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13966740": {
"type": "attachments",
"id": "arts_13966740",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13966740",
"found": true
},
"title": "artists against apartheid",
"publishDate": 1729122552,
"status": "inherit",
"parent": 13966738,
"modified": 1729122681,
"caption": "Artists Against Apartheid is a loose national coalition that held its first Bay Area meeting on Oct. 15, 2024 in Oakland. ",
"credit": "Nastia Voynovskaya",
"altTag": null,
"description": null,
"imgSizes": {
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/artists-against-apartheid-800x450.jpg",
"width": 800,
"height": 450,
"mimeType": "image/jpeg"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/artists-against-apartheid-1020x574.jpg",
"width": 1020,
"height": 574,
"mimeType": "image/jpeg"
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/artists-against-apartheid-160x90.jpg",
"width": 160,
"height": 90,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/artists-against-apartheid-768x432.jpg",
"width": 768,
"height": 432,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/artists-against-apartheid-1536x864.jpg",
"width": 1536,
"height": 864,
"mimeType": "image/jpeg"
},
"2048x2048": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/artists-against-apartheid-2048x1152.jpg",
"width": 2048,
"height": 1152,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/artists-against-apartheid-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/artists-against-apartheid-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/artists-against-apartheid-1920x1080.jpg",
"width": 1920,
"height": 1080,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/artists-against-apartheid-scaled.jpg",
"width": 2560,
"height": 1440
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13966672": {
"type": "attachments",
"id": "arts_13966672",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13966672",
"found": true
},
"title": "meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==-1",
"publishDate": 1729033699,
"status": "inherit",
"parent": 13966547,
"modified": 1729034375,
"caption": "John Calloway performs with his Afro-FIlipino Project.",
"credit": "Bob Hsiang Photography",
"altTag": null,
"description": null,
"imgSizes": {
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-1-800x562.jpg",
"width": 800,
"height": 562,
"mimeType": "image/jpeg"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-1-1020x716.jpg",
"width": 1020,
"height": 716,
"mimeType": "image/jpeg"
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-1-160x112.jpg",
"width": 160,
"height": 112,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-1-768x539.jpg",
"width": 768,
"height": 539,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-1-1536x1078.jpg",
"width": 1536,
"height": 1078,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-1-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-1-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-1-1920x1348.jpg",
"width": 1920,
"height": 1348,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-1.jpg",
"width": 2000,
"height": 1404
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13966636": {
"type": "attachments",
"id": "arts_13966636",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13966636",
"found": true
},
"title": "0",
"publishDate": 1729019386,
"status": "inherit",
"parent": 13966594,
"modified": 1729025680,
"caption": "Zo1 is the A&R of ‘Black Love,’ a hip-hop compilation exploring the concept of love. ",
"credit": "Courtesy Zo1",
"altTag": null,
"description": null,
"imgSizes": {
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/0-800x450.jpg",
"width": 800,
"height": 450,
"mimeType": "image/jpeg"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/0-1020x574.jpg",
"width": 1020,
"height": 574,
"mimeType": "image/jpeg"
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/0-160x90.jpg",
"width": 160,
"height": 90,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/0-768x432.jpg",
"width": 768,
"height": 432,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/0-1536x864.jpg",
"width": 1536,
"height": 864,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/0-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/0-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/0-1920x1080.jpg",
"width": 1920,
"height": 1080,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/0.jpg",
"width": 2000,
"height": 1125
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13966557": {
"type": "attachments",
"id": "arts_13966557",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13966557",
"found": true
},
"title": "GhostRave_2024_059",
"publishDate": 1728945677,
"status": "inherit",
"parent": 13966541,
"modified": 1728946087,
"caption": "Justin P. Lopez (Gabriel Okaga) in a June rehearsal for 'GhostRave.'",
"credit": "Ben Krantz Studio",
"altTag": null,
"description": null,
"imgSizes": {
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_059-800x469.jpg",
"width": 800,
"height": 469,
"mimeType": "image/jpeg"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_059-1020x598.jpg",
"width": 1020,
"height": 598,
"mimeType": "image/jpeg"
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_059-160x94.jpg",
"width": 160,
"height": 94,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_059-768x450.jpg",
"width": 768,
"height": 450,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_059-1536x900.jpg",
"width": 1536,
"height": 900,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_059-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_059-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_059-1920x1125.jpg",
"width": 1920,
"height": 1125,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_059.jpg",
"width": 2000,
"height": 1172
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13966527": {
"type": "attachments",
"id": "arts_13966527",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13966527",
"found": true
},
"title": "Sheila E. performing songs from her new album, ‘Bailar.’",
"publishDate": 1728922732,
"status": "inherit",
"parent": 13966525,
"modified": 1738609236,
"caption": "Sheila E. performed songs from her new album, ‘Bailar.’",
"credit": "NPR Tiny Desk",
"altTag": "A Black woman with long flowing hair sings into a microphone, surrounded by musicians.",
"description": null,
"imgSizes": {
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sheila-800x483.png",
"width": 800,
"height": 483,
"mimeType": "image/png"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sheila-1020x616.png",
"width": 1020,
"height": 616,
"mimeType": "image/png"
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sheila-160x97.png",
"width": 160,
"height": 97,
"mimeType": "image/png"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sheila-768x463.png",
"width": 768,
"height": 463,
"mimeType": "image/png"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sheila-1536x927.png",
"width": 1536,
"height": 927,
"mimeType": "image/png"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sheila-672x372.png",
"width": 672,
"height": 372,
"mimeType": "image/png"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sheila-1038x576.png",
"width": 1038,
"height": 576,
"mimeType": "image/png"
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sheila-1920x1159.png",
"width": 1920,
"height": 1159,
"mimeType": "image/png"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sheila.png",
"width": 2000,
"height": 1207
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13966506": {
"type": "attachments",
"id": "arts_13966506",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13966506",
"found": true
},
"title": "Sean ‘Diddy’ Combs, seen here in Atlanta in 2023.",
"publishDate": 1728682764,
"status": "inherit",
"parent": 13966505,
"modified": 1728686341,
"caption": "Sean ‘Diddy’ Combs, seen here in Atlanta in 2023.",
"credit": "Paras Griffin/Getty Images",
"altTag": "A Black man sits on a stage looking confused.",
"description": null,
"imgSizes": {
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/gettyimages-1641348632-800x539.jpeg",
"width": 800,
"height": 539,
"mimeType": "image/jpeg"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/gettyimages-1641348632-1020x687.jpeg",
"width": 1020,
"height": 687,
"mimeType": "image/jpeg"
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/gettyimages-1641348632-160x108.jpeg",
"width": 160,
"height": 108,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/gettyimages-1641348632-768x517.jpeg",
"width": 768,
"height": 517,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/gettyimages-1641348632-1536x1034.jpeg",
"width": 1536,
"height": 1034,
"mimeType": "image/jpeg"
},
"2048x2048": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/gettyimages-1641348632-2048x1379.jpeg",
"width": 2048,
"height": 1379,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/gettyimages-1641348632-672x372.jpeg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/gettyimages-1641348632-1038x576.jpeg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/gettyimages-1641348632-1920x1293.jpeg",
"width": 1920,
"height": 1293,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/gettyimages-1641348632-scaled-e1728686277292.jpeg",
"width": 1920,
"height": 1293
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13966370": {
"type": "attachments",
"id": "arts_13966370",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13966370",
"found": true
},
"title": "20241008_HEMORAGEINSF_GC-27-KQED",
"publishDate": 1728510863,
"status": "inherit",
"parent": 0,
"modified": 1728518186,
"caption": "Metal band Hemorage pose for a photo outside of their warehouse practice space in San Francisco on October 8, 2024.",
"credit": "Gina Castro/KQED",
"altTag": null,
"description": null,
"imgSizes": {
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HEMORAGEINSF_GC-27-KQED-800x533.jpg",
"width": 800,
"height": 533,
"mimeType": "image/jpeg"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HEMORAGEINSF_GC-27-KQED-1020x680.jpg",
"width": 1020,
"height": 680,
"mimeType": "image/jpeg"
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HEMORAGEINSF_GC-27-KQED-160x107.jpg",
"width": 160,
"height": 107,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HEMORAGEINSF_GC-27-KQED-768x512.jpg",
"width": 768,
"height": 512,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HEMORAGEINSF_GC-27-KQED-1536x1024.jpg",
"width": 1536,
"height": 1024,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HEMORAGEINSF_GC-27-KQED-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HEMORAGEINSF_GC-27-KQED-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HEMORAGEINSF_GC-27-KQED-1920x1280.jpg",
"width": 1920,
"height": 1280,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HEMORAGEINSF_GC-27-KQED.jpg",
"width": 2000,
"height": 1333
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13966359": {
"type": "attachments",
"id": "arts_13966359",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13966359",
"found": true
},
"title": "GettyImages-1470852730",
"publishDate": 1728510058,
"status": "inherit",
"parent": 13966358,
"modified": 1728510093,
"caption": "Cher attends NBC's 'Carol Burnett: 90 Years of Laughter + Love' Birthday Special on March 2, 2023 in Los Angeles, California.",
"credit": "Kevin Winter/Getty Images",
"altTag": null,
"description": null,
"imgSizes": {
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1470852730-800x534.jpg",
"width": 800,
"height": 534,
"mimeType": "image/jpeg"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1470852730-1020x680.jpg",
"width": 1020,
"height": 680,
"mimeType": "image/jpeg"
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1470852730-160x107.jpg",
"width": 160,
"height": 107,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1470852730-768x512.jpg",
"width": 768,
"height": 512,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1470852730-1536x1025.jpg",
"width": 1536,
"height": 1025,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1470852730-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1470852730-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1470852730-1920x1281.jpg",
"width": 1920,
"height": 1281,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1470852730.jpg",
"width": 2000,
"height": 1334
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13965825": {
"type": "attachments",
"id": "arts_13965825",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13965825",
"found": true
},
"title": "20240923_NICKIMINAJFANDOMVOTE_GC-8-KQED",
"publishDate": 1727715345,
"status": "inherit",
"parent": 0,
"modified": 1727715423,
"caption": "Ronnie Punani of Stockton poses for a photo ahead of a Nicki Minaj concert at the Chase Center on September 23, 2024.",
"credit": "Gina Castro/KQED",
"altTag": null,
"description": null,
"imgSizes": {
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-8-KQED-800x533.jpg",
"width": 800,
"height": 533,
"mimeType": "image/jpeg"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-8-KQED-1020x680.jpg",
"width": 1020,
"height": 680,
"mimeType": "image/jpeg"
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-8-KQED-160x107.jpg",
"width": 160,
"height": 107,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-8-KQED-768x512.jpg",
"width": 768,
"height": 512,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-8-KQED-1536x1024.jpg",
"width": 1536,
"height": 1024,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-8-KQED-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-8-KQED-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-8-KQED-1920x1280.jpg",
"width": 1920,
"height": 1280,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-8-KQED.jpg",
"width": 2000,
"height": 1333
}
},
"isLoading": false,
"fetchFailed": false
}
},
"audioPlayerReducer": {
"postId": "stream_live",
"isPaused": true,
"isPlaying": false,
"pfsActive": false,
"pledgeModalIsOpen": true,
"playerDrawerIsOpen": false,
"liveAudioPlayStartedAt": 0,
"liveAudioPlayContext": ""
},
"authorsReducer": {
"byline_arts_13966756": {
"type": "authors",
"id": "byline_arts_13966756",
"meta": {
"override": true
},
"slug": "byline_arts_13966756",
"name": "Isabel Debre and Kaitlyn Huamani, Associated Press",
"isLoading": false
},
"byline_arts_13966525": {
"type": "authors",
"id": "byline_arts_13966525",
"meta": {
"override": true
},
"slug": "byline_arts_13966525",
"name": "Felix Contreras",
"isLoading": false
},
"byline_arts_13966505": {
"type": "authors",
"id": "byline_arts_13966505",
"meta": {
"override": true
},
"slug": "byline_arts_13966505",
"name": "Isabella Gomez Sarmiento, NPR",
"isLoading": false
},
"agilbert": {
"type": "authors",
"id": "86",
"meta": {
"index": "authors_1716337520",
"id": "86",
"found": true
},
"name": "Andrew Gilbert",
"firstName": "Andrew",
"lastName": "Gilbert",
"slug": "agilbert",
"email": "jazzscribe@aol.com",
"display_author_email": false,
"staff_mastheads": [],
"title": "KQED Contributor",
"bio": "A Los Angeles native based in the Berkeley area since 1996, Andrew Gilbert covers jazz, international music and dance for KQED's \u003ci>California Report, \u003c/i>the\u003ci> Mercury News\u003c/i>, \u003ci>San Francisco Chronicle\u003c/i>, \u003ci>Berkeleyside.com\u003c/i>, and other publications. He is available for weddings and bar and bat mitzvahs. #jazzscribe",
"avatar": "https://secure.gravatar.com/avatar/d7bcafdbefdd39e9a68f88724ca616eb4e7a5a6bff9cdfb62de652a1e1751471?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"Contributor",
"author"
]
},
{
"site": "news",
"roles": [
"author"
]
}
],
"headData": {
"title": "Andrew Gilbert | KQED",
"description": "KQED Contributor",
"ogImgSrc": "https://secure.gravatar.com/avatar/d7bcafdbefdd39e9a68f88724ca616eb4e7a5a6bff9cdfb62de652a1e1751471?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/d7bcafdbefdd39e9a68f88724ca616eb4e7a5a6bff9cdfb62de652a1e1751471?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/agilbert"
},
"gmeline": {
"type": "authors",
"id": "185",
"meta": {
"index": "authors_1716337520",
"id": "185",
"found": true
},
"name": "Gabe Meline",
"firstName": "Gabe",
"lastName": "Meline",
"slug": "gmeline",
"email": "gmeline@kqed.org",
"display_author_email": true,
"staff_mastheads": [
"arts"
],
"title": "Senior Editor, KQED Arts & Culture",
"bio": "Gabe Meline entered journalism at age 15 making photocopied zines, and has since earned awards from the Edward R. Murrow Awards, the Society for Professional Journalists, the Online Journalism Awards, the Association of Alternative Newsweeklies and the California Newspaper Publishers Association. Prior to KQED, he was the editor of the \u003cem>North Bay Bohemian\u003c/em> and a touring musician. He lives with his wife and daughter in his hometown of Santa Rosa, CA.",
"avatar": "https://secure.gravatar.com/avatar/5bebe57be0d8bc2dd318934feb47299e2d2d10cba28d09d8d7afb389a2ce2bdd?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "",
"roles": [
"editor"
]
},
{
"site": "arts",
"roles": [
"administrator"
]
},
{
"site": "artschool",
"roles": [
"editor"
]
},
{
"site": "news",
"roles": [
"author"
]
},
{
"site": "pop",
"roles": [
"editor"
]
},
{
"site": "bayareabites",
"roles": [
"editor"
]
},
{
"site": "food",
"roles": [
"editor"
]
},
{
"site": "forum",
"roles": [
"administrator"
]
},
{
"site": "liveblog",
"roles": [
"editor"
]
},
{
"site": "hiphop",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Gabe Meline | KQED",
"description": "Senior Editor, KQED Arts & Culture",
"ogImgSrc": "https://secure.gravatar.com/avatar/5bebe57be0d8bc2dd318934feb47299e2d2d10cba28d09d8d7afb389a2ce2bdd?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/5bebe57be0d8bc2dd318934feb47299e2d2d10cba28d09d8d7afb389a2ce2bdd?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/gmeline"
},
"ralexandra": {
"type": "authors",
"id": "11242",
"meta": {
"index": "authors_1716337520",
"id": "11242",
"found": true
},
"name": "Rae Alexandra",
"firstName": "Rae",
"lastName": "Alexandra",
"slug": "ralexandra",
"email": "ralexandra@kqed.org",
"display_author_email": true,
"staff_mastheads": [],
"title": "Reporter/Producer",
"bio": "Rae Alexandra is a Reporter/Producer for KQED Arts & Culture, and the creator/author of the \u003ca href=\"https://www.kqed.org/arts/program/rebel-girls-from-bay-area-history\">Rebel Girls From Bay Area History\u003c/a> and \u003ca href=\"https://www.kqed.org/bizarrebayarea\">Bizarre Bay Area\u003c/a> series. Her debut book, \u003ca href=\"https://citylights.com/politics-current-events-history/unsung-heroines35-women-who-changed/\">Unsung Heroines: 35 Women Who Changed the Bay Area\u003c/a> was published by City Lights in March 2026. In 2023, Rae was awarded an SPJ Excellence in Journalism Award for Arts & Culture. Rae was born and raised in Wales and subsequently — even after two decades in Northern California — still uses phrases that regularly baffle her coworkers.",
"avatar": "https://secure.gravatar.com/avatar/edfee8176c80cc0a382b051190f5341997df378a934a5774dcb0977732dfd401?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"subscriber"
]
},
{
"site": "news",
"roles": [
"subscriber"
]
},
{
"site": "pop",
"roles": [
"subscriber"
]
},
{
"site": "bayareabites",
"roles": [
"subscriber"
]
},
{
"site": "science",
"roles": [
"subscriber"
]
}
],
"headData": {
"title": "Rae Alexandra | KQED",
"description": "Reporter/Producer",
"ogImgSrc": "https://secure.gravatar.com/avatar/edfee8176c80cc0a382b051190f5341997df378a934a5774dcb0977732dfd401?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/edfee8176c80cc0a382b051190f5341997df378a934a5774dcb0977732dfd401?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/ralexandra"
},
"nvoynovskaya": {
"type": "authors",
"id": "11387",
"meta": {
"index": "authors_1716337520",
"id": "11387",
"found": true
},
"name": "Nastia Voynovskaya",
"firstName": "Nastia",
"lastName": "Voynovskaya",
"slug": "nvoynovskaya",
"email": "nvoynovskaya@kqed.org",
"display_author_email": false,
"staff_mastheads": [
"arts"
],
"title": "Editor and reporter",
"bio": "Nastia Voynovskaya is a reporter, editor and host at KQED Arts & Culture. She's been covering the arts in the Bay Area for over a decade, with a focus on music, queer culture, labor issues and grassroots organizing. She has edited KQED story series such as Trans Bay: A History of San Francisco's Gender-Diverse Community, and co-created KQED's Bay Area hip-hop history project, That's My Word. Nastia's work has been recognized by the Society of Professional Journalists and San Francisco Press Club. She regularly appears on podcasts and radio programs, including NPR's All Songs Considered, and hosts live events where music, culture and conversation meet.",
"avatar": "https://secure.gravatar.com/avatar/5025ee460e5a85d69ca20ea6c6f2f80d7e17795c828f61ea3aecfcd924e9042e?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": "https://www.instagram.com/nananastia/",
"linkedin": null,
"sites": [
{
"site": "",
"roles": [
"editor"
]
},
{
"site": "arts",
"roles": [
"administrator"
]
},
{
"site": "news",
"roles": [
"editor"
]
},
{
"site": "pop",
"roles": [
"administrator"
]
},
{
"site": "bayareabites",
"roles": [
"editor"
]
},
{
"site": "podcasts",
"roles": [
"editor"
]
},
{
"site": "hiphop",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Nastia Voynovskaya | KQED",
"description": "Editor and reporter",
"ogImgSrc": "https://secure.gravatar.com/avatar/5025ee460e5a85d69ca20ea6c6f2f80d7e17795c828f61ea3aecfcd924e9042e?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/5025ee460e5a85d69ca20ea6c6f2f80d7e17795c828f61ea3aecfcd924e9042e?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/nvoynovskaya"
},
"ogpenn": {
"type": "authors",
"id": "11491",
"meta": {
"index": "authors_1716337520",
"id": "11491",
"found": true
},
"name": "Pendarvis Harshaw",
"firstName": "Pendarvis",
"lastName": "Harshaw",
"slug": "ogpenn",
"email": "ogpenn@gmail.com",
"display_author_email": false,
"staff_mastheads": [
"arts"
],
"title": "Community Engagement Reporter",
"bio": "Pendarvis Harshaw is an educator, host and writer with KQED Arts.",
"avatar": "https://secure.gravatar.com/avatar/972b77ee8e3f346ae2b00622661187fbfabd059b5693bbdc1475ea7a722fd4cd?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": "ogpenn",
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"administrator"
]
},
{
"site": "news",
"roles": [
"editor"
]
},
{
"site": "bayareabites",
"roles": [
"author"
]
},
{
"site": "hiphop",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Pendarvis Harshaw | KQED",
"description": "Community Engagement Reporter",
"ogImgSrc": "https://secure.gravatar.com/avatar/972b77ee8e3f346ae2b00622661187fbfabd059b5693bbdc1475ea7a722fd4cd?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/972b77ee8e3f346ae2b00622661187fbfabd059b5693bbdc1475ea7a722fd4cd?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/ogpenn"
},
"ngluckstern": {
"type": "authors",
"id": "11497",
"meta": {
"index": "authors_1716337520",
"id": "11497",
"found": true
},
"name": "Nicole Gluckstern",
"firstName": "Nicole",
"lastName": "Gluckstern",
"slug": "ngluckstern",
"email": "gluckstern.nicole@gmail.com",
"display_author_email": false,
"staff_mastheads": [],
"title": "KQED Contributor",
"bio": null,
"avatar": "https://secure.gravatar.com/avatar/2c3d593194017bfe811a998ad03140909de330b22abebf4889e1a564ce5b3495?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"contributor"
]
}
],
"headData": {
"title": "Nicole Gluckstern | KQED",
"description": "KQED Contributor",
"ogImgSrc": "https://secure.gravatar.com/avatar/2c3d593194017bfe811a998ad03140909de330b22abebf4889e1a564ce5b3495?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/2c3d593194017bfe811a998ad03140909de330b22abebf4889e1a564ce5b3495?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/ngluckstern"
},
"sfaulise": {
"type": "authors",
"id": "11919",
"meta": {
"index": "authors_1716337520",
"id": "11919",
"found": true
},
"name": "Shannon Faulise",
"firstName": "Shannon",
"lastName": "Faulise",
"slug": "sfaulise",
"email": "sfaulise@kqed.org",
"display_author_email": false,
"staff_mastheads": [],
"title": "Contributor, KQED Arts & Culture",
"bio": "Shannon Faulise is a graduate of the UC Berkeley Graduate School of Journalism, where she concentrated on photojournalism and feature writing. Shannon's photos, audio pieces and written stories have appeared in The Oaklandside, The Redwood City Pulse and KALX. Outside of reporting, Shannon loves kpop, women's sports and concerts. She served as an intern for KQED Arts & Culture in 2024–25.",
"avatar": "https://secure.gravatar.com/avatar/76449df2627a603d6b02f0534ec3c913007029bff4f1c0572071401f9a293a02?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"subscriber"
]
}
],
"headData": {
"title": "Shannon Faulise | KQED",
"description": "Contributor, KQED Arts & Culture",
"ogImgSrc": "https://secure.gravatar.com/avatar/76449df2627a603d6b02f0534ec3c913007029bff4f1c0572071401f9a293a02?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/76449df2627a603d6b02f0534ec3c913007029bff4f1c0572071401f9a293a02?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/sfaulise"
}
},
"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": 41
},
"blocks": [
{
"blockName": "kqed/post-list",
"attrs": {
"layout": "cardArticle2",
"query": "posts/arts?category=music",
"seeMore": false,
"paginated": true,
"page": 41
}
},
{
"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_13966390": {
"type": "posts",
"id": "arts_13966390",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13966390",
"score": null,
"sort": [
1729522821000
]
},
"guestAuthors": [],
"slug": "giant-robot-magazine-30-year-anniversary-book-review-asian-american-pop-culture",
"title": "‘Giant Robot’ Is a Pop Culture Tome That’ll Take You Back to a Pre-Internet Age",
"publishDate": 1729522821,
"format": "standard",
"headTitle": "‘Giant Robot’ Is a Pop Culture Tome That’ll Take You Back to a Pre-Internet Age | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003cp>Roving through the back of my magazine collection recently, I found a much-treasured copy of the second issue of short-lived Beastie Boys fanzine, \u003cem>Grand Royal\u003c/em>. It dates to 1995. I remember excitedly buying it in an X-Large store in New York City and poring over every single page. Looking at it in 2024 however, took me aback. That zine now stands as a screaming monument to how much longer our attention spans were before the internet lived in our pockets.\u003c/p>\n\u003cp>I mention this because opening \u003cem>Giant Robot: Thirty Years of Defining Asian American Pop Culture\u003c/em> for the first time gave me a similar sensation. The new hardcover collection of \u003cem>Giant Robot\u003c/em> magazine’s highlights from the last three decades might look like a coffee table book on the outside, but on the inside, it’s a reflection of how we used to read. Page after page of densely packed text with minimal images to break up a font that often feels unreasonably small for pages of this size. (It all makes sense: \u003cem>Giant Robot\u003c/em> did, after all, start life in 1994 as a fanzine.)\u003c/p>\n\u003cp>[aside postid='arts_13966153']Facing down \u003cem>Giant Robot\u003c/em>’s nearly 500 pages for the first time would be an intimidating exercise if not for the thoughtfulness of the book’s editors. Eric Nakamura, Francine Yulo, Tracy Hurren, Megan Tan and Tom Devlin clearly anticipated the attention span challenge and adapted accordingly. As such, the content here is split into color-coded categories — identity, cinema, comics and manga, music, travel, food, fashion, sports, toys, and art — thereby making it easy to locate your passion of choice and dive in with intention.\u003c/p>\n\u003cp>The cinema section contains the most recognizable names in the book, thanks to interviews with the likes of Chow Yun-Fat, \u003ca href=\"https://www.kqed.org/arts/13926277/michelle-yeoh-called-out-sexism-in-hollywood-will-it-help-close-the-gender-gap\">Michelle Yeoh\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13915798/in-thor-love-and-thunder-waititis-familiar-strains-feel-familiar-and-strained\">Taika Waititi\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13955458/dev-patels-monkey-man-is-a-political-allegory-bathed-in-blood\">Dev Patel\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13750397/now-playing-johnnie-tos-crime-wave\">John Woo\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13915702/mr-malcolms-list-susan-allain-regency-romance-london\">Freida Pinto\u003c/a>, \u003ca href=\"https://www.kqed.org/news/tag/george-takei\">George Takei\u003c/a> and \u003cem>Spirited Away\u003c/em> legend \u003ca href=\"https://www.kqed.org/arts/13934544/the-boy-and-the-heron-hayao-miyazaki-animation-anime-dream\">Hayao Miyazaki\u003c/a>. My personal favorite, however, is a Q&A with \u003ca href=\"https://www.npr.org/sections/codeswitch/2015/02/06/384307677/whats-so-cringe-worthy-about-long-duk-dong-in-sixteen-candles\">Gedde Watanabe\u003c/a> (who played Long Duk Dong in \u003cem>Sixteen Candles\u003c/em>), in which he bluntly shares his feelings about the \u003ca href=\"https://www.kqed.org/arts/11815363/seoul-searching-transplants-80s-teen-movies-to-summer-camp-in-south-korea\">problematic character\u003c/a> he’s most famous for.\u003c/p>\n\u003cp>The music section sees stars like Yeah Yeah Yeahs and Money Mark rubbing shoulders with more obscure artists. The 2007 remembrance here of Lance Hahn — San Francisco punk rock treasure, J Church vocalist and former \u003cem>Giant Robot\u003c/em> contributor — almost knocked me down with a wave of bittersweet nostalgia. (The story also includes Bay Area folks from \u003ca href=\"https://www.kqed.org/arts/13804539/jawbreaker-plays-first-show-in-21-years-video-photos-setlist\">Jawbreaker\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/11782160/the-five-weirdest-records-i-ever-bought-at-aquarius-records-r-i-p\">Aquarius Records\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13833821/nofxs-fat-mike-under-fire-for-tasteless-joke-about-las-vegas-massacre\">Fat Wreck Chords\u003c/a> sharing quotes about Hahn’s life.)\u003c/p>\n\u003cfigure id=\"attachment_13966425\" class=\"wp-caption aligncenter\" style=\"max-width: 1498px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966425\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/chinatown.png\" alt=\"The page of a magazine headlined 'The OG of American Chinatowns.’\" width=\"1498\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/chinatown.png 1498w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/chinatown-800x1068.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/chinatown-1020x1362.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/chinatown-160x214.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/chinatown-768x1025.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/chinatown-1150x1536.png 1150w\" sizes=\"(max-width: 1498px) 100vw, 1498px\">\u003cfigcaption class=\"wp-caption-text\">A 1998 story about the history of San Francisco’s Chinatown, as seen in ‘Giant Robot: Thirty Years of Defining Asian American Pop Culture.’ \u003ccite>(Robot Factory Incorporated/Drawn & Quarterly)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Hahn profile is just one of the ways \u003cem>Giant Robot\u003c/em> reflects Bay Area culture, despite having always been based in Los Angeles. \u003ca href=\"https://www.kqed.org/arts/tag/chinatown\">San Francisco’s Chinatown\u003c/a> garners an article titled “The OG of American Chinatowns,” complete with an entire profile of Mr. Bing’s dive bar. There is a recollection of the student-led \u003ca href=\"https://www.youtube.com/watch?v=As_P3DueKrY\">San Francisco State University strike of 1968\u003c/a>. UC Berkeley radicals Richard Aoki, Harvey Dong, Steve Louie and Vicci Wong are also interviewed about historical Bay Area activism.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>So too are there Bay Area figures peppered throughout. \u003ca href=\"https://www.kqed.org/pop/20739/hollywood-so-white-margaret-cho-other-bay-area-locals-on-the-epidemic-of-invisibility\">Margaret Cho\u003c/a> contributes a particularly hilarious 1996 column titled “White Guys That Like Asian Girls.“ (Quote: “Andrew McCarthy is everything Asian girls like about white guys. Quietly handsome, not overly masculine, sweaty-palmed, neatly dressed in blues and grays and, when we want, really good at looking bewildered.”)\u003c/p>\n\u003cp>[aside postid='arts_13965937']Then there’s the food section: so gloriously anarchic, it almost defies description. Just know that it includes a defense of MSG, a guide to Asian liquor, recipes that the Filipino inmates at L.A. County Jail made after hours in 2002, and a 1995 article about something called the “Cambodian Doughnut Cartel.”\u003c/p>\n\u003cp>So, yes. Do not let the enormity of \u003cem>Giant Robot: Thirty Years of Defining Asian American Pop Culture\u003c/em> turn you off. Having this portable collection of \u003cem>Giant Robot\u003c/em>’s back catalog isn’t just a treat, it also reflects how print media has changed and evolved during the age of the internet. (Unsurprisingly, those pages crammed with text dissipate as the years pass.) Even more importantly, this collection stands as an indispensable documentation of Asian American contributions to the culture, both mainstream and underground, over a very long period of time.\u003c/p>\n\u003cp>Best of all? It’s so entertaining, it’ll make you want to read like it’s still the ’90s.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.giantrobot.com/collections/giant-robot-magazine/products/preorder-giant-robot-thirty-years-of-defining-asian-american-pop-culture-hardcover-signed\">Giant Robot: Thirty Years of Defining Asian American Pop Culture\u003c/a>’ edited by Eric Nakamura, Francine Yulo, Tracy Hurren, Megan Tan and Tom Devlin is out on Oct. 21, 2024, from \u003ca href=\"https://drawnandquarterly.com/books/giant-robot-thirty-years-of-defining-asian-american-pop-culture/\">Drawn & Quarterly\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Eric Nakamura will be at San Francisco’s \u003ca href=\"https://www.silversprocket.net/events/in-store-events-at-1018-valencia-st/\">Silver Sprocket\u003c/a> (1018 Valencia St.) for a booksigning on Oct. 26, 2024. He’ll also be in conversation with illustrator Felicia Chiao, artist Windy Chien and Jawbreaker drummer Adam Pfahler.\u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "A book of the Asian American magazine’s best pop-culture content is brimming with Bay Area treasures.",
"status": "publish",
"parent": 0,
"modified": 1729721658,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 14,
"wordCount": 863
},
"headData": {
"title": "Book Review: ‘Giant Robot’ Is 30 Years of Pop Culture Gifts | KQED",
"description": "A book of the Asian American magazine’s best pop-culture content is brimming with Bay Area treasures.",
"ogTitle": "‘Giant Robot’ Is a Pop Culture Tome That’ll Take You Back to a Pre-Internet Age",
"ogDescription": "",
"ogImgId": "",
"twTitle": "‘Giant Robot’ Is a Pop Culture Tome That’ll Take You Back to a Pre-Internet Age",
"twDescription": "",
"twImgId": "",
"socialTitle": "Book Review: ‘Giant Robot’ Is 30 Years of Pop Culture Gifts %%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "‘Giant Robot’ Is a Pop Culture Tome That’ll Take You Back to a Pre-Internet Age",
"datePublished": "2024-10-21T08:00:21-07:00",
"dateModified": "2024-10-23T15:14:18-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprStoryId": "kqed-13966390",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13966390/giant-robot-magazine-30-year-anniversary-book-review-asian-american-pop-culture",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Roving through the back of my magazine collection recently, I found a much-treasured copy of the second issue of short-lived Beastie Boys fanzine, \u003cem>Grand Royal\u003c/em>. It dates to 1995. I remember excitedly buying it in an X-Large store in New York City and poring over every single page. Looking at it in 2024 however, took me aback. That zine now stands as a screaming monument to how much longer our attention spans were before the internet lived in our pockets.\u003c/p>\n\u003cp>I mention this because opening \u003cem>Giant Robot: Thirty Years of Defining Asian American Pop Culture\u003c/em> for the first time gave me a similar sensation. The new hardcover collection of \u003cem>Giant Robot\u003c/em> magazine’s highlights from the last three decades might look like a coffee table book on the outside, but on the inside, it’s a reflection of how we used to read. Page after page of densely packed text with minimal images to break up a font that often feels unreasonably small for pages of this size. (It all makes sense: \u003cem>Giant Robot\u003c/em> did, after all, start life in 1994 as a fanzine.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13966153",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Facing down \u003cem>Giant Robot\u003c/em>’s nearly 500 pages for the first time would be an intimidating exercise if not for the thoughtfulness of the book’s editors. Eric Nakamura, Francine Yulo, Tracy Hurren, Megan Tan and Tom Devlin clearly anticipated the attention span challenge and adapted accordingly. As such, the content here is split into color-coded categories — identity, cinema, comics and manga, music, travel, food, fashion, sports, toys, and art — thereby making it easy to locate your passion of choice and dive in with intention.\u003c/p>\n\u003cp>The cinema section contains the most recognizable names in the book, thanks to interviews with the likes of Chow Yun-Fat, \u003ca href=\"https://www.kqed.org/arts/13926277/michelle-yeoh-called-out-sexism-in-hollywood-will-it-help-close-the-gender-gap\">Michelle Yeoh\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13915798/in-thor-love-and-thunder-waititis-familiar-strains-feel-familiar-and-strained\">Taika Waititi\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13955458/dev-patels-monkey-man-is-a-political-allegory-bathed-in-blood\">Dev Patel\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13750397/now-playing-johnnie-tos-crime-wave\">John Woo\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13915702/mr-malcolms-list-susan-allain-regency-romance-london\">Freida Pinto\u003c/a>, \u003ca href=\"https://www.kqed.org/news/tag/george-takei\">George Takei\u003c/a> and \u003cem>Spirited Away\u003c/em> legend \u003ca href=\"https://www.kqed.org/arts/13934544/the-boy-and-the-heron-hayao-miyazaki-animation-anime-dream\">Hayao Miyazaki\u003c/a>. My personal favorite, however, is a Q&A with \u003ca href=\"https://www.npr.org/sections/codeswitch/2015/02/06/384307677/whats-so-cringe-worthy-about-long-duk-dong-in-sixteen-candles\">Gedde Watanabe\u003c/a> (who played Long Duk Dong in \u003cem>Sixteen Candles\u003c/em>), in which he bluntly shares his feelings about the \u003ca href=\"https://www.kqed.org/arts/11815363/seoul-searching-transplants-80s-teen-movies-to-summer-camp-in-south-korea\">problematic character\u003c/a> he’s most famous for.\u003c/p>\n\u003cp>The music section sees stars like Yeah Yeah Yeahs and Money Mark rubbing shoulders with more obscure artists. The 2007 remembrance here of Lance Hahn — San Francisco punk rock treasure, J Church vocalist and former \u003cem>Giant Robot\u003c/em> contributor — almost knocked me down with a wave of bittersweet nostalgia. (The story also includes Bay Area folks from \u003ca href=\"https://www.kqed.org/arts/13804539/jawbreaker-plays-first-show-in-21-years-video-photos-setlist\">Jawbreaker\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/11782160/the-five-weirdest-records-i-ever-bought-at-aquarius-records-r-i-p\">Aquarius Records\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13833821/nofxs-fat-mike-under-fire-for-tasteless-joke-about-las-vegas-massacre\">Fat Wreck Chords\u003c/a> sharing quotes about Hahn’s life.)\u003c/p>\n\u003cfigure id=\"attachment_13966425\" class=\"wp-caption aligncenter\" style=\"max-width: 1498px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966425\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/chinatown.png\" alt=\"The page of a magazine headlined 'The OG of American Chinatowns.’\" width=\"1498\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/chinatown.png 1498w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/chinatown-800x1068.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/chinatown-1020x1362.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/chinatown-160x214.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/chinatown-768x1025.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/chinatown-1150x1536.png 1150w\" sizes=\"(max-width: 1498px) 100vw, 1498px\">\u003cfigcaption class=\"wp-caption-text\">A 1998 story about the history of San Francisco’s Chinatown, as seen in ‘Giant Robot: Thirty Years of Defining Asian American Pop Culture.’ \u003ccite>(Robot Factory Incorporated/Drawn & Quarterly)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Hahn profile is just one of the ways \u003cem>Giant Robot\u003c/em> reflects Bay Area culture, despite having always been based in Los Angeles. \u003ca href=\"https://www.kqed.org/arts/tag/chinatown\">San Francisco’s Chinatown\u003c/a> garners an article titled “The OG of American Chinatowns,” complete with an entire profile of Mr. Bing’s dive bar. There is a recollection of the student-led \u003ca href=\"https://www.youtube.com/watch?v=As_P3DueKrY\">San Francisco State University strike of 1968\u003c/a>. UC Berkeley radicals Richard Aoki, Harvey Dong, Steve Louie and Vicci Wong are also interviewed about historical Bay Area activism.\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>So too are there Bay Area figures peppered throughout. \u003ca href=\"https://www.kqed.org/pop/20739/hollywood-so-white-margaret-cho-other-bay-area-locals-on-the-epidemic-of-invisibility\">Margaret Cho\u003c/a> contributes a particularly hilarious 1996 column titled “White Guys That Like Asian Girls.“ (Quote: “Andrew McCarthy is everything Asian girls like about white guys. Quietly handsome, not overly masculine, sweaty-palmed, neatly dressed in blues and grays and, when we want, really good at looking bewildered.”)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13965937",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Then there’s the food section: so gloriously anarchic, it almost defies description. Just know that it includes a defense of MSG, a guide to Asian liquor, recipes that the Filipino inmates at L.A. County Jail made after hours in 2002, and a 1995 article about something called the “Cambodian Doughnut Cartel.”\u003c/p>\n\u003cp>So, yes. Do not let the enormity of \u003cem>Giant Robot: Thirty Years of Defining Asian American Pop Culture\u003c/em> turn you off. Having this portable collection of \u003cem>Giant Robot\u003c/em>’s back catalog isn’t just a treat, it also reflects how print media has changed and evolved during the age of the internet. (Unsurprisingly, those pages crammed with text dissipate as the years pass.) Even more importantly, this collection stands as an indispensable documentation of Asian American contributions to the culture, both mainstream and underground, over a very long period of time.\u003c/p>\n\u003cp>Best of all? It’s so entertaining, it’ll make you want to read like it’s still the ’90s.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.giantrobot.com/collections/giant-robot-magazine/products/preorder-giant-robot-thirty-years-of-defining-asian-american-pop-culture-hardcover-signed\">Giant Robot: Thirty Years of Defining Asian American Pop Culture\u003c/a>’ edited by Eric Nakamura, Francine Yulo, Tracy Hurren, Megan Tan and Tom Devlin is out on Oct. 21, 2024, from \u003ca href=\"https://drawnandquarterly.com/books/giant-robot-thirty-years-of-defining-asian-american-pop-culture/\">Drawn & Quarterly\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Eric Nakamura will be at San Francisco’s \u003ca href=\"https://www.silversprocket.net/events/in-store-events-at-1018-valencia-st/\">Silver Sprocket\u003c/a> (1018 Valencia St.) for a booksigning on Oct. 26, 2024. He’ll also be in conversation with illustrator Felicia Chiao, artist Windy Chien and Jawbreaker drummer Adam Pfahler.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13966390/giant-robot-magazine-30-year-anniversary-book-review-asian-american-pop-culture",
"authors": [
"11242"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_73",
"arts_76",
"arts_74",
"arts_69",
"arts_75",
"arts_13238",
"arts_22313"
],
"tags": [
"arts_4672",
"arts_10278",
"arts_7970",
"arts_769",
"arts_585",
"arts_914"
],
"featImg": "arts_13966428",
"label": "arts_140"
},
"arts_13966771": {
"type": "posts",
"id": "arts_13966771",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13966771",
"score": null,
"sort": [
1729199687000
]
},
"guestAuthors": [],
"slug": "palestinian-rapper-sammy-shiblaq-project-liberation",
"title": "On Sammy Shiblaq’s ‘Project of Liberation,’ Rap Anthems Fuel Palestinian Resistance",
"publishDate": 1729199687,
"format": "aside",
"headTitle": "On Sammy Shiblaq’s ‘Project of Liberation,’ Rap Anthems Fuel Palestinian Resistance | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cfigure id=\"attachment_13966773\" class=\"wp-caption aligncenter\" style=\"max-width: 819px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966773\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/PWLFF_SammyShiblaq-007-2.jpg\" alt=\"Sammy Shiblaq raps on stage with men behind him with their faces wrapped in keffiyehs.\" width=\"819\" height=\"1024\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/PWLFF_SammyShiblaq-007-2.jpg 819w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/PWLFF_SammyShiblaq-007-2-800x1000.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/PWLFF_SammyShiblaq-007-2-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/PWLFF_SammyShiblaq-007-2-768x960.jpg 768w\" sizes=\"(max-width: 819px) 100vw, 819px\">\u003cfigcaption class=\"wp-caption-text\">On his album ‘The Project of Liberation,’ Sammy Shiblaq made drill-rap protest anthems and poetic meditations on Palestinians’ struggle for dignity and freedom. \u003ccite>(Zofia Beck Anchondo (@zofotography))\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 2022, a trip to the West Bank changed \u003ca href=\"https://www.instagram.com/sammyshiblaq/?hl=en\">Sammy Shiblaq\u003c/a> forever.\u003c/p>\n\u003cp>The Palestinian American rapper visited his grandparents’ homeland for the first time that year. Despite living under Israeli military occupation, the people he met were generous and surprisingly happy. Thousands of smiles lit up in the crowd during his show in Ramallah, and strangers welcomed his family into their home for dinner.\u003c/p>\n\u003cp>“Every city I went to, they didn’t want your money. … They just wanted you to visit them,” says the artist, whose grandparents were displaced from their hometown of Haifa during the Nakba of 1948. “I mean, it sounds crazy. They want the suffering and the occupation to stop, of course. But for the tourist who supports them, all they ask you to do is go visit them, go support them, go be with them. They’re a happy people. They enjoy life even in their conditions. It changed me.” [aside postid='arts_13966738']\u003c/p>\n\u003cp>Shiblaq returned home with a clear sense of purpose: to use his music to uplift everyday Palestinian people who simply want dignity and freedom. The Detroit-raised, San José-based artist recently released \u003ca href=\"https://open.spotify.com/album/5iXgFaNRHYGLj7GFVdN033\">\u003ci>The Project of Liberation\u003c/i>\u003c/a>, a 16-track album of drill-rap protest anthems, poetic meditations and pleas for an end to Israel’s bombardment of Gaza.\u003c/p>\n\u003cp>“I think that’s one of my duties in the movement, to make music that isn’t just listened to by the Palestinians, isn’t just listened to by Arabs,” he says. “It needs to be listened to by the greater community. N.W.A. Dropped ‘F tha Police’ and it became an anthem against police brutality and the injustices in the system. But it wasn’t just in the Black community. It transcended boundaries.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://youtu.be/oFZQ_IQSMcY?si=0NEezlNAsXR_ynDx\u003c/p>\n\u003cp>Shiblaq, who is signed to the San Francisco label EMPIRE, began recording \u003ci>The Project of Liberation\u003c/i> in October 2023. Before getting in the booth, he watched social media footage of Israel’s U.S.-made bombs dropping on hospitals and schools, of children dying in the rubble; he stayed in constant touch with his cousins in Gaza while fearing for their lives. As the music took shape, he decided to use proceeds from the album, which has topped a million streams, for his \u003ca href=\"https://www.gofundme.com/f/urgent-help-for-my-relatives-in-gaza\">relief fund to evacuate his family\u003c/a> from Gaza to Egypt. [aside postid='arts_13966207']\u003c/p>\n\u003cp>Shiblaq channeled his anguish into the first single off the album, “Peace Without Freedom.” The somber yet determined track takes inspiration from a Malcolm X quote from 1965: “You can’t separate peace from freedom because no one can be at peace unless he has his freedom.” On the first verse, Shiblaq raps about the horrors of daily life in Gaza over hi-hats and a guitar sample that put his strong voice into focus. On verse two, he takes us to the West Bank, where Israeli extremists have set up illegal settlements and \u003ca href=\"https://www.npr.org/2024/10/12/g-s1-27704/west-bank-palestinians-violence-israel-settlers\">harass, kill and further displace Palestinians\u003c/a>, violating international law.\u003c/p>\n\u003cp>“This concept that’s portrayed in the media is that the Palestinians don’t want peace,” he says of his thought process behind the track. “‘The Palestinians need to just accept getting beat up and having their land stolen. They need to just give up and let Israel win.’ And it’s a stupid concept. You’re asking people to just keep getting beat and just take it. Not tell the world. Not try to make a movement.”\u003c/p>\n\u003cp>https://youtu.be/d2fzY27hj3g?si=PJ9ytfTn57GDlTlu\u003c/p>\n\u003cp>Though he didn’t set out to make protest music, “Peace Without Freedom” has become a rallying cry at anti-imperialist marches, and other tracks off \u003ci>The Project of Liberation\u003c/i> have gotten millions of views \u003ca href=\"https://www.tiktok.com/@sammyshiblaq?lang=en\">on TikTok\u003c/a>. One of those is “Gaza Strip 2 Detroit,” an adrenaline-raising drill-rap anthem where Shiblaq indignantly raps: “They gon’ tryna take us off the map, but we’re still holdin’ on / Ask what I condemn, genocide — is that what y’all condone?”\u003c/p>\n\u003cp>Earlier this month, when Shiblaq headlined a fundraiser for Middle East Children’s Alliance at San Francisco’s African American Art & Culture Complex, teenagers in keffiyehs moshed and screamed along to the lyrics in a moment of joy and catharsis. Shiblaq exuded stoic confidence as he worked the crowd, then ended the set in a heartfelt moment by asking everyone to join him in a selfie video dedicating the show to his cousins in Gaza. (The event, put on by Arab Resource and Organizing Center, ended up raising $50,000 for relief efforts, according to the organizers.)\u003c/p>\n\u003cp>https://youtu.be/Bg2jA9j7qzI?si=OYhzMfgjf7TROhJ2\u003c/p>\n\u003cp>Shiblaq says that in addition to educating and grieving, he wants \u003ci>The Project of Liberation\u003c/i> to instill a sense of pride. “I think we need to shed light on the victim, but we need to understand our goal isn’t just to dehumanize our people,” he says. “If we completely make this movement just about victimhood, then they will win. There needs to be a sense of victory and liberation.”\u003c/p>\n\u003cp>What does that look like? “Liberation means justice, happiness,” he says. “I think just for Palestinian people specifically, liberation means no more occupation, no more apartheid and just \u003ci>life\u003c/i>.”\u003c/p>\n\u003cp>https://youtu.be/R1jyTGONngI?si=apFMd0LOjvinZ2Z4\u003c/p>\n\u003cp>On a particularly poignant moment of the track “\u003ca href=\"https://www.youtube.com/watch?v=LLPxrYmJpC8\">Liberation\u003c/a>,” the beat stops and his voice rises as he puts it this way: “They put this knife in your back / They don’t pull it out / But they tell you to heal from that / Let’s just be real with that / If they took the land, the kids, the home that you lived in / You wouldn’t deal with that.”\u003c/p>\n\u003cp>Up next, Shiblaq is performing at \u003ca href=\"https://www.eventbrite.com/e/45th-annual-palestine-cultural-day-tickets-983069486297\">Palestine Cultural Day\u003c/a>, an Oct. 19 celebration in Redwood City, followed by shows in Chicago and Los Angeles. Growing up, he felt alone every time he tried to talk about the Palestinian struggle. But now he sees people of all backgrounds — Jewish, Black, Samoan, Mexican, Native American — out in droves at marches for Palestinian liberation. That solidarity, and his faith, help him keep going.\u003c/p>\n\u003cp>“I’ve lost my hope in governments. … But I do see hope in community — the communities that you build amongst your family, the friends around you,” he says. “Creating good in your world will create more good in the rest of the world. And I think that’s the best thing we can do. I can’t tell you when this is going to end. But I can tell you, the Palestinian people, they will never die. They will never leave their land.”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Sammy Shiblaq performs at the 45th annual \u003ca href=\"https://www.eventbrite.com/e/45th-annual-palestine-cultural-day-tickets-983069486297\">Palestine Cultural Day\u003c/a> on Oct. 19 in Redwood City. You can stream ‘\u003ca href=\"https://open.spotify.com/album/5iXgFaNRHYGLj7GFVdN033\">The Project of Liberation\u003c/a>’ here and view his \u003ca href=\"https://www.gofundme.com/f/urgent-help-for-my-relatives-in-gaza\">GoFundMe here\u003c/a>.\u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "The Detroit-raised, San Jose-based artist performs at the 45th annual Palestine Cultural Day in Redwood City.",
"status": "publish",
"parent": 0,
"modified": 1729199687,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 18,
"wordCount": 1234
},
"headData": {
"title": "Sammy Shiblaq’s Rap Anthems Fuel Palestinian Resistance | KQED",
"description": "The Detroit-raised, San Jose-based artist performs at the 45th annual Palestine Cultural Day in Redwood City.",
"ogTitle": "On Sammy Shiblaq’s ‘Project of Liberation,’ Rap Anthems Fuel Palestinian Resistance",
"ogDescription": "",
"ogImgId": "",
"twTitle": "On Sammy Shiblaq’s ‘Project of Liberation,’ Rap Anthems Fuel Palestinian Resistance",
"twDescription": "",
"twImgId": "",
"socialTitle": "Sammy Shiblaq’s Rap Anthems Fuel Palestinian Resistance %%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "On Sammy Shiblaq’s ‘Project of Liberation,’ Rap Anthems Fuel Palestinian Resistance",
"datePublished": "2024-10-17T14:14:47-07:00",
"dateModified": "2024-10-17T14:14:47-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprStoryId": "kqed-13966771",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13966771/palestinian-rapper-sammy-shiblaq-project-liberation",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13966773\" class=\"wp-caption aligncenter\" style=\"max-width: 819px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966773\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/PWLFF_SammyShiblaq-007-2.jpg\" alt=\"Sammy Shiblaq raps on stage with men behind him with their faces wrapped in keffiyehs.\" width=\"819\" height=\"1024\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/PWLFF_SammyShiblaq-007-2.jpg 819w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/PWLFF_SammyShiblaq-007-2-800x1000.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/PWLFF_SammyShiblaq-007-2-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/PWLFF_SammyShiblaq-007-2-768x960.jpg 768w\" sizes=\"(max-width: 819px) 100vw, 819px\">\u003cfigcaption class=\"wp-caption-text\">On his album ‘The Project of Liberation,’ Sammy Shiblaq made drill-rap protest anthems and poetic meditations on Palestinians’ struggle for dignity and freedom. \u003ccite>(Zofia Beck Anchondo (@zofotography))\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 2022, a trip to the West Bank changed \u003ca href=\"https://www.instagram.com/sammyshiblaq/?hl=en\">Sammy Shiblaq\u003c/a> forever.\u003c/p>\n\u003cp>The Palestinian American rapper visited his grandparents’ homeland for the first time that year. Despite living under Israeli military occupation, the people he met were generous and surprisingly happy. Thousands of smiles lit up in the crowd during his show in Ramallah, and strangers welcomed his family into their home for dinner.\u003c/p>\n\u003cp>“Every city I went to, they didn’t want your money. … They just wanted you to visit them,” says the artist, whose grandparents were displaced from their hometown of Haifa during the Nakba of 1948. “I mean, it sounds crazy. They want the suffering and the occupation to stop, of course. But for the tourist who supports them, all they ask you to do is go visit them, go support them, go be with them. They’re a happy people. They enjoy life even in their conditions. It changed me.” \u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13966738",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Shiblaq returned home with a clear sense of purpose: to use his music to uplift everyday Palestinian people who simply want dignity and freedom. The Detroit-raised, San José-based artist recently released \u003ca href=\"https://open.spotify.com/album/5iXgFaNRHYGLj7GFVdN033\">\u003ci>The Project of Liberation\u003c/i>\u003c/a>, a 16-track album of drill-rap protest anthems, poetic meditations and pleas for an end to Israel’s bombardment of Gaza.\u003c/p>\n\u003cp>“I think that’s one of my duties in the movement, to make music that isn’t just listened to by the Palestinians, isn’t just listened to by Arabs,” he says. “It needs to be listened to by the greater community. N.W.A. Dropped ‘F tha Police’ and it became an anthem against police brutality and the injustices in the system. But it wasn’t just in the Black community. It transcended boundaries.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/oFZQ_IQSMcY'\n title='//www.youtube.com/embed/oFZQ_IQSMcY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Shiblaq, who is signed to the San Francisco label EMPIRE, began recording \u003ci>The Project of Liberation\u003c/i> in October 2023. Before getting in the booth, he watched social media footage of Israel’s U.S.-made bombs dropping on hospitals and schools, of children dying in the rubble; he stayed in constant touch with his cousins in Gaza while fearing for their lives. As the music took shape, he decided to use proceeds from the album, which has topped a million streams, for his \u003ca href=\"https://www.gofundme.com/f/urgent-help-for-my-relatives-in-gaza\">relief fund to evacuate his family\u003c/a> from Gaza to Egypt. \u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13966207",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Shiblaq channeled his anguish into the first single off the album, “Peace Without Freedom.” The somber yet determined track takes inspiration from a Malcolm X quote from 1965: “You can’t separate peace from freedom because no one can be at peace unless he has his freedom.” On the first verse, Shiblaq raps about the horrors of daily life in Gaza over hi-hats and a guitar sample that put his strong voice into focus. On verse two, he takes us to the West Bank, where Israeli extremists have set up illegal settlements and \u003ca href=\"https://www.npr.org/2024/10/12/g-s1-27704/west-bank-palestinians-violence-israel-settlers\">harass, kill and further displace Palestinians\u003c/a>, violating international law.\u003c/p>\n\u003cp>“This concept that’s portrayed in the media is that the Palestinians don’t want peace,” he says of his thought process behind the track. “‘The Palestinians need to just accept getting beat up and having their land stolen. They need to just give up and let Israel win.’ And it’s a stupid concept. You’re asking people to just keep getting beat and just take it. Not tell the world. Not try to make a movement.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/d2fzY27hj3g'\n title='//www.youtube.com/embed/d2fzY27hj3g'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Though he didn’t set out to make protest music, “Peace Without Freedom” has become a rallying cry at anti-imperialist marches, and other tracks off \u003ci>The Project of Liberation\u003c/i> have gotten millions of views \u003ca href=\"https://www.tiktok.com/@sammyshiblaq?lang=en\">on TikTok\u003c/a>. One of those is “Gaza Strip 2 Detroit,” an adrenaline-raising drill-rap anthem where Shiblaq indignantly raps: “They gon’ tryna take us off the map, but we’re still holdin’ on / Ask what I condemn, genocide — is that what y’all condone?”\u003c/p>\n\u003cp>Earlier this month, when Shiblaq headlined a fundraiser for Middle East Children’s Alliance at San Francisco’s African American Art & Culture Complex, teenagers in keffiyehs moshed and screamed along to the lyrics in a moment of joy and catharsis. Shiblaq exuded stoic confidence as he worked the crowd, then ended the set in a heartfelt moment by asking everyone to join him in a selfie video dedicating the show to his cousins in Gaza. (The event, put on by Arab Resource and Organizing Center, ended up raising $50,000 for relief efforts, according to the organizers.)\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Bg2jA9j7qzI'\n title='//www.youtube.com/embed/Bg2jA9j7qzI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Shiblaq says that in addition to educating and grieving, he wants \u003ci>The Project of Liberation\u003c/i> to instill a sense of pride. “I think we need to shed light on the victim, but we need to understand our goal isn’t just to dehumanize our people,” he says. “If we completely make this movement just about victimhood, then they will win. There needs to be a sense of victory and liberation.”\u003c/p>\n\u003cp>What does that look like? “Liberation means justice, happiness,” he says. “I think just for Palestinian people specifically, liberation means no more occupation, no more apartheid and just \u003ci>life\u003c/i>.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/R1jyTGONngI'\n title='//www.youtube.com/embed/R1jyTGONngI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>On a particularly poignant moment of the track “\u003ca href=\"https://www.youtube.com/watch?v=LLPxrYmJpC8\">Liberation\u003c/a>,” the beat stops and his voice rises as he puts it this way: “They put this knife in your back / They don’t pull it out / But they tell you to heal from that / Let’s just be real with that / If they took the land, the kids, the home that you lived in / You wouldn’t deal with that.”\u003c/p>\n\u003cp>Up next, Shiblaq is performing at \u003ca href=\"https://www.eventbrite.com/e/45th-annual-palestine-cultural-day-tickets-983069486297\">Palestine Cultural Day\u003c/a>, an Oct. 19 celebration in Redwood City, followed by shows in Chicago and Los Angeles. Growing up, he felt alone every time he tried to talk about the Palestinian struggle. But now he sees people of all backgrounds — Jewish, Black, Samoan, Mexican, Native American — out in droves at marches for Palestinian liberation. That solidarity, and his faith, help him keep going.\u003c/p>\n\u003cp>“I’ve lost my hope in governments. … But I do see hope in community — the communities that you build amongst your family, the friends around you,” he says. “Creating good in your world will create more good in the rest of the world. And I think that’s the best thing we can do. I can’t tell you when this is going to end. But I can tell you, the Palestinian people, they will never die. They will never leave their land.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Sammy Shiblaq performs at the 45th annual \u003ca href=\"https://www.eventbrite.com/e/45th-annual-palestine-cultural-day-tickets-983069486297\">Palestine Cultural Day\u003c/a> on Oct. 19 in Redwood City. You can stream ‘\u003ca href=\"https://open.spotify.com/album/5iXgFaNRHYGLj7GFVdN033\">The Project of Liberation\u003c/a>’ here and view his \u003ca href=\"https://www.gofundme.com/f/urgent-help-for-my-relatives-in-gaza\">GoFundMe here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13966771/palestinian-rapper-sammy-shiblaq-project-liberation",
"authors": [
"11387"
],
"categories": [
"arts_1",
"arts_69"
],
"tags": [
"arts_10278",
"arts_8838",
"arts_21682"
],
"featImg": "arts_13966772",
"label": "arts"
},
"arts_13966756": {
"type": "posts",
"id": "arts_13966756",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13966756",
"score": null,
"sort": [
1729126251000
]
},
"guestAuthors": [],
"slug": "liam-payne-one-direction-dies-hotel-fall-argentina",
"title": "Liam Payne, Former One Direction Member, Dies at 31 in Argentina Hotel Fall",
"publishDate": 1729126251,
"format": "standard",
"headTitle": "Liam Payne, Former One Direction Member, Dies at 31 in Argentina Hotel Fall | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>Former One Direction singer Liam Payne, 31, whose chart-topping British boy band generated a global following of swooning fans, was found dead Wednesday after falling from a hotel balcony in Buenos Aires, local officials said.\u003c/p>\n\u003cp>Buenos Aires police said in a statement that Payne fell from the third floor of the Casa Sur Hotel in the trendy Palermo neighborhood of Argentina’s capital, resulting in “extremely serious injuries.” Medics confirmed his death on the spot, the statement said.\u003c/p>\n\u003cp>Pablo Policicchio, the communications director for the Buenos Aires Security Ministry, said in a statement to The Associated Press that Payne “had jumped from the balcony of his room.” Police rushed to the hotel in response to an emergency call just after 5 p.m. local time, he said, warning of an “aggressive man who could be under the influence of drugs or alcohol.” At 5:07 p.m., arriving police requested an ambulance after finding a man who had apparently just plunged from the third-floor balcony. Medics pulled up a few minutes later.\u003c/p>\n\u003cp>Alberto Crescenti, head of the state emergency medical system, told Argentina’s Todo Noticias TV channel that authorities were investigating the circumstances of his death and conducting an autopsy. He declined to answer further questions about the incident until authorities completed their investigation.\u003c/p>\n\u003cp>Payne had been vocal about struggling with alcoholism, posting a video in July 2023 to his YouTube channel where he said he had been sober for six months after receiving treatment. Representatives for Payne did not immediately return emails and calls.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Dozens of One Direction fans flocked from across Buenos Aires to the Casa Sur Hotel after the news broke, forming lines that spilled into the cordoned-off street outside the hotel where police stood sentinel. Forensic investigators were seen exiting the hotel, from where Payne’s body was removed around three hours after the fall. Young women filming with their cellphones expressed shock and heartbreak as a makeshift memorial with rows of candles and bouquets quickly grew outside the hotel.\u003c/p>\n\u003cp>“I didn’t think he was going to die so young,” 21-year-old Isabella Milesi told The Associated Press.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=vSW2M-BB1NE\u003c/p>\n\u003cp>Payne was one of five members of One Direction, which formed when they each auditioned for the British singing competition series \u003cem>The X Factor\u003c/em> in 2010, two years after Payne’s first attempt to get on the show. At 16 the second time around, Payne sang Michael Bublé’s version of “Cry Me a River,” appearing nervous at the start but warming up with the audience’s cheers and applause.\u003c/p>\n\u003cp>After each singer failed to make it through the competition as solo acts, Simon Cowell and his fellow judges combined Payne, Zayn Malik, Harry Styles, Niall Horan and Louis Tomlinson into what would become one of the most successful boy bands — even though they lost the competition.\u003c/p>\n\u003cp>Each member had their own persona, with Payne — who hailed from Wolverhampton, a city in the West Midlands region of England — being known as the responsible one. The band became known for their pop sound and romantic hits like “What Makes You Beautiful,” “Night Changes” and “Story of My Life.” Payne had prominent solos on songs including “Stole My Heart” and “Change Your Ticket,” co-writing several of the band’s hits. They had six Top 10 hits on the Billboard charts by the time they disbanded in 2016 and a highly loyal fan base, known as “Directioners,” many of whom were teen girls.\u003c/p>\n\u003cp>“I’ve always loved One Direction since I was little,” said 18-year-old Juana Relh, another fan outside Payne’s hotel. “To see that he died and that there will never be another reunion of the boys is unbelievable, it kills me.”\u003c/p>\n\u003cp>With his meteoric rise to fame, Payne had said that it took some time to adjust to the public eye.\u003c/p>\n\u003cp>“I don’t think you can ever deal with that, it’s all a bit crazy for us to see that people get in that sort of state of mind about us and what we do,” he said in a 2013 interview with the AP after recounting an experience where a fan was in a state of shock upon meeting him.\u003c/p>\n\u003cp>After the group’s dissolution, Payne — like each of his erstwhile bandmates — pursued a solo career, shifting toward EDM and hip-hop. His 2017 single “Strip That Down,” featuring Quavo, reached the Billboard Top 10, and stayed on the charts for several months. He put out an album \u003cem>LP1\u003c/em> in 2019, and his last release — a single called “Teardrops” — was released in March.\u003c/p>\n\u003cp>Payne had a 7-year-old son, Bear Grey Payne, with his former girlfriend, the musician Cheryl who was known as Cheryl Cole when she performed with Girls Aloud. She was an \u003cem>X Factor\u003c/em> judge during One Direction’s season, although their relationship began years later. Payne was previously engaged to Maya Henry, from August 2020 to early 2022. Henry released a novel earlier this year that she said was based on their relationship.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In addition to his son, he is survived by his parents, Geoff and Karen Payne, and his two older sisters, Ruth and Nicola.\u003c/p>\n\n",
"blocks": [],
"excerpt": "Payne was pronounced dead at the scene after a fall from the third floor of the Casa Sur Hotel in Buenos Aires.",
"status": "publish",
"parent": 0,
"modified": 1729126251,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 18,
"wordCount": 927
},
"headData": {
"title": "One Direction’s Liam Payne Dead at 31 After Hotel Fall | KQED",
"description": "Payne was pronounced dead at the scene after a fall from the third floor of the Casa Sur Hotel in Buenos Aires.",
"ogTitle": "Liam Payne, Former One Direction Member, Dies at 31 in Argentina Hotel Fall",
"ogDescription": "",
"ogImgId": "",
"twTitle": "Liam Payne, Former One Direction Member, Dies at 31 in Argentina Hotel Fall",
"twDescription": "",
"twImgId": "",
"socialTitle": "One Direction’s Liam Payne Dead at 31 After Hotel Fall %%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Liam Payne, Former One Direction Member, Dies at 31 in Argentina Hotel Fall",
"datePublished": "2024-10-16T17:50:51-07:00",
"dateModified": "2024-10-16T17:50:51-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprByline": "Isabel Debre and Kaitlyn Huamani, Associated Press",
"nprStoryId": "kqed-13966756",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"path": "/arts/13966756/liam-payne-one-direction-dies-hotel-fall-argentina",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Former One Direction singer Liam Payne, 31, whose chart-topping British boy band generated a global following of swooning fans, was found dead Wednesday after falling from a hotel balcony in Buenos Aires, local officials said.\u003c/p>\n\u003cp>Buenos Aires police said in a statement that Payne fell from the third floor of the Casa Sur Hotel in the trendy Palermo neighborhood of Argentina’s capital, resulting in “extremely serious injuries.” Medics confirmed his death on the spot, the statement said.\u003c/p>\n\u003cp>Pablo Policicchio, the communications director for the Buenos Aires Security Ministry, said in a statement to The Associated Press that Payne “had jumped from the balcony of his room.” Police rushed to the hotel in response to an emergency call just after 5 p.m. local time, he said, warning of an “aggressive man who could be under the influence of drugs or alcohol.” At 5:07 p.m., arriving police requested an ambulance after finding a man who had apparently just plunged from the third-floor balcony. Medics pulled up a few minutes later.\u003c/p>\n\u003cp>Alberto Crescenti, head of the state emergency medical system, told Argentina’s Todo Noticias TV channel that authorities were investigating the circumstances of his death and conducting an autopsy. He declined to answer further questions about the incident until authorities completed their investigation.\u003c/p>\n\u003cp>Payne had been vocal about struggling with alcoholism, posting a video in July 2023 to his YouTube channel where he said he had been sober for six months after receiving treatment. Representatives for Payne did not immediately return emails and calls.\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>Dozens of One Direction fans flocked from across Buenos Aires to the Casa Sur Hotel after the news broke, forming lines that spilled into the cordoned-off street outside the hotel where police stood sentinel. Forensic investigators were seen exiting the hotel, from where Payne’s body was removed around three hours after the fall. Young women filming with their cellphones expressed shock and heartbreak as a makeshift memorial with rows of candles and bouquets quickly grew outside the hotel.\u003c/p>\n\u003cp>“I didn’t think he was going to die so young,” 21-year-old Isabella Milesi told The Associated Press.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/vSW2M-BB1NE'\n title='//www.youtube.com/embed/vSW2M-BB1NE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Payne was one of five members of One Direction, which formed when they each auditioned for the British singing competition series \u003cem>The X Factor\u003c/em> in 2010, two years after Payne’s first attempt to get on the show. At 16 the second time around, Payne sang Michael Bublé’s version of “Cry Me a River,” appearing nervous at the start but warming up with the audience’s cheers and applause.\u003c/p>\n\u003cp>After each singer failed to make it through the competition as solo acts, Simon Cowell and his fellow judges combined Payne, Zayn Malik, Harry Styles, Niall Horan and Louis Tomlinson into what would become one of the most successful boy bands — even though they lost the competition.\u003c/p>\n\u003cp>Each member had their own persona, with Payne — who hailed from Wolverhampton, a city in the West Midlands region of England — being known as the responsible one. The band became known for their pop sound and romantic hits like “What Makes You Beautiful,” “Night Changes” and “Story of My Life.” Payne had prominent solos on songs including “Stole My Heart” and “Change Your Ticket,” co-writing several of the band’s hits. They had six Top 10 hits on the Billboard charts by the time they disbanded in 2016 and a highly loyal fan base, known as “Directioners,” many of whom were teen girls.\u003c/p>\n\u003cp>“I’ve always loved One Direction since I was little,” said 18-year-old Juana Relh, another fan outside Payne’s hotel. “To see that he died and that there will never be another reunion of the boys is unbelievable, it kills me.”\u003c/p>\n\u003cp>With his meteoric rise to fame, Payne had said that it took some time to adjust to the public eye.\u003c/p>\n\u003cp>“I don’t think you can ever deal with that, it’s all a bit crazy for us to see that people get in that sort of state of mind about us and what we do,” he said in a 2013 interview with the AP after recounting an experience where a fan was in a state of shock upon meeting him.\u003c/p>\n\u003cp>After the group’s dissolution, Payne — like each of his erstwhile bandmates — pursued a solo career, shifting toward EDM and hip-hop. His 2017 single “Strip That Down,” featuring Quavo, reached the Billboard Top 10, and stayed on the charts for several months. He put out an album \u003cem>LP1\u003c/em> in 2019, and his last release — a single called “Teardrops” — was released in March.\u003c/p>\n\u003cp>Payne had a 7-year-old son, Bear Grey Payne, with his former girlfriend, the musician Cheryl who was known as Cheryl Cole when she performed with Girls Aloud. She was an \u003cem>X Factor\u003c/em> judge during One Direction’s season, although their relationship began years later. Payne was previously engaged to Maya Henry, from August 2020 to early 2022. Henry released a novel earlier this year that she said was based on their relationship.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In addition to his son, he is survived by his parents, Geoff and Karen Payne, and his two older sisters, Ruth and Nicola.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13966756/liam-payne-one-direction-dies-hotel-fall-argentina",
"authors": [
"byline_arts_13966756"
],
"categories": [
"arts_1",
"arts_69",
"arts_235",
"arts_1564"
],
"tags": [
"arts_925",
"arts_5292"
],
"featImg": "arts_13966758",
"label": "arts"
},
"arts_13966738": {
"type": "posts",
"id": "arts_13966738",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13966738",
"score": null,
"sort": [
1729122857000
]
},
"guestAuthors": [],
"slug": "artists-against-apartheid-oakland-bay-area-palestinians-gaza",
"title": "In Oakland, ‘Artists Against Apartheid’ Build Solidarity With Palestinians",
"publishDate": 1729122857,
"format": "standard",
"headTitle": "In Oakland, ‘Artists Against Apartheid’ Build Solidarity With Palestinians | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>On Tuesday night in Oakland, about 70 artists — mostly in their 20s and 30s, with some as old as 80 — filed into a small storefront near Fruitvale BART. In attendance were Stanford students who had participated in the pro-Palestinian campus encampment, protest drummers, political poets, documentary filmmakers, muralists and choreographers. Emory Douglas, graphic artist for the Black Panther Party, joined the gathering too.\u003c/p>\n\u003cp>As Israel’s U.S.-backed bombardment of Gaza continues, these creatives gathered at the \u003ca href=\"https://www.instagram.com/oaklandliberationcenter/\">Oakland Liberation Center\u003c/a>, an education and event space run by the \u003ca href=\"https://pslweb.org/\">Party for Socialism and Liberation\u003c/a>, for the first exploratory Bay Area meeting of Artists Against Apartheid. The goal of Artists Against Apartheid, a loose national coalition, is to use creative work to shift dehumanizing narratives about Palestinians, and support their resistance against oppression.\u003c/p>\n\u003cp>Curator and arts educator Nora Boyd, one of the volunteers behind the event, kicked off the evening by sharing her observations about the structure of the art world, and how it supports the interests of the ultra-wealthy. [aside postid='arts_13966207']\u003c/p>\n\u003cp>“Like many of you, I’ve been involved in the struggle for Palestinian liberation for years,” she said. “And I think a lot of us have felt this: We just want to connect the inspiring and fulfilling work that we do in the arts with the justice, urgency and absolute rightness of this struggle. … We have these voices as artists, but we don’t have the spaces to use them for what we want.”\u003c/p>\n\u003cp>Boyd shared some background information about how Artists Against Apartheid began. Last year, at an activist hub in New York called The People’s Forum, artists penned an \u003ca href=\"https://form.typeform.com/to/rREds3Hn?typeform-source=againstapartheid.art\">open letter\u003c/a> pledging to use their work to support Palestinians, who “face brutal and humiliating conditions” that have “earned Israel the designation as an apartheid state by human rights organizations across the globe,” the letter reads.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Over 15,000 artists — including celebrities like Kehlani, Pink Floyd’s Roger Waters and Lil Yachty — have since signed the letter, and nine regional chapters of the group have formed in Los Angeles, Chicago and other U.S. cities.\u003c/p>\n\u003cp>A musician and organizer from \u003ca href=\"https://palestinianyouthmovement.com/\">Palestinian Youth Movement\u003c/a>, who identified themself as Salma T., spoke to the group about how creative work in the West is treated as a product for consumption, and often viewed as separate from social movements.\u003c/p>\n\u003cp>Art is “the quickest way to reach people because you take these complex ideas, these political analyses, these big positions, and you are synthesizing in a way that makes people feel,” said Salma. “And that’s a really, really powerful thing. … I’m really proud and excited to be part of the inception of this space here in the Bay for us to organize together.” [aside postid='arts_13966184']\u003c/p>\n\u003cp>The artists then grabbed snacks, colored pencils and construction paper and split into groups of five to eight people. Prompts appeared on the projector, and people of different ages, ethnicities and artistic disciplines discussed how the witnessing of mass killings of Palestinian civilians has shifted the way they view their role as artists.\u003c/p>\n\u003cp>Indeed, Artists Against Apartheid met during a devastating week of news from Gaza. On Monday, an \u003ca href=\"https://www.pbs.org/newshour/show/israeli-attack-on-tent-camp-outside-hospital-in-gaza-kills-at-least-4-injures-dozens\">Israeli airstrike hit a tent camp at a hospital\u003c/a> where displaced Gazans were sheltering, and footage spread on social media of four people burning alive. Since Hamas’ Oct. 7, 2023 attack that killed 1,200 Israelis, according to the Israel’s ministry of foreign affairs, the death toll in Gaza has surpassed 42,000 people, mostly women and children, according to Gaza’s health ministry. Recently, reports have surfaced of \u003ca href=\"https://www.cnn.com/2024/10/16/middleeast/israeli-incursion-northern-gaza-stray-dogs-eating-bodies-intl/index.html\">mass starvation and stray dogs eating decomposing bodies\u003c/a> in the streets of Gaza.\u003c/p>\n\u003cp>“It’s been over a year since Oct. 7, but this genocide has been happening for many, many years,” said jo “love/speak” cruz of the hip-hop collective Audiopharmacy. “As someone who comes from a place that has experienced colonization itself, the Philippines, I feel like [it’s important to] not only to raise awareness, but to really activate our communities to push policies and elect people that are really going to understand that it is through this liberation of Palestine that we’re all going to be able to be free.”\u003c/p>\n\u003cfigure id=\"attachment_13966739\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966739\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/emory-douglas-scaled.jpg\" alt=\"\" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/emory-douglas-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/emory-douglas-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/emory-douglas-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/emory-douglas-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/emory-douglas-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/emory-douglas-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/emory-douglas-1536x2048.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Emory Douglas addresses the crowd at the Artists Against Apartheid meeting on Oct. 15, 2024 in Oakland. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Emory Douglas, who served as the Black Panthers’ Minister of Culture, read to the group from his \u003ca href=\"https://www.moma.org/d/pdfs/W1siZiIsIjIwMjEvMTAvMTMvMnYzcDk1MzVuc19FbW9yeV9Eb3VnbGFzX1BvbGl0aWNhbF9BcnRpc3RfTWFuaWZlc3RvLnBkZiJdXQ/Emory-Douglas_Political-Artist-Manifesto.pdf?sha=b60562e103f20e79\">Political Artist Manifesto\u003c/a>, a collection of 12 guidelines he wrote for young artists. His advice included to “create art of social concerns that even a child can understand” and “be prepared if necessary to defend and explain what you communicate in your art.”\u003c/p>\n\u003cp>Douglas was one of 50 artists and organizers who recently debuted a collaborative mural connecting social struggles in Oakland to those of Gaza and the West Bank. In an interview, he said that in the past year, he’s ramped up work commenting on the Palestinian struggle. “The focal point being ‘made in America’ in relationship to the bombs and everything that’s happening,” he said.\u003c/p>\n\u003cp>Looking out approvingly onto the young people engrossed in animated discussions, Douglas added, “They continue to be inspired to be informed, enlightened. And they’ll figure it out as they evolve.”\u003c/p>\n\u003cp>As breakout groups wrapped up, artists shared out to the larger group. Some talked about ideas for art protests, while others strategized around sharing skills. Organizers laid out plans to meet monthly and invited attendees to join a Telegram group chat.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Being in a warm, supportive, multigenerational space dedicated to learning and to liberation, truly, I could just feel the optimism,” said a Stanford student, who asked that her name be withheld due to disciplinary action she is facing at her university for participating in the protest encampment. “As a student, I just felt like there’s so much knowledge and experience around me.”\u003c/p>\n\n",
"blocks": [],
"excerpt": "Artists gathered to strategize around how to oppose Israel's U.S.-backed bombardment of Gaza.",
"status": "publish",
"parent": 0,
"modified": 1729122857,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 18,
"wordCount": 1042
},
"headData": {
"title": "In Oakland, ‘Artists Against Apartheid’ Build Solidarity With Palestinians | KQED",
"description": "Artists gathered to strategize around how to oppose Israel's U.S.-backed bombardment of Gaza.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "In Oakland, ‘Artists Against Apartheid’ Build Solidarity With Palestinians",
"datePublished": "2024-10-16T16:54:17-07:00",
"dateModified": "2024-10-16T16:54:17-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprStoryId": "kqed-13966738",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13966738/artists-against-apartheid-oakland-bay-area-palestinians-gaza",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On Tuesday night in Oakland, about 70 artists — mostly in their 20s and 30s, with some as old as 80 — filed into a small storefront near Fruitvale BART. In attendance were Stanford students who had participated in the pro-Palestinian campus encampment, protest drummers, political poets, documentary filmmakers, muralists and choreographers. Emory Douglas, graphic artist for the Black Panther Party, joined the gathering too.\u003c/p>\n\u003cp>As Israel’s U.S.-backed bombardment of Gaza continues, these creatives gathered at the \u003ca href=\"https://www.instagram.com/oaklandliberationcenter/\">Oakland Liberation Center\u003c/a>, an education and event space run by the \u003ca href=\"https://pslweb.org/\">Party for Socialism and Liberation\u003c/a>, for the first exploratory Bay Area meeting of Artists Against Apartheid. The goal of Artists Against Apartheid, a loose national coalition, is to use creative work to shift dehumanizing narratives about Palestinians, and support their resistance against oppression.\u003c/p>\n\u003cp>Curator and arts educator Nora Boyd, one of the volunteers behind the event, kicked off the evening by sharing her observations about the structure of the art world, and how it supports the interests of the ultra-wealthy. \u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13966207",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Like many of you, I’ve been involved in the struggle for Palestinian liberation for years,” she said. “And I think a lot of us have felt this: We just want to connect the inspiring and fulfilling work that we do in the arts with the justice, urgency and absolute rightness of this struggle. … We have these voices as artists, but we don’t have the spaces to use them for what we want.”\u003c/p>\n\u003cp>Boyd shared some background information about how Artists Against Apartheid began. Last year, at an activist hub in New York called The People’s Forum, artists penned an \u003ca href=\"https://form.typeform.com/to/rREds3Hn?typeform-source=againstapartheid.art\">open letter\u003c/a> pledging to use their work to support Palestinians, who “face brutal and humiliating conditions” that have “earned Israel the designation as an apartheid state by human rights organizations across the globe,” the letter reads.\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>Over 15,000 artists — including celebrities like Kehlani, Pink Floyd’s Roger Waters and Lil Yachty — have since signed the letter, and nine regional chapters of the group have formed in Los Angeles, Chicago and other U.S. cities.\u003c/p>\n\u003cp>A musician and organizer from \u003ca href=\"https://palestinianyouthmovement.com/\">Palestinian Youth Movement\u003c/a>, who identified themself as Salma T., spoke to the group about how creative work in the West is treated as a product for consumption, and often viewed as separate from social movements.\u003c/p>\n\u003cp>Art is “the quickest way to reach people because you take these complex ideas, these political analyses, these big positions, and you are synthesizing in a way that makes people feel,” said Salma. “And that’s a really, really powerful thing. … I’m really proud and excited to be part of the inception of this space here in the Bay for us to organize together.” \u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13966184",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The artists then grabbed snacks, colored pencils and construction paper and split into groups of five to eight people. Prompts appeared on the projector, and people of different ages, ethnicities and artistic disciplines discussed how the witnessing of mass killings of Palestinian civilians has shifted the way they view their role as artists.\u003c/p>\n\u003cp>Indeed, Artists Against Apartheid met during a devastating week of news from Gaza. On Monday, an \u003ca href=\"https://www.pbs.org/newshour/show/israeli-attack-on-tent-camp-outside-hospital-in-gaza-kills-at-least-4-injures-dozens\">Israeli airstrike hit a tent camp at a hospital\u003c/a> where displaced Gazans were sheltering, and footage spread on social media of four people burning alive. Since Hamas’ Oct. 7, 2023 attack that killed 1,200 Israelis, according to the Israel’s ministry of foreign affairs, the death toll in Gaza has surpassed 42,000 people, mostly women and children, according to Gaza’s health ministry. Recently, reports have surfaced of \u003ca href=\"https://www.cnn.com/2024/10/16/middleeast/israeli-incursion-northern-gaza-stray-dogs-eating-bodies-intl/index.html\">mass starvation and stray dogs eating decomposing bodies\u003c/a> in the streets of Gaza.\u003c/p>\n\u003cp>“It’s been over a year since Oct. 7, but this genocide has been happening for many, many years,” said jo “love/speak” cruz of the hip-hop collective Audiopharmacy. “As someone who comes from a place that has experienced colonization itself, the Philippines, I feel like [it’s important to] not only to raise awareness, but to really activate our communities to push policies and elect people that are really going to understand that it is through this liberation of Palestine that we’re all going to be able to be free.”\u003c/p>\n\u003cfigure id=\"attachment_13966739\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966739\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/emory-douglas-scaled.jpg\" alt=\"\" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/emory-douglas-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/emory-douglas-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/emory-douglas-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/emory-douglas-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/emory-douglas-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/emory-douglas-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/emory-douglas-1536x2048.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Emory Douglas addresses the crowd at the Artists Against Apartheid meeting on Oct. 15, 2024 in Oakland. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Emory Douglas, who served as the Black Panthers’ Minister of Culture, read to the group from his \u003ca href=\"https://www.moma.org/d/pdfs/W1siZiIsIjIwMjEvMTAvMTMvMnYzcDk1MzVuc19FbW9yeV9Eb3VnbGFzX1BvbGl0aWNhbF9BcnRpc3RfTWFuaWZlc3RvLnBkZiJdXQ/Emory-Douglas_Political-Artist-Manifesto.pdf?sha=b60562e103f20e79\">Political Artist Manifesto\u003c/a>, a collection of 12 guidelines he wrote for young artists. His advice included to “create art of social concerns that even a child can understand” and “be prepared if necessary to defend and explain what you communicate in your art.”\u003c/p>\n\u003cp>Douglas was one of 50 artists and organizers who recently debuted a collaborative mural connecting social struggles in Oakland to those of Gaza and the West Bank. In an interview, he said that in the past year, he’s ramped up work commenting on the Palestinian struggle. “The focal point being ‘made in America’ in relationship to the bombs and everything that’s happening,” he said.\u003c/p>\n\u003cp>Looking out approvingly onto the young people engrossed in animated discussions, Douglas added, “They continue to be inspired to be informed, enlightened. And they’ll figure it out as they evolve.”\u003c/p>\n\u003cp>As breakout groups wrapped up, artists shared out to the larger group. Some talked about ideas for art protests, while others strategized around sharing skills. Organizers laid out plans to meet monthly and invited attendees to join a Telegram group chat.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Being in a warm, supportive, multigenerational space dedicated to learning and to liberation, truly, I could just feel the optimism,” said a Stanford student, who asked that her name be withheld due to disciplinary action she is facing at her university for participating in the protest encampment. “As a student, I just felt like there’s so much knowledge and experience around me.”\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13966738/artists-against-apartheid-oakland-bay-area-palestinians-gaza",
"authors": [
"11387"
],
"categories": [
"arts_1",
"arts_69",
"arts_70"
],
"tags": [
"arts_10278",
"arts_8838",
"arts_5375"
],
"featImg": "arts_13966740",
"label": "arts"
},
"arts_13966547": {
"type": "posts",
"id": "arts_13966547",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13966547",
"score": null,
"sort": [
1729034520000
]
},
"guestAuthors": [],
"slug": "john-calloway-buffalo-soldier-latin-afro-filipino-jazz",
"title": "How a Buffalo Soldier Changed the Life of Latin Jazz Master John Calloway",
"publishDate": 1729034520,
"format": "standard",
"headTitle": "How a Buffalo Soldier Changed the Life of Latin Jazz Master John Calloway | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003cp>Not many in the 21st century can say their life has been changed by a Buffalo Soldier. Then there’s John Calloway, and an entirely unexpected family tale from the Philippines that reconfigured his identity.\u003c/p>\n\u003cp>In the Bay Area, there’s no mystery around the San Francisco flutist, percussionist and educator. Calloway is a Latin jazz master who’s nurtured generations of young musicians as a professor at San Francisco State and the director of the \u003ca href=\"https://www.kqed.org/arts/10949235/a-new-generation-of-latin-jazz-artists\">Latin Jazz Youth Ensemble of San Francisco\u003c/a>. But as a mixed-race Filipino American, he’s always felt between worlds, beset by questions about how he looks and speaks.\u003c/p>\n\u003cp>“If I’m Filipino, how come I have light skin, don’t speak Tagalog and don’t have a Spanish surname?” he said.\u003c/p>\n\u003cfigure id=\"attachment_13966676\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/John-Calloway.jpg\" alt=\"\" width=\"2000\" height=\"938\" class=\"size-full wp-image-13966676\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/John-Calloway.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/John-Calloway-800x375.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/John-Calloway-1020x478.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/John-Calloway-160x75.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/John-Calloway-768x360.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/John-Calloway-1536x720.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/John-Calloway-1920x900.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">John Calloway (front row, second from right) and the Afro-Filipino Project. \u003ccite>(Courtesy John Calloway)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The astonishing discovery of the story of his Filipino roots, a saga enmeshed with the advent of United States’ global empire and a campaign of political persecution, fueled his creation of \u003ca href=\"https://johncalloway.com/buffalo-soldier-afro-filipino-project\">John Calloway & the Afro-Filipino Project\u003c/a>, which celebrates Filipino American Heritage Month at Santa Cruz’s \u003ca href=\"https://www.kuumbwajazz.org/calendar/john-calloway-the-afro-filipino-project-filipino-american-heritage-month-celebration/\">Kuumbwa Jazz Center on Oct. 17\u003c/a> and the \u003ca href=\"https://museumca.org/event/spotlight-sundays-buffalo-soldiers-and-the-philippine-american-war-a-multimedia-experience/\">Oakland Museum of California on Oct. 20\u003c/a>.\u003c/p>\n\u003cp>Featuring a stellar cast of African-American, Filipino, and Filipino-American artists, including bassist Ron Belcher, drummer Deszon Claiborne and Conrad Benedicto and Manuel Dragon on kulintang instruments, the ensemble will reprise Calloway’s suite \u003cem>Buffalo Soldiers and the Philippine American War: A Crisis of Conscience\u003c/em> at the Oakland Museum. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The gig at Kuumbwa is the Afro-Filipino Project, which brings together two different worlds with new compositions combining traditional instruments of the Philippines with jazz and blues, as well as Afro-Filipinos and our musical influences,” Calloway explained. “The key thing is that people come together to create meaningful music reflective of their identities.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=uO7fWpgmZsI\u003c/p>\n\u003cp>The long-buried answers regarding Calloway’s identity surfaced suddenly about 10 years ago, when he received a copy of the essay anthology \u003cem>Mixed Blessings: The Impact of the Colonial Experience On Politics and Society In the Philippines\u003c/em>. It included a chapter by Australian historian Gill H. Boehringer about a John W. Calloway.\u003c/p>\n\u003cp>Calloway’s paternal grandfather, born in 1872, was a Buffalo Solider, an African-American noncommissioned officer serving in the segregated U.S. Army. He died when Callaway’s father was 13, “and we knew very little about him, but when the book showed up 10 years ago it blew us out of the water,” Calloway said, noting he shares his grandfather’s middle initial.\u003c/p>\n\u003cp>“I have a different middle name, but to see ‘John W. Calloway’ as the first three words of the chapter and to find out about his experience as a Buffalo Solider in the Philippines was more than mind-blowing.”\u003c/p>\n\u003cfigure id=\"attachment_13966671\" class=\"wp-caption aligncenter\" style=\"max-width: 1294px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-4.jpg\" alt=\"\" width=\"1294\" height=\"2000\" class=\"size-full wp-image-13966671\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-4.jpg 1294w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-4-800x1236.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-4-1020x1577.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-4-160x247.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-4-768x1187.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-4-994x1536.jpg 994w\" sizes=\"(max-width: 1294px) 100vw, 1294px\">\u003cfigcaption class=\"wp-caption-text\">Dancers Daniel Giray and Marcela Pabros-Clark perform with John Calloway and the Afro-Filipino Project. \u003ccite>(Bob Hsiang Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Among his discoveries was that struggling with identity is something of a Calloway legacy. Before his grandfather was sent to the Philippines, he fought in Cuba during the 1898 Spanish American War, the conflict that turned the U.S. into global imperial power with territories in the Caribbean (Cuba and Puerto Rico) and South Pacific (Guam and the Philippines).\u003c/p>\n\u003cp>In the Philippines, the war against Spain quickly turned into a brutal campaign to suppress the independence of the newly declared Philippine Republic. Many Buffalo Soldiers were sent to fight in a war that was cast in starkly racist terms, as British writer Rudyard Kipling’s poem “The White Man’s Burden” urged the U.S. to replace Spain as a colonial power and uplift “Your new-caught, sullen peoples / Half devil and half child.”\u003c/p>\n\u003cp>Many Buffalo Soldiers wanted to earn credit for the Black community back home by serving with distinction, a dynamic carried over from the thousands of Black men who served in the Union Army during the Civil War (and that was replayed, with disappointment, again in World War I and World War II). That hope often co-existed with sympathy for the Philippine anti-colonial struggle, a sentiment that canny independence activists fed “by scattering leaflets in Central Luzon telling Black soldiers they were fighting and dying in a war for their political masters while their kin were being lynched at home,” writes historian Gill H. Boehringer.\u003c/p>\n\u003cfigure id=\"attachment_13966673\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-3.jpg\" alt=\"\" width=\"2000\" height=\"1353\" class=\"size-full wp-image-13966673\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-3.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-3-800x541.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-3-1020x690.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-3-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-3-768x520.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-3-1536x1039.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-3-1920x1299.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Umali Horne performs with John Calloway and the Afro-Filipino Project. \u003ccite>(Bob Hsiang Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Back home, the African-American press was often vocal in opposing U.S. colonial ambitions, and Calloway was a regular correspondent for \u003cem>The Richmond Planet\u003c/em>, a Black newspaper in Virginia. His missives provided “an account of how, and why, some pro-Filipino sentiments were developing amongst the Americans, especially the Black troops,” Boehringer wrote.\u003c/p>\n\u003cp>But one letter in particular, to a Filipino friend who supported the independence movement, derailed Sgt. Major Calloway’s military career. While serving in the 24th infantry, he wrote of being “constantly haunted by the feeling of how wrong morally we Americans are in the present affair with you.” The letter’s discovery by military intelligence led to his court martial; the fact that he’d married a Filipina was considered proof of his treachery.\u003c/p>\n\u003cp>“He was imprisoned at the Presidio, and tried to get the conviction overturned,” Calloway said. Upon his release, he returned to the Philippines, then was deported and returned to the U.S. territory again, “where he spent the rest of his life,” Calloway said. It’s where he and his wife had 14 children, including Calloway’s father, one of the last born, in 1919.\u003c/p>\n\u003cfigure id=\"attachment_13966674\" class=\"wp-caption aligncenter\" style=\"max-width: 1343px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-2.jpg\" alt=\"\" width=\"1343\" height=\"2000\" class=\"size-full wp-image-13966674\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-2.jpg 1343w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-2-800x1191.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-2-1020x1519.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-2-160x238.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-2-768x1144.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-2-1031x1536.jpg 1031w\" sizes=\"(max-width: 1343px) 100vw, 1343px\">\u003cfigcaption class=\"wp-caption-text\">Ting Josue Alvarez-Maquinta performs with John Calloway and the Afro-Filipino Project. \u003ccite>(Bob Hsiang Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While learning his new family history, Calloway never thought of exploring it in music. He’d spent his career in Latin jazz and Cuban music, including recordings with Cuban jazz luminaries such as bassist Israel “Cachao” Lopez, conguero Carlos “Patato” Valdez and pianist Omar Sosa. He’s recorded more than a dozen albums with fellow Mission District native John Santos.\u003c/p>\n\u003cp>But when the California Jazz Conservatory asked him to put on a Black History Month concert in 2022, he wrote a grant to develop compositions exploring his Buffalo Solider lineage.\u003c/p>\n\u003cp>“And after a long beautiful journey playing Afro-Latin music, this whole other thing came about, a much deeper project about my inner self and identity,” Calloway said.\u003c/p>\n\u003cp>“At the deepest level, this is something I’ve carried with me since adolescence. But this project is in its infancy. I want to pay homage to all the Afro-Filipinos who play music, like Sugar Pie DeSanto and Joe Bataan.”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>John Calloway & the Afro-Filipino Project performs Thursday, Oct. 17, at Kuumbwa Jazz Center in Santa Cruz; \u003ca href=\"https://www.kuumbwajazz.org/calendar/john-calloway-the-afro-filipino-project-filipino-american-heritage-month-celebration/\">details here\u003c/a>. The ensemble also performs Sunday, Oct. 20, at the Oakland Museum of California in Oakland; \u003ca href=\"https://museumca.org/event/spotlight-sundays-buffalo-soldiers-and-the-philippine-american-war-a-multimedia-experience/\">details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "An unexpected story from the Philippines reconfigured Calloway's identity — and is now immortalized in music.",
"status": "publish",
"parent": 0,
"modified": 1729197030,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 22,
"wordCount": 1215
},
"headData": {
"title": "How a Buffalo Soldier Changed the Life of Latin Jazz Master John Calloway | KQED",
"description": "An unexpected story from the Philippines reconfigured Calloway's identity — and is now immortalized in music.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "How a Buffalo Soldier Changed the Life of Latin Jazz Master John Calloway",
"datePublished": "2024-10-15T16:22:00-07:00",
"dateModified": "2024-10-17T13:30:30-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprStoryId": "kqed-13966547",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13966547/john-calloway-buffalo-soldier-latin-afro-filipino-jazz",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Not many in the 21st century can say their life has been changed by a Buffalo Soldier. Then there’s John Calloway, and an entirely unexpected family tale from the Philippines that reconfigured his identity.\u003c/p>\n\u003cp>In the Bay Area, there’s no mystery around the San Francisco flutist, percussionist and educator. Calloway is a Latin jazz master who’s nurtured generations of young musicians as a professor at San Francisco State and the director of the \u003ca href=\"https://www.kqed.org/arts/10949235/a-new-generation-of-latin-jazz-artists\">Latin Jazz Youth Ensemble of San Francisco\u003c/a>. But as a mixed-race Filipino American, he’s always felt between worlds, beset by questions about how he looks and speaks.\u003c/p>\n\u003cp>“If I’m Filipino, how come I have light skin, don’t speak Tagalog and don’t have a Spanish surname?” he said.\u003c/p>\n\u003cfigure id=\"attachment_13966676\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/John-Calloway.jpg\" alt=\"\" width=\"2000\" height=\"938\" class=\"size-full wp-image-13966676\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/John-Calloway.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/John-Calloway-800x375.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/John-Calloway-1020x478.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/John-Calloway-160x75.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/John-Calloway-768x360.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/John-Calloway-1536x720.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/John-Calloway-1920x900.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">John Calloway (front row, second from right) and the Afro-Filipino Project. \u003ccite>(Courtesy John Calloway)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The astonishing discovery of the story of his Filipino roots, a saga enmeshed with the advent of United States’ global empire and a campaign of political persecution, fueled his creation of \u003ca href=\"https://johncalloway.com/buffalo-soldier-afro-filipino-project\">John Calloway & the Afro-Filipino Project\u003c/a>, which celebrates Filipino American Heritage Month at Santa Cruz’s \u003ca href=\"https://www.kuumbwajazz.org/calendar/john-calloway-the-afro-filipino-project-filipino-american-heritage-month-celebration/\">Kuumbwa Jazz Center on Oct. 17\u003c/a> and the \u003ca href=\"https://museumca.org/event/spotlight-sundays-buffalo-soldiers-and-the-philippine-american-war-a-multimedia-experience/\">Oakland Museum of California on Oct. 20\u003c/a>.\u003c/p>\n\u003cp>Featuring a stellar cast of African-American, Filipino, and Filipino-American artists, including bassist Ron Belcher, drummer Deszon Claiborne and Conrad Benedicto and Manuel Dragon on kulintang instruments, the ensemble will reprise Calloway’s suite \u003cem>Buffalo Soldiers and the Philippine American War: A Crisis of Conscience\u003c/em> at the Oakland Museum. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The gig at Kuumbwa is the Afro-Filipino Project, which brings together two different worlds with new compositions combining traditional instruments of the Philippines with jazz and blues, as well as Afro-Filipinos and our musical influences,” Calloway explained. “The key thing is that people come together to create meaningful music reflective of their identities.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/uO7fWpgmZsI'\n title='//www.youtube.com/embed/uO7fWpgmZsI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The long-buried answers regarding Calloway’s identity surfaced suddenly about 10 years ago, when he received a copy of the essay anthology \u003cem>Mixed Blessings: The Impact of the Colonial Experience On Politics and Society In the Philippines\u003c/em>. It included a chapter by Australian historian Gill H. Boehringer about a John W. Calloway.\u003c/p>\n\u003cp>Calloway’s paternal grandfather, born in 1872, was a Buffalo Solider, an African-American noncommissioned officer serving in the segregated U.S. Army. He died when Callaway’s father was 13, “and we knew very little about him, but when the book showed up 10 years ago it blew us out of the water,” Calloway said, noting he shares his grandfather’s middle initial.\u003c/p>\n\u003cp>“I have a different middle name, but to see ‘John W. Calloway’ as the first three words of the chapter and to find out about his experience as a Buffalo Solider in the Philippines was more than mind-blowing.”\u003c/p>\n\u003cfigure id=\"attachment_13966671\" class=\"wp-caption aligncenter\" style=\"max-width: 1294px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-4.jpg\" alt=\"\" width=\"1294\" height=\"2000\" class=\"size-full wp-image-13966671\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-4.jpg 1294w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-4-800x1236.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-4-1020x1577.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-4-160x247.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-4-768x1187.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-4-994x1536.jpg 994w\" sizes=\"(max-width: 1294px) 100vw, 1294px\">\u003cfigcaption class=\"wp-caption-text\">Dancers Daniel Giray and Marcela Pabros-Clark perform with John Calloway and the Afro-Filipino Project. \u003ccite>(Bob Hsiang Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Among his discoveries was that struggling with identity is something of a Calloway legacy. Before his grandfather was sent to the Philippines, he fought in Cuba during the 1898 Spanish American War, the conflict that turned the U.S. into global imperial power with territories in the Caribbean (Cuba and Puerto Rico) and South Pacific (Guam and the Philippines).\u003c/p>\n\u003cp>In the Philippines, the war against Spain quickly turned into a brutal campaign to suppress the independence of the newly declared Philippine Republic. Many Buffalo Soldiers were sent to fight in a war that was cast in starkly racist terms, as British writer Rudyard Kipling’s poem “The White Man’s Burden” urged the U.S. to replace Spain as a colonial power and uplift “Your new-caught, sullen peoples / Half devil and half child.”\u003c/p>\n\u003cp>Many Buffalo Soldiers wanted to earn credit for the Black community back home by serving with distinction, a dynamic carried over from the thousands of Black men who served in the Union Army during the Civil War (and that was replayed, with disappointment, again in World War I and World War II). That hope often co-existed with sympathy for the Philippine anti-colonial struggle, a sentiment that canny independence activists fed “by scattering leaflets in Central Luzon telling Black soldiers they were fighting and dying in a war for their political masters while their kin were being lynched at home,” writes historian Gill H. Boehringer.\u003c/p>\n\u003cfigure id=\"attachment_13966673\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-3.jpg\" alt=\"\" width=\"2000\" height=\"1353\" class=\"size-full wp-image-13966673\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-3.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-3-800x541.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-3-1020x690.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-3-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-3-768x520.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-3-1536x1039.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-3-1920x1299.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Umali Horne performs with John Calloway and the Afro-Filipino Project. \u003ccite>(Bob Hsiang Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Back home, the African-American press was often vocal in opposing U.S. colonial ambitions, and Calloway was a regular correspondent for \u003cem>The Richmond Planet\u003c/em>, a Black newspaper in Virginia. His missives provided “an account of how, and why, some pro-Filipino sentiments were developing amongst the Americans, especially the Black troops,” Boehringer wrote.\u003c/p>\n\u003cp>But one letter in particular, to a Filipino friend who supported the independence movement, derailed Sgt. Major Calloway’s military career. While serving in the 24th infantry, he wrote of being “constantly haunted by the feeling of how wrong morally we Americans are in the present affair with you.” The letter’s discovery by military intelligence led to his court martial; the fact that he’d married a Filipina was considered proof of his treachery.\u003c/p>\n\u003cp>“He was imprisoned at the Presidio, and tried to get the conviction overturned,” Calloway said. Upon his release, he returned to the Philippines, then was deported and returned to the U.S. territory again, “where he spent the rest of his life,” Calloway said. It’s where he and his wife had 14 children, including Calloway’s father, one of the last born, in 1919.\u003c/p>\n\u003cfigure id=\"attachment_13966674\" class=\"wp-caption aligncenter\" style=\"max-width: 1343px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-2.jpg\" alt=\"\" width=\"1343\" height=\"2000\" class=\"size-full wp-image-13966674\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-2.jpg 1343w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-2-800x1191.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-2-1020x1519.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-2-160x238.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-2-768x1144.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/meta_eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ-2-1031x1536.jpg 1031w\" sizes=\"(max-width: 1343px) 100vw, 1343px\">\u003cfigcaption class=\"wp-caption-text\">Ting Josue Alvarez-Maquinta performs with John Calloway and the Afro-Filipino Project. \u003ccite>(Bob Hsiang Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While learning his new family history, Calloway never thought of exploring it in music. He’d spent his career in Latin jazz and Cuban music, including recordings with Cuban jazz luminaries such as bassist Israel “Cachao” Lopez, conguero Carlos “Patato” Valdez and pianist Omar Sosa. He’s recorded more than a dozen albums with fellow Mission District native John Santos.\u003c/p>\n\u003cp>But when the California Jazz Conservatory asked him to put on a Black History Month concert in 2022, he wrote a grant to develop compositions exploring his Buffalo Solider lineage.\u003c/p>\n\u003cp>“And after a long beautiful journey playing Afro-Latin music, this whole other thing came about, a much deeper project about my inner self and identity,” Calloway said.\u003c/p>\n\u003cp>“At the deepest level, this is something I’ve carried with me since adolescence. But this project is in its infancy. I want to pay homage to all the Afro-Filipinos who play music, like Sugar Pie DeSanto and Joe Bataan.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>John Calloway & the Afro-Filipino Project performs Thursday, Oct. 17, at Kuumbwa Jazz Center in Santa Cruz; \u003ca href=\"https://www.kuumbwajazz.org/calendar/john-calloway-the-afro-filipino-project-filipino-american-heritage-month-celebration/\">details here\u003c/a>. The ensemble also performs Sunday, Oct. 20, at the Oakland Museum of California in Oakland; \u003ca href=\"https://museumca.org/event/spotlight-sundays-buffalo-soldiers-and-the-philippine-american-war-a-multimedia-experience/\">details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13966547/john-calloway-buffalo-soldier-latin-afro-filipino-jazz",
"authors": [
"86"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_7862",
"arts_69",
"arts_22313"
],
"tags": [
"arts_2855",
"arts_1420",
"arts_2755",
"arts_585"
],
"featImg": "arts_13966672",
"label": "arts_140"
},
"arts_13966594": {
"type": "posts",
"id": "arts_13966594",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13966594",
"score": null,
"sort": [
1729019757000
]
},
"guestAuthors": [],
"slug": "oaklands-kingmakers-black-love-album",
"title": "Oakland’s Kingmakers Music Presents the ‘Black Love’ Album",
"publishDate": 1729019757,
"format": "standard",
"headTitle": "Oakland’s Kingmakers Music Presents the ‘Black Love’ Album | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003cp>If you listen closely to certain albums, you can identify their central concept in one standout song or verse — or even one well-written set of bars.\u003c/p>\n\u003cp>On the title track from the compilation album \u003cem>Black Love\u003c/em>, released by Oakland label \u003ca href=\"https://www.kingmakersmusic.com/\" target=\"_blank\" rel=\"noopener\">Kingmakers Music\u003c/a>, Oakland MC and producer \u003ca href=\"https://www.instagram.com/zo1love/\" target=\"_blank\" rel=\"noopener\">Zo1\u003c/a> does just that. The album has \u003ca href=\"https://www.eventbrite.com/e/black-love-official-listening-party-koo-studios-tickets-1015733374867?aff=oddtdtcreator&lang=en-us&locale=en_US&status=30&view=listing\" target=\"_blank\" rel=\"noopener\">a listening party in Oakland on Thursday, Oct. 17\u003c/a>, with a broader public release on Friday, Oct. 18.\u003c/p>\n\u003cp>Over smooth melodies, cold claps and a bass line that deserves to be played in an Oldsmobile Delta 88 with slap in the back, Zo1 raps the names of community members — educators, activists and advisors — who’ve poured into the health and well-being of him and his peers. He ends his verse speaking about the collection of artists he’s grown up with, many of whom are featured on the \u003cem>Black Love \u003c/em>album.\u003c/p>\n\u003cfigure id=\"attachment_13966602\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13966602\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Zo1_Jahi-800x1067.jpg\" alt=\"MC Zo1 at the Grand Lake Theatre's Oakland International Film Festival.\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Zo1_Jahi-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Zo1_Jahi-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Zo1_Jahi-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Zo1_Jahi-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Zo1_Jahi-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Zo1_Jahi-1536x2048.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Zo1_Jahi-scaled.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">MC Zo1 at the Grand Lake Theatre’s Oakland International Film Festival. \u003ccite>(Jahi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Comparing he and his peers’ maturation to that of a Jedi knight, Zo1 raps, \u003cem>“We was young padawans and now we senseis / \u003c/em>\u003cem>Trying to give the youngins a layup so they can fillet.”\u003c/em>\u003c/p>\n\u003cp>In a matter of a few words, Zo1 conveys how far he and the young artists in his circle have come, and how they’re now prepared to assist the next generation in cooking up something special.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>A product of the Oakland youth performance group \u003ca href=\"https://proud2beblack.org/\" target=\"_blank\" rel=\"noopener\">Young, Gifted and Black\u003c/a> (YGB), 24-year-old Zo1 has rocked stages for over a decade. As the driving force behind this project, Zo1 brought together other YGB alums and artistic colleagues they grew up with to create the 16-track project.\u003c/p>\n\u003cp>Artists involved in the album include \u003ca href=\"https://www.instagram.com/_amenauset/\" target=\"_blank\" rel=\"noopener\">Amen Auset\u003c/a>, \u003ca href=\"https://www.instagram.com/basi.sts/\" target=\"_blank\" rel=\"noopener\">Basi\u003c/a>, \u003ca href=\"https://www.instagram.com/twisted.cant.fix.it/\" target=\"_blank\" rel=\"noopener\">Ajai Kasim\u003c/a> and \u003ca href=\"https://www.instagram.com/sinspaceq/\" target=\"_blank\" rel=\"noopener\">SinQ\u003c/a>, as well as \u003ca href=\"https://www.instagram.com/kevchoice/\" target=\"_blank\" rel=\"noopener\">Kev Choice\u003c/a> and \u003ca href=\"https://www.instagram.com/aft.fng/\" target=\"_blank\" rel=\"noopener\">Afterthought\u003c/a>. Produced by \u003ca href=\"https://www.instagram.com/zoranwtf/\" target=\"_blank\" rel=\"noopener\">Zoran Beats\u003c/a>, the project also features \u003ca href=\"https://www.instagram.com/42k.lil/\" target=\"_blank\" rel=\"noopener\">42k Lil\u003c/a>, \u003ca href=\"https://www.instagram.com/itsjust_a_m_a_r_i/\" target=\"_blank\" rel=\"noopener\">A M A R I\u003c/a>, and \u003ca href=\"https://www.instagram.com/ncolemusic/\" target=\"_blank\" rel=\"noopener\">N’Cole\u003c/a>. Oakland’s \u003ca href=\"https://www.instagram.com/official.jwalt/\" target=\"_blank\" rel=\"noopener\">Jwalt\u003c/a>, whose track dedicated to self-empowerment, “\u003ca href=\"https://www.youtube.com/watch?v=819J_xeJwmU\" target=\"_blank\" rel=\"noopener\">Love Myself\u003c/a>,” has been making its rounds since it debuted earlier this summer, is also on the album. And Bay Area-based vocalist \u003ca href=\"https://www.instagram.com/jadaimani510/\" target=\"_blank\" rel=\"noopener\">Jada Imani\u003c/a>, who’s worked tirelessly to spread the story of the late \u003ca href=\"https://www.kqed.org/arts/13954520/remembering-zoe-reidy-watts-oakland-artist-poet\" target=\"_blank\" rel=\"noopener\">Zoe Reidy Watts,\u003c/a> who was killed in \u003ca href=\"https://www.mercurynews.com/2024/03/08/oakland-man-charged-with-beating-girlfriend-to-death/\" target=\"_blank\" rel=\"noopener\">an alleged domestic violence incident\u003c/a> in March of this year, is featured as well.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=p6Peptw_AXA\u003c/p>\n\u003cp>A feature that speaks to the spirit of the album as a whole comes from veteran MC \u003ca href=\"https://www.instagram.com/spearofthenation/\" target=\"_blank\" rel=\"noopener\">Spear of the Nation\u003c/a>, also known as Baba Sizwe.\u003c/p>\n\u003cp>“When that beat came on,” says Zo1, “I was like, ‘This is \u003cem>real hip-hop\u003c/em>,’ and I know Baba Sizwe comes with the bars every single time.” So Zo1, who served as the A&R for this project, saw it fit that Baba Sizwe would be featured on the track, ultimately titled “Ubuntu.”\u003c/p>\n\u003cp>“That’s a value that he instilled into a lot of us,” says Zo1, referring to Ubuntu, a principle that originates from southern Africa, meaning, “I am because we are. We are because I am. May the circle be unbroken.”\u003c/p>\n\u003cp>“He’s been saying that for ages and ages,” says Zo1.\u003c/p>\n\u003cfigure id=\"attachment_13966603\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13966603\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/42k.lil_-800x1067.jpg\" alt=\"42k Lil at the Oakland International Film Festival at the Grand Lake Theatre. \" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/42k.lil_-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/42k.lil_-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/42k.lil_-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/42k.lil_-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/42k.lil_-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/42k.lil_-1536x2048.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/42k.lil_-scaled.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">42k Lil at the Oakland International Film Festival at the Grand Lake Theatre. \u003ccite>(Jahi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Throughout the project there’s deep mobb music-like bass lines, flowing melodies and high lyrical content, all quilted together with excerpts of conversations with community pillars discussing the concept of love.\u003c/p>\n\u003cp>On the intro to the song “Step By Step,” \u003ca href=\"https://www.instagram.com/mrdavis510/\" target=\"_blank\" rel=\"noopener\">Hodari Davis\u003c/a> says, “I think that Black love is hard.” A renowned educator and founding member of \u003ca href=\"https://lifeisliving.youthspeaks.org/\" target=\"_blank\" rel=\"noopener\">Life Is Living\u003c/a>, Davis continues: “We suffer from internalized racism, so it’s hard for us to love ourselves. We struggle with interpersonal racism, and genderism, and sexism, so it’s hard to love each other.”\u003c/p>\n\u003cp>On a later track titled “Love Noir,” devout music educator and acclaimed musician \u003ca href=\"https://www.instagram.com/cavamenzies/\" target=\"_blank\" rel=\"noopener\">Cava Menzies\u003c/a> says, “Love is my favorite subject. To be in the presence of love is to be in the presence of God.” As she continues the poetic monologue, she reminds the listener that “love has no agenda, it seeks only itself. It overcomes all obstacles and transforms time and space.”\u003c/p>\n\u003cp>[aside postID='arts_13954520']Zo1 says he himself realized a few things about love while making this project.\u003c/p>\n\u003cp>“I learned that that love comes with grace,” he says during a recent phone call. “Love comes with patience and with practice,” adding that without “tough love” some things just aren’t possible.\u003c/p>\n\u003cp>In working with so many artists, Zo1 also learned that conflicting concepts and incongruous input can make the process take a little longer — and can even lead to re-recording songs.\u003c/p>\n\u003cp>Some studio sessions were held in a garden in East Oakland; others in an Airbnb in Los Angeles. Still others were done in Zo1’s bedroom. It took a while, says Zo1, but it was done on the strength of love.\u003c/p>\n\u003cp>“Love really fueled us to get this done in the right way,” says Zo1. “Love is definitely a process. To love something, it takes a minute. But it’s all worth it because of that love, you know?”\u003c/p>\n\u003cp>A project dedicated to Black love, fueled by Black love; may the circle be unbroken.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Black Love’ presented by Kingmakers Music will be released on Friday, Oct. 18, with a prerelease listening party on Thursday, Oct. 17 at Koo Labs in Oakland. \u003ca href=\"https://www.eventbrite.com/e/black-love-official-listening-party-koo-studios-tickets-1015733374867?aff=oddtdtcreator&lang=en-us&locale=en_US&status=30&view=listing\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "A new project borne from a tight-knit community in Oakland explores the concept of love. ",
"status": "publish",
"parent": 0,
"modified": 1729178853,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 23,
"wordCount": 961
},
"headData": {
"title": "Oakland’s Kingmakers Music Presents the ‘Black Love’ Album | KQED",
"description": "A new project borne from a tight-knit community in Oakland explores the concept of love. ",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Oakland’s Kingmakers Music Presents the ‘Black Love’ Album",
"datePublished": "2024-10-15T12:15:57-07:00",
"dateModified": "2024-10-17T08:27:33-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprStoryId": "kqed-13966594",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13966594/oaklands-kingmakers-black-love-album",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you listen closely to certain albums, you can identify their central concept in one standout song or verse — or even one well-written set of bars.\u003c/p>\n\u003cp>On the title track from the compilation album \u003cem>Black Love\u003c/em>, released by Oakland label \u003ca href=\"https://www.kingmakersmusic.com/\" target=\"_blank\" rel=\"noopener\">Kingmakers Music\u003c/a>, Oakland MC and producer \u003ca href=\"https://www.instagram.com/zo1love/\" target=\"_blank\" rel=\"noopener\">Zo1\u003c/a> does just that. The album has \u003ca href=\"https://www.eventbrite.com/e/black-love-official-listening-party-koo-studios-tickets-1015733374867?aff=oddtdtcreator&lang=en-us&locale=en_US&status=30&view=listing\" target=\"_blank\" rel=\"noopener\">a listening party in Oakland on Thursday, Oct. 17\u003c/a>, with a broader public release on Friday, Oct. 18.\u003c/p>\n\u003cp>Over smooth melodies, cold claps and a bass line that deserves to be played in an Oldsmobile Delta 88 with slap in the back, Zo1 raps the names of community members — educators, activists and advisors — who’ve poured into the health and well-being of him and his peers. He ends his verse speaking about the collection of artists he’s grown up with, many of whom are featured on the \u003cem>Black Love \u003c/em>album.\u003c/p>\n\u003cfigure id=\"attachment_13966602\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13966602\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Zo1_Jahi-800x1067.jpg\" alt=\"MC Zo1 at the Grand Lake Theatre's Oakland International Film Festival.\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Zo1_Jahi-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Zo1_Jahi-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Zo1_Jahi-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Zo1_Jahi-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Zo1_Jahi-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Zo1_Jahi-1536x2048.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Zo1_Jahi-scaled.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">MC Zo1 at the Grand Lake Theatre’s Oakland International Film Festival. \u003ccite>(Jahi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Comparing he and his peers’ maturation to that of a Jedi knight, Zo1 raps, \u003cem>“We was young padawans and now we senseis / \u003c/em>\u003cem>Trying to give the youngins a layup so they can fillet.”\u003c/em>\u003c/p>\n\u003cp>In a matter of a few words, Zo1 conveys how far he and the young artists in his circle have come, and how they’re now prepared to assist the next generation in cooking up something special.\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 product of the Oakland youth performance group \u003ca href=\"https://proud2beblack.org/\" target=\"_blank\" rel=\"noopener\">Young, Gifted and Black\u003c/a> (YGB), 24-year-old Zo1 has rocked stages for over a decade. As the driving force behind this project, Zo1 brought together other YGB alums and artistic colleagues they grew up with to create the 16-track project.\u003c/p>\n\u003cp>Artists involved in the album include \u003ca href=\"https://www.instagram.com/_amenauset/\" target=\"_blank\" rel=\"noopener\">Amen Auset\u003c/a>, \u003ca href=\"https://www.instagram.com/basi.sts/\" target=\"_blank\" rel=\"noopener\">Basi\u003c/a>, \u003ca href=\"https://www.instagram.com/twisted.cant.fix.it/\" target=\"_blank\" rel=\"noopener\">Ajai Kasim\u003c/a> and \u003ca href=\"https://www.instagram.com/sinspaceq/\" target=\"_blank\" rel=\"noopener\">SinQ\u003c/a>, as well as \u003ca href=\"https://www.instagram.com/kevchoice/\" target=\"_blank\" rel=\"noopener\">Kev Choice\u003c/a> and \u003ca href=\"https://www.instagram.com/aft.fng/\" target=\"_blank\" rel=\"noopener\">Afterthought\u003c/a>. Produced by \u003ca href=\"https://www.instagram.com/zoranwtf/\" target=\"_blank\" rel=\"noopener\">Zoran Beats\u003c/a>, the project also features \u003ca href=\"https://www.instagram.com/42k.lil/\" target=\"_blank\" rel=\"noopener\">42k Lil\u003c/a>, \u003ca href=\"https://www.instagram.com/itsjust_a_m_a_r_i/\" target=\"_blank\" rel=\"noopener\">A M A R I\u003c/a>, and \u003ca href=\"https://www.instagram.com/ncolemusic/\" target=\"_blank\" rel=\"noopener\">N’Cole\u003c/a>. Oakland’s \u003ca href=\"https://www.instagram.com/official.jwalt/\" target=\"_blank\" rel=\"noopener\">Jwalt\u003c/a>, whose track dedicated to self-empowerment, “\u003ca href=\"https://www.youtube.com/watch?v=819J_xeJwmU\" target=\"_blank\" rel=\"noopener\">Love Myself\u003c/a>,” has been making its rounds since it debuted earlier this summer, is also on the album. And Bay Area-based vocalist \u003ca href=\"https://www.instagram.com/jadaimani510/\" target=\"_blank\" rel=\"noopener\">Jada Imani\u003c/a>, who’s worked tirelessly to spread the story of the late \u003ca href=\"https://www.kqed.org/arts/13954520/remembering-zoe-reidy-watts-oakland-artist-poet\" target=\"_blank\" rel=\"noopener\">Zoe Reidy Watts,\u003c/a> who was killed in \u003ca href=\"https://www.mercurynews.com/2024/03/08/oakland-man-charged-with-beating-girlfriend-to-death/\" target=\"_blank\" rel=\"noopener\">an alleged domestic violence incident\u003c/a> in March of this year, is featured as well.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/p6Peptw_AXA'\n title='//www.youtube.com/embed/p6Peptw_AXA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>A feature that speaks to the spirit of the album as a whole comes from veteran MC \u003ca href=\"https://www.instagram.com/spearofthenation/\" target=\"_blank\" rel=\"noopener\">Spear of the Nation\u003c/a>, also known as Baba Sizwe.\u003c/p>\n\u003cp>“When that beat came on,” says Zo1, “I was like, ‘This is \u003cem>real hip-hop\u003c/em>,’ and I know Baba Sizwe comes with the bars every single time.” So Zo1, who served as the A&R for this project, saw it fit that Baba Sizwe would be featured on the track, ultimately titled “Ubuntu.”\u003c/p>\n\u003cp>“That’s a value that he instilled into a lot of us,” says Zo1, referring to Ubuntu, a principle that originates from southern Africa, meaning, “I am because we are. We are because I am. May the circle be unbroken.”\u003c/p>\n\u003cp>“He’s been saying that for ages and ages,” says Zo1.\u003c/p>\n\u003cfigure id=\"attachment_13966603\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13966603\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/42k.lil_-800x1067.jpg\" alt=\"42k Lil at the Oakland International Film Festival at the Grand Lake Theatre. \" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/42k.lil_-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/42k.lil_-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/42k.lil_-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/42k.lil_-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/42k.lil_-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/42k.lil_-1536x2048.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/42k.lil_-scaled.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">42k Lil at the Oakland International Film Festival at the Grand Lake Theatre. \u003ccite>(Jahi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Throughout the project there’s deep mobb music-like bass lines, flowing melodies and high lyrical content, all quilted together with excerpts of conversations with community pillars discussing the concept of love.\u003c/p>\n\u003cp>On the intro to the song “Step By Step,” \u003ca href=\"https://www.instagram.com/mrdavis510/\" target=\"_blank\" rel=\"noopener\">Hodari Davis\u003c/a> says, “I think that Black love is hard.” A renowned educator and founding member of \u003ca href=\"https://lifeisliving.youthspeaks.org/\" target=\"_blank\" rel=\"noopener\">Life Is Living\u003c/a>, Davis continues: “We suffer from internalized racism, so it’s hard for us to love ourselves. We struggle with interpersonal racism, and genderism, and sexism, so it’s hard to love each other.”\u003c/p>\n\u003cp>On a later track titled “Love Noir,” devout music educator and acclaimed musician \u003ca href=\"https://www.instagram.com/cavamenzies/\" target=\"_blank\" rel=\"noopener\">Cava Menzies\u003c/a> says, “Love is my favorite subject. To be in the presence of love is to be in the presence of God.” As she continues the poetic monologue, she reminds the listener that “love has no agenda, it seeks only itself. It overcomes all obstacles and transforms time and space.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13954520",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Zo1 says he himself realized a few things about love while making this project.\u003c/p>\n\u003cp>“I learned that that love comes with grace,” he says during a recent phone call. “Love comes with patience and with practice,” adding that without “tough love” some things just aren’t possible.\u003c/p>\n\u003cp>In working with so many artists, Zo1 also learned that conflicting concepts and incongruous input can make the process take a little longer — and can even lead to re-recording songs.\u003c/p>\n\u003cp>Some studio sessions were held in a garden in East Oakland; others in an Airbnb in Los Angeles. Still others were done in Zo1’s bedroom. It took a while, says Zo1, but it was done on the strength of love.\u003c/p>\n\u003cp>“Love really fueled us to get this done in the right way,” says Zo1. “Love is definitely a process. To love something, it takes a minute. But it’s all worth it because of that love, you know?”\u003c/p>\n\u003cp>A project dedicated to Black love, fueled by Black love; may the circle be unbroken.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Black Love’ presented by Kingmakers Music will be released on Friday, Oct. 18, with a prerelease listening party on Thursday, Oct. 17 at Koo Labs in Oakland. \u003ca href=\"https://www.eventbrite.com/e/black-love-official-listening-party-koo-studios-tickets-1015733374867?aff=oddtdtcreator&lang=en-us&locale=en_US&status=30&view=listing\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13966594/oaklands-kingmakers-black-love-album",
"authors": [
"11491"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_69",
"arts_22313"
],
"tags": [
"arts_1143"
],
"featImg": "arts_13966636",
"label": "arts_140"
},
"arts_13966541": {
"type": "posts",
"id": "arts_13966541",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13966541",
"score": null,
"sort": [
1728946489000
]
},
"guestAuthors": [],
"slug": "ghostrave-magic-theatre",
"title": "Merging Indigenous Tradition With Club Culture in ‘GhostRave’",
"publishDate": 1728946489,
"format": "standard",
"headTitle": "Merging Indigenous Tradition With Club Culture in ‘GhostRave’ | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003cp>\u003cem>“They told the people they could dance a new world into being…”\u003cbr>\n— ‘Lame Deer, Seeker of Visions,’ by John Fire Lame Deer and Richard Erdoes\u003c/em>\u003c/p>\n\u003cp>In 1889, the Ghost Dance movement spread among a number of Native American nations across the Western United States. Originating as far back as 1869 with the Northern Paiute, the Ghost (or Spirit) Dance was a ritual and belief system promising a future of land properly restored to its original inhabitants.\u003c/p>\n\u003cp>The Ghost Dance was adopted by the Lakota in early 1890, and became central to their resistance movement. It was also used as a supposed justification, on the part of the United States Army, for the massacre at Wounded Knee. Despite the horror of that event, the Ghost Dance lived on, notably resurfacing during the 1970s AIM movement.\u003c/p>\n\u003cfigure id=\"attachment_13966561\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_030.jpg\" alt=\"\" width=\"2000\" height=\"1330\" class=\"size-full wp-image-13966561\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_030.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_030-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_030-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_030-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_030-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_030-1536x1021.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_030-1920x1277.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Dany Benitez (Coyote) in a September rehearsal for ‘GhostRave.’ \u003ccite>(Ben Krantz Studio)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>More than 100 years from the rise of the Ghost Dance, an entirely new and electronic music-based dance movement emerged. House music has now made its way around the world, uniting ravers, club kids and musical innovators — a high-energy scene that playwright and producer Jerome Joseph Gentes cites as inspiration for his time-traveling, musical theatre workshop production \u003cem>GhostRave\u003c/em>, playing Oct. 17–27 at Magic Theatre.\u003c/p>\n\u003cp>A descendant of the Fort Belknap A’aninin and the Standing Rock Lakota, Gentes currently resides in Palm Springs. But it’s his time in the Bay Area in the 1990s that he draws upon for \u003cem>GhostRave\u003c/em>. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I grew up in the Bay Area, in the heyday of South of Market club life, Gentes says, “and I thought, wow…If we could just go back for one night. Wouldn’t it be great?”\u003c/p>\n\u003cfigure id=\"attachment_13966562\" class=\"wp-caption aligncenter\" style=\"max-width: 1368px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_052.jpg\" alt=\"\" width=\"1368\" height=\"2000\" class=\"size-full wp-image-13966562\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_052.jpg 1368w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_052-800x1170.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_052-1020x1491.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_052-160x234.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_052-768x1123.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_052-1051x1536.jpg 1051w\" sizes=\"(max-width: 1368px) 100vw, 1368px\">\u003cfigcaption class=\"wp-caption-text\">Fran Astorga (Chayson) in a September rehearsal for ‘GhostRave.’ \u003ccite>(Ben Krantz Studio)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After meeting Brandon M.P. Roberts during a Palm Springs production of the Nathan Hall-penned kink opera \u003cem>Unbound\u003c/em> (which Gentes produced), the two quickly recognized kindred artistic inclinations, and began brainstorming ways to create their own theatrical experience in a warehouse club setting. With Gentes as playwright, lyricist and director, and Roberts as composer, sound designer and DJ, each brings their skills and passion to the project.\u003c/p>\n\u003cfigure id=\"attachment_13966745\" class=\"wp-caption aligncenter\" style=\"max-width: 810px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/ghostrave_newphoto.jpg\" alt=\"\" width=\"810\" height=\"1080\" class=\"size-full wp-image-13966745\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/ghostrave_newphoto.jpg 810w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/ghostrave_newphoto-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/ghostrave_newphoto-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/ghostrave_newphoto-768x1024.jpg 768w\" sizes=\"(max-width: 810px) 100vw, 810px\">\u003cfigcaption class=\"wp-caption-text\">Yaadi Erica Richardson rehearses with Brandon M.P. Roberts for ‘GhostRave.’ \u003ccite>(Courtesy TigerBear Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Featuring earnest but self-destructive indigenous club kid Chayson (played by W. Fran Astorga), \u003cem>GhostRave\u003c/em> kicks off in a nightclub, set to resemble the historic San Francisco queer establishment \u003ca href=\"https://www.kqed.org/arts/13956246/the-stud-san-francisco-lgbtq-bar-reopening\">The Stud\u003c/a>. As an immersive show, \u003cem>GhostRave\u003c/em>’s audience members can walk around the space, dance with each other and perhaps even take part in the scene as Roberts spins tracks. \u003c/p>\n\u003cp>But what begins as a messy night out for Chayson becomes an unexpected jaunt to 1890 and then to 2090, thanks to some interference from Coyote (Dany Benitez). While traveling through time — a witness to both a Ghost Dance ritual and to a post-Earth migration — Chayson learns to value themselves better, and value the earth, not only physically but psychically. What starts out as mere desire to return to a familiar place becomes a deeper yearning to actively embrace it.\u003c/p>\n\u003cfigure id=\"attachment_13966558\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_158.jpg\" alt=\"\" width=\"2000\" height=\"1299\" class=\"size-full wp-image-13966558\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_158.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_158-800x520.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_158-1020x662.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_158-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_158-768x499.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_158-1536x998.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_158-1920x1247.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Christina Kruszewska, Skylar Rose Adams and Meg Crosby-Jolliffe in a September rehearsal for ‘GhostRave.’ \u003ccite>(Ben Krantz Studio)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The thing about the Ghost Dance is it happened historically at the moment where the frontier had so completely closed, that the fate of Natives was sealed from that point forward,” Gentes says. “So I guess I was sort of saying ‘How do we deal with accepting that we may lose \u003cem>this\u003c/em> planet and then go forward?’ Can the energies of hope and action be brought to life again through a theater piece? In a way, we’re modernizing the idea that was lurking at the bottom of the Ghost Dance as well.”\u003c/p>\n\u003cp>While the actual Ghost Dance will not be portrayed onstage out of respect for its cultural significance, almost every character in the piece does eventually express themselves through dance and song (it is a musical, after all), the creation process of which has been a journey unto itself.\u003c/p>\n\u003cp>As the composer, Roberts has been creating the essential “sound palette” of the show. The task has involved raiding a collection of his father’s 1990s CDs, exploring ways of creating “the rhythms of the nightclub” with 19th century instruments and a sojourn in the desert for sonic and spiritual inspiration.\u003c/p>\n\u003cfigure id=\"attachment_13966559\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_152.jpg\" alt=\"\" width=\"2000\" height=\"1289\" class=\"size-full wp-image-13966559\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_152.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_152-800x516.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_152-1020x657.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_152-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_152-768x495.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_152-1536x990.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_152-1920x1237.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Fran Astorga and Justin P. Lopez in a September rehearsal for ‘GhostRave.’ \u003ccite>(Ben Krantz Studio)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I’m really trying to identify what these characters sound like. For some of the characters, what do they listen to, you know, when we’re up in a space station, what music do they choose to put on?”\u003c/p>\n\u003cp>Meanwhile, Gentes has been realizing the not-so-subtle influence of the current political climate — and of climate change — on his characters, and on his own motivations for exploring their perspectives.\u003c/p>\n\u003cp>“One of the things I wanted to play with was this moment where the land back movement is strong and vocal…when we’re about to lose the entire planet, anyway,” he says. “I thought, what would it be like when we have to talk about land back, and we’re not on this planet anymore, as natives? And I realized that’s a really great question I would love to pursue for a long time to come.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>GhostRave plays Oct. 17–27, 2024, at Magic Theatre in San Francisco. \u003ca href=\"https://magictheatre.org/calendar/ghostrave\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "The 19th-century Ghost Dance spirals through time in this immersive workshop production at Magic Theatre.",
"status": "publish",
"parent": 0,
"modified": 1729123130,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 18,
"wordCount": 969
},
"headData": {
"title": "Merging Indigenous Tradition With Club Culture in ‘GhostRave’ | KQED",
"description": "The 19th-century Ghost Dance spirals through time in this immersive workshop production at Magic Theatre.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Merging Indigenous Tradition With Club Culture in ‘GhostRave’",
"datePublished": "2024-10-14T15:54:49-07:00",
"dateModified": "2024-10-16T16:58:50-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprStoryId": "kqed-13966541",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13966541/ghostrave-magic-theatre",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>“They told the people they could dance a new world into being…”\u003cbr>\n— ‘Lame Deer, Seeker of Visions,’ by John Fire Lame Deer and Richard Erdoes\u003c/em>\u003c/p>\n\u003cp>In 1889, the Ghost Dance movement spread among a number of Native American nations across the Western United States. Originating as far back as 1869 with the Northern Paiute, the Ghost (or Spirit) Dance was a ritual and belief system promising a future of land properly restored to its original inhabitants.\u003c/p>\n\u003cp>The Ghost Dance was adopted by the Lakota in early 1890, and became central to their resistance movement. It was also used as a supposed justification, on the part of the United States Army, for the massacre at Wounded Knee. Despite the horror of that event, the Ghost Dance lived on, notably resurfacing during the 1970s AIM movement.\u003c/p>\n\u003cfigure id=\"attachment_13966561\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_030.jpg\" alt=\"\" width=\"2000\" height=\"1330\" class=\"size-full wp-image-13966561\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_030.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_030-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_030-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_030-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_030-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_030-1536x1021.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_030-1920x1277.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Dany Benitez (Coyote) in a September rehearsal for ‘GhostRave.’ \u003ccite>(Ben Krantz Studio)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>More than 100 years from the rise of the Ghost Dance, an entirely new and electronic music-based dance movement emerged. House music has now made its way around the world, uniting ravers, club kids and musical innovators — a high-energy scene that playwright and producer Jerome Joseph Gentes cites as inspiration for his time-traveling, musical theatre workshop production \u003cem>GhostRave\u003c/em>, playing Oct. 17–27 at Magic Theatre.\u003c/p>\n\u003cp>A descendant of the Fort Belknap A’aninin and the Standing Rock Lakota, Gentes currently resides in Palm Springs. But it’s his time in the Bay Area in the 1990s that he draws upon for \u003cem>GhostRave\u003c/em>. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I grew up in the Bay Area, in the heyday of South of Market club life, Gentes says, “and I thought, wow…If we could just go back for one night. Wouldn’t it be great?”\u003c/p>\n\u003cfigure id=\"attachment_13966562\" class=\"wp-caption aligncenter\" style=\"max-width: 1368px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_052.jpg\" alt=\"\" width=\"1368\" height=\"2000\" class=\"size-full wp-image-13966562\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_052.jpg 1368w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_052-800x1170.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_052-1020x1491.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_052-160x234.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_052-768x1123.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_052-1051x1536.jpg 1051w\" sizes=\"(max-width: 1368px) 100vw, 1368px\">\u003cfigcaption class=\"wp-caption-text\">Fran Astorga (Chayson) in a September rehearsal for ‘GhostRave.’ \u003ccite>(Ben Krantz Studio)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After meeting Brandon M.P. Roberts during a Palm Springs production of the Nathan Hall-penned kink opera \u003cem>Unbound\u003c/em> (which Gentes produced), the two quickly recognized kindred artistic inclinations, and began brainstorming ways to create their own theatrical experience in a warehouse club setting. With Gentes as playwright, lyricist and director, and Roberts as composer, sound designer and DJ, each brings their skills and passion to the project.\u003c/p>\n\u003cfigure id=\"attachment_13966745\" class=\"wp-caption aligncenter\" style=\"max-width: 810px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/ghostrave_newphoto.jpg\" alt=\"\" width=\"810\" height=\"1080\" class=\"size-full wp-image-13966745\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/ghostrave_newphoto.jpg 810w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/ghostrave_newphoto-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/ghostrave_newphoto-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/ghostrave_newphoto-768x1024.jpg 768w\" sizes=\"(max-width: 810px) 100vw, 810px\">\u003cfigcaption class=\"wp-caption-text\">Yaadi Erica Richardson rehearses with Brandon M.P. Roberts for ‘GhostRave.’ \u003ccite>(Courtesy TigerBear Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Featuring earnest but self-destructive indigenous club kid Chayson (played by W. Fran Astorga), \u003cem>GhostRave\u003c/em> kicks off in a nightclub, set to resemble the historic San Francisco queer establishment \u003ca href=\"https://www.kqed.org/arts/13956246/the-stud-san-francisco-lgbtq-bar-reopening\">The Stud\u003c/a>. As an immersive show, \u003cem>GhostRave\u003c/em>’s audience members can walk around the space, dance with each other and perhaps even take part in the scene as Roberts spins tracks. \u003c/p>\n\u003cp>But what begins as a messy night out for Chayson becomes an unexpected jaunt to 1890 and then to 2090, thanks to some interference from Coyote (Dany Benitez). While traveling through time — a witness to both a Ghost Dance ritual and to a post-Earth migration — Chayson learns to value themselves better, and value the earth, not only physically but psychically. What starts out as mere desire to return to a familiar place becomes a deeper yearning to actively embrace it.\u003c/p>\n\u003cfigure id=\"attachment_13966558\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_158.jpg\" alt=\"\" width=\"2000\" height=\"1299\" class=\"size-full wp-image-13966558\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_158.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_158-800x520.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_158-1020x662.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_158-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_158-768x499.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_158-1536x998.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_158-1920x1247.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Christina Kruszewska, Skylar Rose Adams and Meg Crosby-Jolliffe in a September rehearsal for ‘GhostRave.’ \u003ccite>(Ben Krantz Studio)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The thing about the Ghost Dance is it happened historically at the moment where the frontier had so completely closed, that the fate of Natives was sealed from that point forward,” Gentes says. “So I guess I was sort of saying ‘How do we deal with accepting that we may lose \u003cem>this\u003c/em> planet and then go forward?’ Can the energies of hope and action be brought to life again through a theater piece? In a way, we’re modernizing the idea that was lurking at the bottom of the Ghost Dance as well.”\u003c/p>\n\u003cp>While the actual Ghost Dance will not be portrayed onstage out of respect for its cultural significance, almost every character in the piece does eventually express themselves through dance and song (it is a musical, after all), the creation process of which has been a journey unto itself.\u003c/p>\n\u003cp>As the composer, Roberts has been creating the essential “sound palette” of the show. The task has involved raiding a collection of his father’s 1990s CDs, exploring ways of creating “the rhythms of the nightclub” with 19th century instruments and a sojourn in the desert for sonic and spiritual inspiration.\u003c/p>\n\u003cfigure id=\"attachment_13966559\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_152.jpg\" alt=\"\" width=\"2000\" height=\"1289\" class=\"size-full wp-image-13966559\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_152.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_152-800x516.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_152-1020x657.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_152-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_152-768x495.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_152-1536x990.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GhostRave_2024_152-1920x1237.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Fran Astorga and Justin P. Lopez in a September rehearsal for ‘GhostRave.’ \u003ccite>(Ben Krantz Studio)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I’m really trying to identify what these characters sound like. For some of the characters, what do they listen to, you know, when we’re up in a space station, what music do they choose to put on?”\u003c/p>\n\u003cp>Meanwhile, Gentes has been realizing the not-so-subtle influence of the current political climate — and of climate change — on his characters, and on his own motivations for exploring their perspectives.\u003c/p>\n\u003cp>“One of the things I wanted to play with was this moment where the land back movement is strong and vocal…when we’re about to lose the entire planet, anyway,” he says. “I thought, what would it be like when we have to talk about land back, and we’re not on this planet anymore, as natives? And I realized that’s a really great question I would love to pursue for a long time to come.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>GhostRave plays Oct. 17–27, 2024, at Magic Theatre in San Francisco. \u003ca href=\"https://magictheatre.org/calendar/ghostrave\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13966541/ghostrave-magic-theatre",
"authors": [
"11497"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_69",
"arts_22313",
"arts_967"
],
"tags": [
"arts_1501",
"arts_10278",
"arts_2020",
"arts_3178",
"arts_585"
],
"featImg": "arts_13966557",
"label": "arts_140"
},
"arts_13966525": {
"type": "posts",
"id": "arts_13966525",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13966525",
"score": null,
"sort": [
1728923153000
]
},
"guestAuthors": [],
"slug": "sheila-e-tiny-desk-concert-npr-bailar",
"title": "Watch Sheila E. Seamlessly Blend Salsa, Jazz and Funk Behind NPR’s Tiny Desk",
"publishDate": 1728923153,
"format": "standard",
"headTitle": "Watch Sheila E. Seamlessly Blend Salsa, Jazz and Funk Behind NPR’s Tiny Desk | KQED",
"labelTerm": {
"term": 137,
"site": "arts"
},
"content": "\u003cfigure class=\"wp-block-embed is-type-video\">\u003c/figure>\n\u003cp>\u003cem>This Sept. 15 to Oct. 15, NPR Music celebrates artists from all corners of Latinidad with an ‘El Tiny’ takeover.\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"https://video.kqed.org/video/sheila-e-performs-glamorous-life/\">Sheila E.\u003c/a> is a portrait of motion.\u003c/p>\n\u003cp>Not just the movement of her body as one of the world’s most recognized drummers, but also as a versatile musician who glides easily from genre to genre with the ease of a master. For her time behind the Desk, she assembled a team of musicians to play tracks from her first ever salsa album \u003cem>Bailar\u003c/em>.\u003c/p>\n\u003cp>From the first notes of “Rumba Percussion Jam,” Sheila E.’s bona-fides performing true \u003cem>rumbera \u003c/em>(traditional Afro-Cuban drumming and singing) are on full display with her conga chops. The entire set is a reflection of her long standing ability to meld Afro-Caribbean, jazz and funk into a danceable celebration that caps off with shots of tequila for her final track “Playa Tequila.”\u003c/p>\n\u003cp>Any amount of time spent with Sheila E. is a reminder that high caliber musicianship is always first and goes down easier when presented with the joyous energy of an icon.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=GjZ2XqYzPTI\u003c/p>\n\u003cp>\u003cstrong>SET LIST\u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>“Rumba Percussion Jam”\u003c/li>\n\u003cli>“Mi Amor”\u003c/li>\n\u003cli>“The Way That You Do”\u003c/li>\n\u003cli>“Possibilities”\u003c/li>\n\u003cli>“Playa Tequila”\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>MUSICIANS\u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>Sheila Escovedo: lead vocals, percussion\u003c/li>\n\u003cli>Raymond McKinley: bass, tour management, production management\u003c/li>\n\u003cli>Myke Davison: guitar\u003c/li>\n\u003cli>Bertron Curtis: keys\u003c/li>\n\u003cli>Rose Ann Dimalanta: keys\u003c/li>\n\u003cli>Daniel Rodriguez: drums\u003c/li>\n\u003cli>Fausto Cuevas: percussion\u003c/li>\n\u003cli>Johny Ayquipa: trumpet\u003c/li>\n\u003cli>Percy Recavarren: trombone\u003c/li>\n\u003cli>Lynn Mabry: vocals\u003c/li>\n\u003cli>Rebecca Jade: vocals\u003c/li>\n\u003cli>Debi Nova: vocals\u003c/li>\n\u003cli>Jean Rodriguez: vocals\u003c/li>\n\u003c/ul>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>TINY DESK TEAM\u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>Producer: Felix Contreras\u003c/li>\n\u003cli>Director/Editor: Maia Stern\u003c/li>\n\u003cli>Audio Technical Director: Josephine Nyounai\u003c/li>\n\u003cli>Host/Series Producer: Bobby Carter\u003c/li>\n\u003cli>Videographers: Maia Stern, Joshua Bryant, Kara Frame, Alanté Serene\u003c/li>\n\u003cli>Audio Engineer: Ted Mebane\u003c/li>\n\u003cli>Production Assistant: Ashley Pointer\u003c/li>\n\u003cli>Photographer: Michael Zamora\u003c/li>\n\u003cli>Tiny Desk Team: Hazel Cills, Josh Newell\u003c/li>\n\u003cli>Executive Producer: Suraya Mohamed\u003c/li>\n\u003cli>Series Creators: Bob Boilen, Stephen Thompson\u003c/li>\n\u003cli>VP, Visuals and Music: Keith Jenkins\u003c/li>\n\u003c/ul>\n\n",
"blocks": [],
"excerpt": "The Oakland legend — and one of the world’s most recognized drummers — glides easily from genre to genre.",
"status": "publish",
"parent": 0,
"modified": 1728923153,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 10,
"wordCount": 333
},
"headData": {
"title": "Watch: Sheila E.’s Tiny Desk Concert | KQED",
"description": "The Oakland legend — and one of the world’s most recognized drummers — glides easily from genre to genre.",
"ogTitle": "Watch Sheila E. Seamlessly Blend Salsa, Jazz and Funk Behind NPR’s Tiny Desk",
"ogDescription": "",
"ogImgId": "",
"twTitle": "Watch Sheila E. Seamlessly Blend Salsa, Jazz and Funk Behind NPR’s Tiny Desk",
"twDescription": "",
"twImgId": "",
"socialTitle": "Watch: Sheila E.’s Tiny Desk Concert%%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Watch Sheila E. Seamlessly Blend Salsa, Jazz and Funk Behind NPR’s Tiny Desk",
"datePublished": "2024-10-14T09:25:53-07:00",
"dateModified": "2024-10-14T09:25:53-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprByline": "Felix Contreras",
"nprStoryId": "g-s1-22384",
"nprHtmlLink": "https://www.npr.org/2024/10/10/g-s1-22384/sheila-e-tiny-desk-concert",
"nprRetrievedStory": "1",
"nprPubDate": "2024-10-11T12:00:00-04:00",
"nprStoryDate": "2024-10-11T12:00:00-04:00",
"nprLastModifiedDate": "2024-10-11T12:00:28.587-04:00",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"path": "/arts/13966525/sheila-e-tiny-desk-concert-npr-bailar",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure class=\"wp-block-embed is-type-video\">\u003c/figure>\n\u003cp>\u003cem>This Sept. 15 to Oct. 15, NPR Music celebrates artists from all corners of Latinidad with an ‘El Tiny’ takeover.\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"https://video.kqed.org/video/sheila-e-performs-glamorous-life/\">Sheila E.\u003c/a> is a portrait of motion.\u003c/p>\n\u003cp>Not just the movement of her body as one of the world’s most recognized drummers, but also as a versatile musician who glides easily from genre to genre with the ease of a master. For her time behind the Desk, she assembled a team of musicians to play tracks from her first ever salsa album \u003cem>Bailar\u003c/em>.\u003c/p>\n\u003cp>From the first notes of “Rumba Percussion Jam,” Sheila E.’s bona-fides performing true \u003cem>rumbera \u003c/em>(traditional Afro-Cuban drumming and singing) are on full display with her conga chops. The entire set is a reflection of her long standing ability to meld Afro-Caribbean, jazz and funk into a danceable celebration that caps off with shots of tequila for her final track “Playa Tequila.”\u003c/p>\n\u003cp>Any amount of time spent with Sheila E. is a reminder that high caliber musicianship is always first and goes down easier when presented with the joyous energy of an icon.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/GjZ2XqYzPTI'\n title='//www.youtube.com/embed/GjZ2XqYzPTI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>SET LIST\u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>“Rumba Percussion Jam”\u003c/li>\n\u003cli>“Mi Amor”\u003c/li>\n\u003cli>“The Way That You Do”\u003c/li>\n\u003cli>“Possibilities”\u003c/li>\n\u003cli>“Playa Tequila”\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>MUSICIANS\u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>Sheila Escovedo: lead vocals, percussion\u003c/li>\n\u003cli>Raymond McKinley: bass, tour management, production management\u003c/li>\n\u003cli>Myke Davison: guitar\u003c/li>\n\u003cli>Bertron Curtis: keys\u003c/li>\n\u003cli>Rose Ann Dimalanta: keys\u003c/li>\n\u003cli>Daniel Rodriguez: drums\u003c/li>\n\u003cli>Fausto Cuevas: percussion\u003c/li>\n\u003cli>Johny Ayquipa: trumpet\u003c/li>\n\u003cli>Percy Recavarren: trombone\u003c/li>\n\u003cli>Lynn Mabry: vocals\u003c/li>\n\u003cli>Rebecca Jade: vocals\u003c/li>\n\u003cli>Debi Nova: vocals\u003c/li>\n\u003cli>Jean Rodriguez: vocals\u003c/li>\n\u003c/ul>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>TINY DESK TEAM\u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>Producer: Felix Contreras\u003c/li>\n\u003cli>Director/Editor: Maia Stern\u003c/li>\n\u003cli>Audio Technical Director: Josephine Nyounai\u003c/li>\n\u003cli>Host/Series Producer: Bobby Carter\u003c/li>\n\u003cli>Videographers: Maia Stern, Joshua Bryant, Kara Frame, Alanté Serene\u003c/li>\n\u003cli>Audio Engineer: Ted Mebane\u003c/li>\n\u003cli>Production Assistant: Ashley Pointer\u003c/li>\n\u003cli>Photographer: Michael Zamora\u003c/li>\n\u003cli>Tiny Desk Team: Hazel Cills, Josh Newell\u003c/li>\n\u003cli>Executive Producer: Suraya Mohamed\u003c/li>\n\u003cli>Series Creators: Bob Boilen, Stephen Thompson\u003c/li>\n\u003cli>VP, Visuals and Music: Keith Jenkins\u003c/li>\n\u003c/ul>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13966525/sheila-e-tiny-desk-concert-npr-bailar",
"authors": [
"byline_arts_13966525"
],
"categories": [
"arts_1",
"arts_69",
"arts_75"
],
"tags": [
"arts_4271"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13966527",
"label": "arts_137"
},
"arts_13966505": {
"type": "posts",
"id": "arts_13966505",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13966505",
"score": null,
"sort": [
1728686565000
]
},
"guestAuthors": [],
"slug": "heres-everyone-caught-in-the-web-of-the-sean-diddy-combs-allegations-so-far",
"title": "Here’s Everyone Caught in the Web of the Sean ‘Diddy’ Combs Allegations So Far",
"publishDate": 1728686565,
"format": "standard",
"headTitle": "Here’s Everyone Caught in the Web of the Sean ‘Diddy’ Combs Allegations So Far | KQED",
"labelTerm": {
"term": 137,
"site": "arts"
},
"content": "\u003cp>\u003ci>Updated 10:17 a.m. Oct. 14, 2024.\u003c/i>\u003c/p>\n\u003cp>Sean “Diddy” Combs remains in a Brooklyn jail while awaiting a May 5 trial on \u003ca href=\"https://www.npr.org/2024/09/16/g-s1-23363/sean-diddy-combs-faces-federal-charges-in-new-york\">federal charges of sex trafficking and racketeering\u003c/a>. The hip-hop mogul has pleaded not guilty on all charges and has been denied bail twice thus far.\u003c/p>\n\u003cp>[aside postid='arts_13954740']Before and after his arrest, Combs has also been served \u003ca href=\"https://www.kqed.org/arts/13954740/diddy-allegations-sean-combs-raids-sex-trafficking-cassie-joi-rod-harve-pierre-jane-doe\">more than two dozen civil lawsuits\u003c/a> for physical assault, rape and more. The indictment and many of the lawsuits name Combs’ numerous business ventures and claim they are complicit in financing and enabling the rapper’s abuse inside and outside of the recording studio. They also detail how Combs allegedly used his position of power in the entertainment industry to lure, coerce and silence those around him.\u003c/p>\n\u003cp>Here’s an ongoing list of notable people named in lawsuits and criminal investigations against Combs so far, excluding the accusers who have chosen not to reveal their names.\u003c/p>\n\u003chr>\n\u003ch2>The Accusers\u003c/h2>\n\u003cp>\u003cstrong>Casandra Ventura, aka Cassie\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13954776\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954776\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-1780923026-scaled-e1711490898243.jpg\" alt=\"A Black man wearing a suit and very long couture coat stands holding hands with a Black woman wearing an elaborate black gown and purse in the shape of a skull.\" width=\"1920\" height=\"1277\">\u003cfigcaption class=\"wp-caption-text\">Sean Combs and Cassie at the 2017 Met Gala. \u003ccite>(Clint Spaulding/ Penske Media via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The R&B singer was in a personal and professional relationship with Combs for over a decade. In November 2023, Ventura filed a federal lawsuit against Combs alleging years of physical, sexual and emotional abuse. The lawsuit also named Bad Boy Entertainment, Bad Boy Records, Epic Records and Combs Enterprises. A day after the filing, the two parties settled the trafficking, rape and physical assault case out of court — but Ventura’s willingness to come forward opened the floodgates for nearly a dozen other lawsuits against Combs.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The pair reportedly met in 2005, when Ventura was 19 and Combs was 37. The following year, Ventura signed a deal with Bad Boy Entertainment and released her self-titled debut album. Ventura’s lawsuit alleged this was the beginning of Combs’ coercion and abuse, which she said completely took over her life and included forcing her to take illicit substances, forcing her to participate in sex with male sex workers while Combs filmed her — encounters Combs referred to as “freakoffs” — and frequent beatings. The lawsuit stated that the beatings were often witnessed by Combs’ staff, employees of Bad Boy Entertainment and Combs’ affiliated businesses.\u003c/p>\n\u003cp>Earlier this year, CNN published \u003ca href=\"https://www.npr.org/2024/05/17/1252221941/sean-combs-cassie-ventura-cnn-video\">footage\u003c/a> dated to 2016 that showed Combs repeatedly hitting and kicking Ventura in the hallway of a Los Angeles hotel. Shortly after, Ventura took to Instagram to address the video and subsequent public response. “The outpouring of love has created a place for my younger self to settle and feel safe now, but this is only the beginning,” \u003ca href=\"https://www.instagram.com/p/C7T6OCKRJ-W/\">she wrote\u003c/a>. “Domestic Violence is THE issue. It broke me down to someone I never thought I would become. With a lot of hard work, I am better today, but I will always be recovering from my past.”\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Joi Dickerson-Neal\u003c/strong>\u003c/p>\n\u003cp>Days after Ventura’s lawsuit, a woman named Joi Dickerson filed a lawsuit accusing Combs of drugging, sexually harassing and abusing her and distributing “revenge porn.” The suit states that Dickerson was a psychology student at Syracuse University when she agreed to go on a date with Combs in 1991. She had appeared in one of the rapper’s music videos. After the pair had dinner, the suit alleges that Combs pressured Dickerson to keep the night going and drove them to a recording studio. There, Dickerson says she realized she had been drugged and was unable to get out of the car, since she could no longer stand or walk on her own. This is when the suit alleges that Combs took her to another location and proceeded to sexually assault her.\u003c/p>\n\u003cp>[aside postid='arts_13964507']Days later, Dickerson was told by a male friend that Combs had recorded the assault and had shown it to him and several others. The lawsuit states that the ensuing feelings of violation and humiliation derailed Dickerson’s studies and have had prolonged effects on her mental health, career and economic opportunities. Like Ventura, Dickerson filed the lawsuit under New York’s Adult Survivors Act, which provided a one-year window for victims of sexual abuse who were age 18 or older at the time of the crime to file civil action regardless of the statute of limitations of the crimes themselves.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Liza Gardner\u003c/strong>\u003c/p>\n\u003cp>Last November, Liza Gardner filed a lawsuit alleging that in 1990, she was raped by Combs and R&B singer Aaron Hall. The lawsuit says that days later, Combs assaulted and choked Gardner until she lost consciousness.\u003c/p>\n\u003cp>In an amended complaint filed Oct. 8, Gardner adds that she was 16 years old when she was invited to New Jersey from her home in North Carolina by her friends DeVante Swing and Dalvin DeGrate of the R&B group Jodeci. The lawsuit states that Jodeci’s housing, where Gardner was staying, was “subsidized” by their label, Uptown Records, a subsidiary of MCA and UMG. It goes on to allege that Gardner and her 15-year-old friend, Monica Case, met Combs and Hall at an MCA Records event in New York, where they were reportedly supplied with alcohol. Combs and Hall allegedly provided the minors with more drinks and with marijuana later that night.\u003c/p>\n\u003cp>The lawsuit states that Gardner and her friends were later taken back to Hall’s apartment in New Jersey, where Combs raped Gardner. The suit states that unbeknownst to Gardner at the time, Devante Swing was in the room at the time and did nothing to stop Combs. Swing was added as a co-defendant in the new complaint for “aiding and abetting” the sexual assault.\u003c/p>\n\u003cp>The lawsuit also names UMG Recordings, Universal Music Group and more.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Rodney “Lil Rod” Jones\u003c/strong>\u003c/p>\n\u003cp>Producer Rodney “Lil Rod” Jones worked with Combs on his 2023 release, \u003cem>The Love Album: Off the Grid\u003c/em>. In February, Jones filed a lawsuit alleging that during the making of the album — from 2022 to 2023 — he lived with Combs, who he says repeatedly groped him, forced him to solicit sex workers, take illegal drugs, and more. The suit states that Combs would often walk around naked in front of Jones, and that the music mogul attempted to groom the producer into engaging in sex with other men in the music industry, allegedly promising Jones a Grammy if he complied. Jones also alleges that a cousin of rapper Yung Miami, who was dating Combs at the time, sexually assaulted him in Combs’ home in 2022 in front of Combs and his staff.\u003c/p>\n\u003cp>[aside postid='arts_13962885']Jones’ lawsuit also names Combs’ son, Justin Dior Combs, Love Records, Combs Global Enterprises and Combs’ chief of staff, Kristina Khorram, as co-defendants. In addition to the allegations of abuse, the suit describes a shooting at a recording studio involving Combs, his son Justin Dior Combs and an unnamed victim. The suit also claims that Combs did not properly compensate Jones for his work on \u003cem>The Love Album.\u003c/em>\u003c/p>\n\u003cp>The lawsuit originally included Universal Music Group, Motown Records, former Motown CEO Ethiopia Habtemariam and UMG chairman and CEO Lucian Grainge as co-defendants. Lawyers for Grainge and UMG denied their involvement in the allegations, eventually leading Jones’ lawyer to drop Grainge and the labels from the charges.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Crystal McKinney\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13966508\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966508\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/c-mc.png\" alt=\"A beautiful blond woman wearing a coat with a fur collar.\" width=\"2000\" height=\"1326\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/c-mc.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/c-mc-800x530.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/c-mc-1020x676.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/c-mc-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/c-mc-768x509.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/c-mc-1536x1018.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/c-mc-1920x1273.png 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Crystal McKinney. \u003ccite>(Arnaldo Magnani/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In May, Crystal McKinney filed a lawsuit against Combs, Bad Boy Entertainment, Universal Music Group (UMG) and Combs’ clothing company, Sean John Clothing. The charges against UMG Recordings were later dismissed, and Daddy’s House Recordings was added as a co-defendant.\u003c/p>\n\u003cp>The suit states that in 2003, McKinney was 22 years old and working as a model when an unnamed designer introduced her to Combs at a Sean John fashion show in New York City. Combs allegedly expressed interest in getting to know McKinney better and helping her modeling career grow.\u003c/p>\n\u003cp>Later that night, he invited her to a recording studio, where McKinney says Combs and several other men were smoking marijuana and drinking. She took a hit of a joint, which according to the lawsuit, she believes was laced with another substance. The lawsuit states that Combs pressured McKinney to continue drinking and smoking, and as she became more intoxicated, she was led to a bathroom by Combs, who forced her to perform oral sex on him. Afterward, McKinney lost consciousness and awoke in a taxi en route to the designer’s apartment. The lawsuit states that following the assault, McKinney became severely depressed. According to the lawsuit, she believes Combs “blackballed” her in the industry, which led to the downfall of her modeling career, and has had long-lasting effects on her mental health.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>April Lampros\u003c/strong>\u003c/p>\n\u003cp>In May, April Lampros filed a lawsuit naming Combs, Bad Boy Entertainment and Arista Records, a subsidiary of Sony Music. Lampros met Combs in 1994 while studying at the Fashion Institute of Technology in New York City. She says Combs often invited her to the Bad Boy studio, promised to mentor and help her advance her career and began “love-bombing” her. They started dating and Lampros would often travel to see Combs, though he asked that their relationship be kept private.\u003c/p>\n\u003cp>[aside postid='arts_13956667']In the suit, Lampros accuses Combs of sexually assaulting her on four separate occasions and repeatedly threatening to harm her, both physically and professionally. In one such instance, Combs allegedly forced Lampros and his then-girlfriend Kim Porter to take ecstasy, forced them to engage in sex while he watched and then raped Lampros. Though she tried to distance herself from Combs as the relationship turned abusive, Lampros says Combs continually contacted her, and she feared the repercussions of rebuffing his advances. The lawsuit states that after Lampros’ relationship with Combs had ended, she was told by someone she knew that he had seen a video of her and Combs having sex, recorded without her knowledge.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Derrick Lee Cardello-Smith\u003c/strong>\u003c/p>\n\u003cp>In June, a man incarcerated in Michigan filed a lawsuit against Combs alleging that the rapper drugged and sexually assaulted him in Detroit in 1997. During a hearing in September, a default judgment was granted to Cardello-Smith for $100 million after Combs and his lawyers failed to appear in court. Shortly after, the judgment was set aside on grounds that Cardello-Smith’s lawsuit, mailed to a Combs residence in Los Angeles, was not properly served. Cardello-Smith is currently serving sentences for kidnapping and criminal sexual conduct.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Adria English\u003c/strong>\u003c/p>\n\u003cp>In July, a woman named Adria English filed a lawsuit against Combs, Bad Boy Entertainment, Sean John Clothing, Combs Global Enterprises, Tamiko Thomas, Jacob Arabov aka “Jacob The Jeweler,” \u003cem>VIBE\u003c/em> magazine, Penske Media Corporation and several unnamed defendants. The suit alleges that in 2004, English was working as a dancer at a club in New York City when she and her then-boyfriend, aspiring model Anthony Gallo, were hired to work at one of Combs’ famous “White Parties” in the Hamptons.\u003c/p>\n\u003cp>English alleges that while working at the party, she was forced to drink alcohol, which she believes was laced with ecstasy, and forced to consume narcotics. The suit alleges that Combs and a Bad Boy Entertainment employee continued to hire her to work at “White Parties” in New York and in Miami. According to the lawsuit, around the third event, English alleges that she was asked to swap the usual white attire for a black mini-dress and forced to begin having intercourse with guests. She believes the black dress was meant to signal to guests that she was a “sex trafficked sex worker.”\u003c/p>\n\u003cp>The lawsuit names Jacob Arabov aka “Jacob The Jeweler” as one such guest she was coerced into having intercourse with, along with other unnamed defendants. English believes there are secret recordings of those defendants sexually assaulting her in Combs’ homes while she was unconscious.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Dawn Richard\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13966509\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966509\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/dawn.png\" alt=\"A Black woman wearng a gold jacket talks into a microphone.\" width=\"2000\" height=\"1325\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/dawn.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/dawn-800x530.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/dawn-1020x676.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/dawn-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/dawn-768x509.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/dawn-1536x1018.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/dawn-1920x1272.png 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Dawn Richard. \u003ccite>(Josh Brasted/Getty Images for ESSENCE/Getty Images North America)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In September, singer Dawn Richard filed a \u003ca href=\"https://www.npr.org/2024/09/12/nx-s1-5110001/dawn-richard-diddy-danity-kane-lawsuit\">lawsuit\u003c/a> against Combs for sexual assault and battery. The complaint also states that Richard witnessed Combs beat and abuse Ventura on many occasions.\u003c/p>\n\u003cp>Richard first met Combs when she auditioned for the MTV show \u003cem>Making the Band\u003c/em> in 2004 and was selected to be a member of the group Danity Kane under Combs’ mentorship. The lawsuit alleges that Richard and her bandmates were subjected to inhumane working conditions during their time on the show and in the musical group, sometimes being forced to rehearse for up to 48 hours without food or breaks and often being berated by Combs. The complaint states that the abusive behavior continued throughout Richard’s professional relationship with Combs, and that he instilled a culture of fear in the women he worked with.\u003c/p>\n\u003cp>[aside postid='arts_13918217']After Danity Kane disbanded in 2009, Richard continued to work with Combs in the trio Diddy — Dirty Money, along with singer Kalenna Harper — who allegedly also witnessed much of Combs’ abusive behavior and was subject to his numerous threats. The lawsuit alleges Combs would force Richard to take meetings while he was in his underwear, and he would barge into her dressing room unannounced and would grope her breasts and buttocks during stylist fittings.\u003c/p>\n\u003cp>In one instance in 2010, the lawsuit states that Combs berated Richard and Harper in the lobby of SIR Studios and attempted to punch Richard when she asked him to stop calling them “bitches” in front of people. Richard alleges the women were then ushered into a company car and that Combs and Harve Pierre falsely imprisoned them in the vehicle for over two hours.\u003c/p>\n\u003cp>In addition to the allegations of abuse, Richard’s lawsuit demands unpaid salaries, royalties and wages for Richard’s work as part of Danity Kane and Diddy — Dirty Money. The complaint also names Harve Pierre, Remote Productions, Bad Boy Entertainment, Daddy’s House Recording Studio and a number of other music, publishing and finance corporations associated with Combs for enabling his violence.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Thalia Graves\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13966510\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966510\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Thalia-Graves.png\" alt=\"A light skinned Black woman sits on a white armchair wearing a white top.\" width=\"2000\" height=\"1356\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Thalia-Graves.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Thalia-Graves-800x542.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Thalia-Graves-1020x692.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Thalia-Graves-160x108.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Thalia-Graves-768x521.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Thalia-Graves-1536x1041.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Thalia-Graves-1920x1302.png 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Thalia Graves. \u003ccite>(Rodin Eckenroth/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In September, a woman named Thalia Graves filed a \u003ca href=\"https://www.npr.org/2024/09/24/g-s1-24401/sean-diddy-combs-graves-rape-lawsuit\">lawsuit\u003c/a> accusing Combs and his bodyguard Joseph Sherman of raping her, recording the assault without her knowledge and distributing the video as pornography.\u003c/p>\n\u003cp>Graves alleges that the assault took place in 2001, when she was 25 years old and dating an unnamed record producer who worked with Combs. She says Combs and Sherman took advantage of her relationship with their colleague to lure her to a recording studio alone, where they gave her a drink she believes was laced with some kind of drug. The lawsuit says Graves lost consciousness and awoke to find herself bound and restrained; Combs and Sherman then proceeded to take turns raping her.\u003c/p>\n\u003cp>Graves says she did not report the alleged crime out of fear of Combs’ retaliation, and that her boyfriend at the time discouraged her from doing so because it might hurt his career. In November 2023, Graves alleges she learned the rape had been recorded by Sherman and Combs, who showed it to others with the purpose of humiliating Graves and her then-boyfriend. The lawsuit details how the crime and the knowledge of its recording has had dire, long-lasting consequences on Graves’ mental health.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Ashley Parham\u003c/strong>\u003c/p>\n\u003cp>On Oct. 15, a woman named Ashley Parham filed a lawsuit against Combs in California involving sexual assault, battery, rape, sexual abuse, false imprisonment and kidnapping. Parham alleges that in 2018, she met a man named Shane Pearce who was associated with Combs. Parham says Pearce called Combs on FaceTime in front of her, but she made remarks about being unimpressed because “she believed Defendant Diddy had something to do with the murder of Tupac Shakur.” Combs allegedly became upset by Parham’s statements during the call.\u003c/p>\n\u003cp>The complaint says that some time later, Pearce invited Parham over to his home. While she was there, Combs allegedly arrived with Kristina Khorram and several unnamed others. The lawsuit states that Combs was angry at Parham for how she had treated him over the video call. Combs allegedly threatened to physically harm Parham with a knife, while Khorram allegedly said they could “sell” the plaintiff for sex. The lawsuit states that Pearce and Combs then removed Parham’s clothing and Combs squirted Parham with what she believes was an oil or lubricant. According to the lawsuit, Khorram was instructed by Diddy to insert a syringe into Parham’s vagina. The lawsuit goes on to state that Combs, Pearce and two unnamed defendants violently raped Parham and that Combs forced an unknown pill down the woman’s throat.\u003c/p>\n\u003cp>Kristina Khorram, Shane Pearce and several unnamed men and women are listed as co-defendants in the lawsuit.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Bryana “Bana” Bongolan\u003c/strong>\u003c/p>\n\u003cp>On Nov. 27, fashion designer Bryana “Bana” Bongolan filed a lawsuit against Combs in California that alleges the mogul groped her breasts, dangled her over the balcony of a 17th floor apartment and frequently threatened and intimidated her throughout their working relationship.\u003c/p>\n\u003cp>The lawsuit states that Bongolan worked with Cassie Ventura at Diamond Supply Co. in 2014, which led the two women to develop a friendship. As they got closer, Bongolan alleges that she became aware of Combs’ violent and abusive behavior towards Ventura, eventually leading to Ventura showing Bongolan bruises and a black eye she received from Combs. According to the lawsuit, Bongolan worked closely with both Ventura and Combs, designing Bad Boy jackets for the mogul, creating costumes for the Bad Boy Family Reunion Tour, starting a clothing line called “Cassie + BANA,” and designing merchandise and cover art for Ventura.\u003c/p>\n\u003cp>Throughout the time they worked together, Bongolan alleges that Combs intimidated and threatened her, including an instance in which he forcibly drugged her and another in which he said “You have no idea what I could do to you. I could kill you.” The lawsuit states that in September of 2016, Bongolan, her then-girlfriend and Ventura were at Ventura’s apartment when Combs began violently knocking on the door. After making his way in, Bongolan alleges he found her on the balcony and began groping her breasts. When she resisted, she alleges that he picked her up and held her over the ledge of the 17th floor balcony, and then slammed her into patio furniture.\u003c/p>\n\u003cp>Ventura’s attorneys declined to comment on Bongolan’s lawsuit.\u003c/p>\n\u003chr>\n\u003ch2>The Accused\u003c/h2>\n\u003cp>\u003cb>Jay-Z\u003c/b>\u003c/p>\n\u003cfigure id=\"attachment_13832289\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-167861280_wide-4d1f06bf6c32c94d5b6c0fb9c6bd351a100f11e9.jpg\" alt=\"Jay-Z, on the red carpet to promote the film The Great Gatsby in New York in 2013.\" width=\"2048\" height=\"1152\" class=\"size-full wp-image-13832289\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-167861280_wide-4d1f06bf6c32c94d5b6c0fb9c6bd351a100f11e9.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-167861280_wide-4d1f06bf6c32c94d5b6c0fb9c6bd351a100f11e9-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-167861280_wide-4d1f06bf6c32c94d5b6c0fb9c6bd351a100f11e9-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-167861280_wide-4d1f06bf6c32c94d5b6c0fb9c6bd351a100f11e9-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-167861280_wide-4d1f06bf6c32c94d5b6c0fb9c6bd351a100f11e9-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-167861280_wide-4d1f06bf6c32c94d5b6c0fb9c6bd351a100f11e9-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-167861280_wide-4d1f06bf6c32c94d5b6c0fb9c6bd351a100f11e9-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-167861280_wide-4d1f06bf6c32c94d5b6c0fb9c6bd351a100f11e9-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-167861280_wide-4d1f06bf6c32c94d5b6c0fb9c6bd351a100f11e9-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-167861280_wide-4d1f06bf6c32c94d5b6c0fb9c6bd351a100f11e9-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-167861280_wide-4d1f06bf6c32c94d5b6c0fb9c6bd351a100f11e9-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-167861280_wide-4d1f06bf6c32c94d5b6c0fb9c6bd351a100f11e9-520x292.jpg 520w\" sizes=\"auto, (max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Jay-Z, on the red carpet to promote the film ‘The Great Gatsby’ in New York in 2013. \u003ccite>(Stephen Lovekin/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In October, an unnamed plaintiff filed a civil lawsuit against Combs alleging that he and an unnamed male celebrity assaulted her at an MTV Video Music Awards after-party in 2000, when she was only 13 years old. On December 8, the lawsuit was amended and refiled to name Jay-Z, whose real name is Shawn Carter, as the second assailant.\u003c/p>\n\u003cp>The complaint alleges that in September of 2000, the unnamed victim was attempting to gain entry to the VMAs in New York City when she approached a limousine driver who told her he worked for Combs and could take her to an after-party and did. The plaintiff alleges that later that night, when she arrived, she was asked to sign a document she now believes was a non-disclosure agreement. The complaint states that the plaintiff accepted a drink that made her woozy, leading her to retire to one of the bedrooms. She alleges that Carter, Combs and an unnamed female celebrity entered the room and that the two men raped her while the female celebrity stood by and watched.\u003c/p>\n\u003cp>In a statement emailed to NPR, Carter denied the allegations and stated that he was the target of a blackmail attempt designed to extort settlement money.\u003c/p>\n\u003cp>“These allegations are so heinous in nature that I implore you to file a criminal complaint, not a civil one!!” he said. “Whomever would commit such a crime against a minor should be locked away, would you not agree? These alleged victims would deserve real justice if that were the case.”\u003c/p>\n\u003cp>“My only heartbreak is for my family,” Carter added. “My wife and I will have to sit our children down, one of whom is at the age where her friends will surely see the press and ask questions about the nature of these claims, and explain the cruelty and greed of people. I mourn yet another loss of innocence.”\u003c/p>\n\u003cp>Carter is the first high-profile co-defendant to be named in over a dozen lawsuits filed by Texas attorney Tony Buzbee, all on behalf of unnamed accusers. The amended complaint accuses Carter of filing his own lawsuit against Buzbee, which the attorney called “frivolous.” NPR has reviewed a lawsuit filed on November 18 by an anonymous celebrity accusing Buzbee of extortion and intentional infliction of emotional distress.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Aaron Hall\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13966511\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966511\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Aaron-Hall.png\" alt=\"A Black man onstage wearing sunglasses and a denim jacket.\" width=\"2000\" height=\"1383\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Aaron-Hall.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Aaron-Hall-800x553.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Aaron-Hall-1020x705.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Aaron-Hall-160x111.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Aaron-Hall-768x531.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Aaron-Hall-1536x1062.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Aaron-Hall-1920x1328.png 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Aaron Hall. \u003ccite>(Paras Griffin/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The R&B singer is named in Gardner’s lawsuit, alleging that he and Combs raped her and an unnamed friend in 1990. Hall could not be reached for comment.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Harve Pierre\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13966512\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966512\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Harve-Pierre.png\" alt=\"A bald Black man in a suit sits at a dinner table.\" width=\"2000\" height=\"1322\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Harve-Pierre.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Harve-Pierre-800x529.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Harve-Pierre-1020x674.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Harve-Pierre-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Harve-Pierre-768x508.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Harve-Pierre-1536x1015.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Harve-Pierre-1920x1269.png 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Harve Pierre. \u003ccite>(Thaddaeus McAdams/FilmMagic/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In December 2023, an unnamed woman filed a \u003ca href=\"https://www.documentcloud.org/documents/24193192-sean-combs-jane-doe-complaint\">lawsuit\u003c/a> accusing Combs, former Bad Boy Entertainment president Harve Pierre and a third man of trafficking and gang raping her when she was 17 years old. The suit states that the victim met Pierre at a lounge in Michigan in 2003 while she was still in high school, and that the record executive sexually assaulted her by forcing her to perform oral sex on him. Pierre allegedly called Combs, who convinced the underaged woman to board a private jet to New Jersey.\u003c/p>\n\u003cp>[aside postid='arts_13934462']After the plane ride, the suit states that the unnamed victim, Pierre and two other men were driven to Combs’ recording studio in New York, where they “plied Ms. Doe with drugs and alcohol.” The lawsuit says that Combs, Pierre and another man proceeded to “gang-rape” the teenager, and that she has limited recollection of the trip back to Michigan the following day. The lawsuit also names recording studio Daddy’s House Recordings and Bad Boy Entertainment as co-defendants. Pierre denied the allegations in a \u003ca href=\"https://www.tmz.com/2023/12/08/diddy-bad-boy-president-harve-pierre-lawsuit/\">statement\u003c/a> to TMZ.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Kristina Khorram\u003c/strong>\u003c/p>\n\u003cp>Khorram is named as Combs’ chief of staff and a co-defendant in Jones’ lawsuit. Jones alleges that Khorram frequently solicited illicit drugs and sex workers for Combs and his guests, forced Jones to carry substances for Combs and ordered Jones to hire sex workers for Combs. He also accuses Khorram of “aiding and abetting” Combs’ sexual assault and helping Combs groom Jones. Though she is not listed as a co-defendant, Khorram is also named in a September 2024 sexual abuse lawsuit filed by an unnamed woman who says the Combs employee often paid for her to travel and “perform” for Combs — the complaint alleges Combs’ staffers would “send drivers to [the victim’s] home to pick her up before she agreed to travel, to the point where she did not believe she had a choice.”\u003c/p>\n\u003cp>NPR reached out to Khorram’s attorneys Oct. 10 and Oct. 22 for comment and is awaiting a reply.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Cuba Gooding Jr.\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13966514\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966514\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Cuba-Gooding-Jr.png\" alt=\"A Black man sits in court wearing a suit and red scarf, looking concerned.\" width=\"2000\" height=\"1335\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Cuba-Gooding-Jr.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Cuba-Gooding-Jr-800x534.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Cuba-Gooding-Jr-1020x681.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Cuba-Gooding-Jr-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Cuba-Gooding-Jr-768x513.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Cuba-Gooding-Jr-1536x1025.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Cuba-Gooding-Jr-1920x1282.png 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Cuba Gooding Jr. \u003ccite>(Alec Tabak/The Daily News via AP, Pool, File)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The actor, who \u003ca href=\"https://www.npr.org/2022/04/13/1092699710/actor-cuba-gooding-jr-pleads-guilty-to-forcibly-touching\">pled guilty\u003c/a> in 2022 to forcibly touching a woman and \u003ca href=\"https://www.npr.org/2023/06/06/1180421961/cuba-gooding-jr-settles-civil-sex-abuse-case\">settled\u003c/a> a civil sexual abuse case in 2023, was named in an amendment to Rodney “Lil Rod” Jones’ original lawsuit against Combs. The producer alleges that Gooding Jr. fondled and groped him on Combs’ yacht. The actor has denied the allegations. “It’s the most ridiculous thing ever,” \u003ca href=\"https://www.youtube.com/watch?v=WuZbTB0Fh24\">he said\u003c/a> in an interview with Extra TV. “Welcome to being a celebrity. Welcome to my world.”\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Justin Dior Combs and Christian Combs\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13966515\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966515\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/dior.png\" alt=\"Two young, casually dressed Black men stand on a red carpet, smiling.\" width=\"2000\" height=\"1765\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/dior.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/dior-800x706.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/dior-1020x900.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/dior-160x141.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/dior-768x678.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/dior-1536x1356.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/dior-1920x1694.png 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Justin Dior Combs (left) and Christian Combs. \u003ccite>(Aaron Davidson/WireImage | Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sean Combs’ son, Justin Dior Combs, is also named in Jones’ lawsuit against the rapper, which alleges that the producer witnessed the father and son solicit sex workers and admit underaged girls to a listening party where they laced the women’s drinks. The lawsuit also alleges that Jones witnessed Christian Combs, another son of Combs, drug and assault a woman.\u003c/p>\n\u003cp>Tyrone Blackburn, an attorney representing Jones, is also part of a separate lawsuit filed in April against Christian Combs on behalf of a plaintiff named Grace O’Marcaigh, alleging the younger Combs assaulted her on a yacht owned by Combs, who is named as co-defendant. Both Justin Dior Combs and Christian Combs have denied the allegations against them.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Jacob Arabov, aka “Jacob The Jeweler” aka Jacob Arabo \u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13966516\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966516\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Jacob-Arabov.png\" alt=\"A middle aged white man in a blue suit holds one wrist up to show his watch.\" width=\"2000\" height=\"1336\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Jacob-Arabov.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Jacob-Arabov-800x534.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Jacob-Arabov-1020x681.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Jacob-Arabov-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Jacob-Arabov-768x513.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Jacob-Arabov-1536x1026.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Jacob-Arabov-1920x1283.png 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jacob Arabov. \u003ccite>(Matthew Eisman/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The founder and chairman of high-profile jewelry and watch company Jacob & Co. is named as a co-defendant in English’s suit, which alleges he was one of the “White Party” guests she was forced to have sex with. Jacob & Co did not respond to NPR’s request for comment.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Joseph “Big Joe” Sherman\u003c/strong>\u003c/p>\n\u003cp>Combs’ former bodyguard is named as a co-defendant in Graves’ lawsuit, along with Daddy’s House Recordings, Bad Boy Entertainment and more. Graves claims that Sherman actively raped her alongside Combs in 2001. The lawsuit states that when she attempted to escape the assault, Combs slammed her head into a pool table, causing her to lose consciousness. After waking up, she says Sherman continued to assault her and slapped her until she passed out a third time. Sherman has \u003ca href=\"https://www.nbcnewyork.com/investigations/former-celeb-body-guard-falsely-accused-raping-woman-with-diddy/5849264/\">denied\u003c/a> Graves’ claims, saying he no longer worked for Bad Boy in 2001 and never met the young woman.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>DeVante Swing\u003c/strong>\u003c/p>\n\u003cp>In an amended complaint filed on Oct. 8, Liza Gardner added Devante Swing of the R&B group Jodeci as a co-defendant to her lawsuit. Gardner alleges that Swing, who was an adult at the time, was her “assumed co-guardian” when he invited the underaged Gardner to New Jersey. The suit alleges that Swing “trafficked and or coerced the child to travel across state lines from North Carolina to New York and New Jersey with the hidden intention of providing the child with alcohol, and marijuana and prostituting the child to his A&R Combs.” Gardner’s friend, Monica Case, also filed a sworn declaration alleging Swing was in the room “watching whatever Puffy was doing to Liza.”\u003c/p>\n\u003cp>Swing could not be reached for comment.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Shane Pearce\u003c/strong>\u003c/p>\n\u003cp>Pearce is accused of inviting Parham to his home with the intention of allowing Combs to assault her. The lawsuit also alleges Pearce is one of the men who participated in the “gang-raping” of Parham.\u003c/p>\n\u003cp>Pearce could not be reached for comment.\u003c/p>\n\u003chr>\n\u003ch2>Other Names To Know\u003c/h2>\n\u003cp>\u003cstrong>Jimmy Iovine\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13966518\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966518\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Jimmy-Iovine.png\" alt=\"A white man wearing a white baseball cap, backwards and sunglasses.\" width=\"2000\" height=\"1331\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Jimmy-Iovine.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Jimmy-Iovine-800x532.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Jimmy-Iovine-1020x679.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Jimmy-Iovine-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Jimmy-Iovine-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Jimmy-Iovine-1536x1022.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Jimmy-Iovine-1920x1278.png 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jimmy Iovine. \u003ccite>(Ronald Martinez/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In her lawsuit, Richard alleges that she attended a party where Interscope Records co-founder Jimmy Iovine witnessed Combs punch Ventura in the stomach. The lawsuit blames Iovine — and Interscope — for moving forward with a deal with Combs and Bad Boy Entertainment after becoming aware of his violent and abusive behavior. Separately, in 2022, Iovine was accused of sexual abuse and harassment by an unnamed woman under New York’s Adult Survivors Act. The woman later dropped the case.\u003c/p>\n\u003cp>NPR reached out to Interscope and Iovine’s team but did not receive a comment.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Kid Cudi\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13966519\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966519\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/cudi.png\" alt=\"A Black man wearing a white t-shirt sings passionately into a microphone on stage.\" width=\"2000\" height=\"1320\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/cudi.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/cudi-800x528.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/cudi-1020x673.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/cudi-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/cudi-768x507.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/cudi-1536x1014.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/cudi-1920x1267.png 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Kid Cudi. \u003ccite>(Theo Wargo/Getty Images for Coachella)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kid Cudi and Ventura were romantically involved in 2011. In her lawsuit, Ventura alleged that when Combs found emails between the two on Ventura’s phone, he became enraged and attacked her. Ventura attempted to run away but returned due to pressure from Combs’ staff; the lawsuit alleged that Combs then hit and kicked her.\u003c/p>\n\u003cp>The lawsuit stated that in 2012, Combs told Ventura he wanted to “blow up” Kid Cudi’s car while the rapper was home. Kid Cudi corroborated to \u003cem>The New York Times\u003c/em> that his car exploded in his driveway around that time.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Caresha Brownlee, aka Yung Miami\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13966520\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966520\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Caresha-Brownlee-aka-Yung-Miami.png\" alt=\"A glamourous Black woman performs on stage wearing a strapless leather dress.\" width=\"2000\" height=\"1336\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Caresha-Brownlee-aka-Yung-Miami.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Caresha-Brownlee-aka-Yung-Miami-800x534.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Caresha-Brownlee-aka-Yung-Miami-1020x681.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Caresha-Brownlee-aka-Yung-Miami-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Caresha-Brownlee-aka-Yung-Miami-768x513.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Caresha-Brownlee-aka-Yung-Miami-1536x1026.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Caresha-Brownlee-aka-Yung-Miami-1920x1283.png 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Caresha Brownlee, aka Yung Miami. \u003ccite>(Terence Rushin/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Yung Miami, half of the rap duo City Girls, dated Combs in recent years. In August, she denied knowing anything about the accusations that have surfaced against her ex. “I can’t speak on these allegations because I wasn’t around at the time,” she said on her Revolt TV show, \u003cem>Caresha Please\u003c/em>. “I don’t know that person, and that wasn’t my experience.”\u003c/p>\n\u003cp>In September, however, Brownlee was named in a \u003ca href=\"https://www.npr.org/2024/09/27/g-s1-25157/sean-diddy-combs-jane-doe-pregnant-assault-lawsuit\">\u003cu>lawsuit\u003c/u>\u003c/a> filed against Combs by an unnamed woman. The lawsuit alleges that the plaintiff was forced to travel and “perform” for Combs many times from 2021 to 2024. Much of this travel was reportedly paid for by Combs’ staffer Kristina Khorram. The suit states that in 2022, the plaintiff was forced to take drugs and have sex with Combs. When she learned she was pregnant and told Combs, the lawsuit states that Brownlee — who is not a co-defendant on the complaint — harassed and called the plaintiff repeatedly, pressuring her to get an abortion. The stress allegedly led the woman to suffer a miscarriage.\u003c/p>\n\u003cp>NPR reached out to Brownlee’s representation Thursday morning and is awaiting a reply.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Tony Buzbee\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13966521\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966521\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Tony-Buzbee.png\" alt=\"A white man in a suit.\" width=\"2000\" height=\"1335\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Tony-Buzbee.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Tony-Buzbee-800x534.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Tony-Buzbee-1020x681.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Tony-Buzbee-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Tony-Buzbee-768x513.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Tony-Buzbee-1536x1025.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Tony-Buzbee-1920x1282.png 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Tony Buzbee. \u003ccite>(Eric Gay/AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On Oct. 1, Texas attorney Tony Buzbee held a press conference announcing that his firm will be filing at least 120 individual civil lawsuits against Combs in the coming weeks. “The biggest secret in the entertainment industry that wasn’t really a secret at all has finally been revealed to the world,” Buzbee said during the presser. “The wall of silence has been broken, and victims are coming forward.”\u003c/p>\n\u003cp>Since then, Buzbee has filed more than a dozen sexual assault lawsuits against Combs, all on behalf of unnamed plaintiffs. On December 8, one such complaint was amended to name Jay-Z as a co-defendant.\u003c/p>\n\u003cp>On Oct. 14, six unnamed plaintiffs filed separate lawsuits against Combs; all are being represented by Buzbee. One of the alleged victims is a man who says Combs fondled him when he was 16 years old at a “White Party” in the Hamptons.\u003c/p>\n\u003cp>Buzbee is known for representing clients in high-profile cases, including Texas attorney general Ken Paxton during his 2023 impeachment trial, the women who sued football player \u003ca href=\"https://www.npr.org/2022/06/21/1106409107/cleveland-browns-deshaun-watson-settles-20-of-24-sexual-misconduct-lawsuits\">Deshaun Watson\u003c/a> for sexual misconduct, and the victims of the \u003ca href=\"https://www.npr.org/2021/11/11/1054765905/what-went-wrong-at-astroworld-the-deadly-dynamics-of-crowd-surge\">Astroworld\u003c/a> deadly crowd surge. During Paxton’s trial, Buzbee took his own share of the spotlight for a \u003ca href=\"https://www.houstonchronicle.com/opinion/editorials/article/ken-paxton-trial-buzbee-altuve-bucees-18355320.php\">public spat\u003c/a> with the media over how they photographed his tan in the courtroom.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>In addition to practicing at the Buzbee Law Firm, his professional ventures include property development, a short-lived THC-infused \u003ca href=\"https://www.chron.com/food/article/houston-buzbee-thc-seltzer-discontinued-19462337.php\">seltzer company\u003c/a> and local politics. He self-funded \u003ca href=\"https://www.texastribune.org/2019/11/05/houston-mayor-race-sylvester-turner-tony-buzbee-runoff/\">a run for Houston mayor\u003c/a> against Democratic incumbent Sylvester Turner in 2019 and \u003ca href=\"https://www.texastribune.org/2023/11/07/tony-buzbee-houston-city-council-election-nan-huffman/\">ran for Houston City Council\u003c/a> in 2023, ultimately losing both races.\u003c/p>\n\n",
"blocks": [],
"excerpt": "Over two dozen civil lawsuits have been filed against Sean Combs for physical assault, rape and more.",
"status": "publish",
"parent": 0,
"modified": 1734651818,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 100,
"wordCount": 5319
},
"headData": {
"title": "A List of Everyone Involved in the Sean ‘Diddy’ Combs Case | KQED",
"description": "Over two dozen civil lawsuits have been filed against Sean Combs for physical assault, rape and more.",
"ogTitle": "Here’s Everyone Caught in the Web of the Sean ‘Diddy’ Combs Allegations So Far",
"ogDescription": "",
"ogImgId": "",
"twTitle": "Here’s Everyone Caught in the Web of the Sean ‘Diddy’ Combs Allegations So Far",
"twDescription": "",
"twImgId": "",
"socialTitle": "A List of Everyone Involved in the Sean ‘Diddy’ Combs Case %%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Here’s Everyone Caught in the Web of the Sean ‘Diddy’ Combs Allegations So Far",
"datePublished": "2024-10-11T15:42:45-07:00",
"dateModified": "2024-12-19T15:43:38-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprByline": "Isabella Gomez Sarmiento, NPR",
"nprStoryId": "g-s1-26981",
"nprHtmlLink": "https://www.npr.org/2024/10/10/g-s1-26981/diddy-sean-combs-cassie-kid-cudi-jodeci",
"nprRetrievedStory": "1",
"nprPubDate": "2024-10-11T05:00:00-04:00",
"nprStoryDate": "2024-10-11T05:00:00-04:00",
"nprLastModifiedDate": "2024-10-11T11:58:43.382-04:00",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"path": "/arts/13966505/heres-everyone-caught-in-the-web-of-the-sean-diddy-combs-allegations-so-far",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>Updated 10:17 a.m. Oct. 14, 2024.\u003c/i>\u003c/p>\n\u003cp>Sean “Diddy” Combs remains in a Brooklyn jail while awaiting a May 5 trial on \u003ca href=\"https://www.npr.org/2024/09/16/g-s1-23363/sean-diddy-combs-faces-federal-charges-in-new-york\">federal charges of sex trafficking and racketeering\u003c/a>. The hip-hop mogul has pleaded not guilty on all charges and has been denied bail twice thus far.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13954740",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Before and after his arrest, Combs has also been served \u003ca href=\"https://www.kqed.org/arts/13954740/diddy-allegations-sean-combs-raids-sex-trafficking-cassie-joi-rod-harve-pierre-jane-doe\">more than two dozen civil lawsuits\u003c/a> for physical assault, rape and more. The indictment and many of the lawsuits name Combs’ numerous business ventures and claim they are complicit in financing and enabling the rapper’s abuse inside and outside of the recording studio. They also detail how Combs allegedly used his position of power in the entertainment industry to lure, coerce and silence those around him.\u003c/p>\n\u003cp>Here’s an ongoing list of notable people named in lawsuits and criminal investigations against Combs so far, excluding the accusers who have chosen not to reveal their names.\u003c/p>\n\u003chr>\n\u003ch2>The Accusers\u003c/h2>\n\u003cp>\u003cstrong>Casandra Ventura, aka Cassie\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13954776\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13954776\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/GettyImages-1780923026-scaled-e1711490898243.jpg\" alt=\"A Black man wearing a suit and very long couture coat stands holding hands with a Black woman wearing an elaborate black gown and purse in the shape of a skull.\" width=\"1920\" height=\"1277\">\u003cfigcaption class=\"wp-caption-text\">Sean Combs and Cassie at the 2017 Met Gala. \u003ccite>(Clint Spaulding/ Penske Media via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The R&B singer was in a personal and professional relationship with Combs for over a decade. In November 2023, Ventura filed a federal lawsuit against Combs alleging years of physical, sexual and emotional abuse. The lawsuit also named Bad Boy Entertainment, Bad Boy Records, Epic Records and Combs Enterprises. A day after the filing, the two parties settled the trafficking, rape and physical assault case out of court — but Ventura’s willingness to come forward opened the floodgates for nearly a dozen other lawsuits against Combs.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The pair reportedly met in 2005, when Ventura was 19 and Combs was 37. The following year, Ventura signed a deal with Bad Boy Entertainment and released her self-titled debut album. Ventura’s lawsuit alleged this was the beginning of Combs’ coercion and abuse, which she said completely took over her life and included forcing her to take illicit substances, forcing her to participate in sex with male sex workers while Combs filmed her — encounters Combs referred to as “freakoffs” — and frequent beatings. The lawsuit stated that the beatings were often witnessed by Combs’ staff, employees of Bad Boy Entertainment and Combs’ affiliated businesses.\u003c/p>\n\u003cp>Earlier this year, CNN published \u003ca href=\"https://www.npr.org/2024/05/17/1252221941/sean-combs-cassie-ventura-cnn-video\">footage\u003c/a> dated to 2016 that showed Combs repeatedly hitting and kicking Ventura in the hallway of a Los Angeles hotel. Shortly after, Ventura took to Instagram to address the video and subsequent public response. “The outpouring of love has created a place for my younger self to settle and feel safe now, but this is only the beginning,” \u003ca href=\"https://www.instagram.com/p/C7T6OCKRJ-W/\">she wrote\u003c/a>. “Domestic Violence is THE issue. It broke me down to someone I never thought I would become. With a lot of hard work, I am better today, but I will always be recovering from my past.”\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Joi Dickerson-Neal\u003c/strong>\u003c/p>\n\u003cp>Days after Ventura’s lawsuit, a woman named Joi Dickerson filed a lawsuit accusing Combs of drugging, sexually harassing and abusing her and distributing “revenge porn.” The suit states that Dickerson was a psychology student at Syracuse University when she agreed to go on a date with Combs in 1991. She had appeared in one of the rapper’s music videos. After the pair had dinner, the suit alleges that Combs pressured Dickerson to keep the night going and drove them to a recording studio. There, Dickerson says she realized she had been drugged and was unable to get out of the car, since she could no longer stand or walk on her own. This is when the suit alleges that Combs took her to another location and proceeded to sexually assault her.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13964507",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Days later, Dickerson was told by a male friend that Combs had recorded the assault and had shown it to him and several others. The lawsuit states that the ensuing feelings of violation and humiliation derailed Dickerson’s studies and have had prolonged effects on her mental health, career and economic opportunities. Like Ventura, Dickerson filed the lawsuit under New York’s Adult Survivors Act, which provided a one-year window for victims of sexual abuse who were age 18 or older at the time of the crime to file civil action regardless of the statute of limitations of the crimes themselves.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Liza Gardner\u003c/strong>\u003c/p>\n\u003cp>Last November, Liza Gardner filed a lawsuit alleging that in 1990, she was raped by Combs and R&B singer Aaron Hall. The lawsuit says that days later, Combs assaulted and choked Gardner until she lost consciousness.\u003c/p>\n\u003cp>In an amended complaint filed Oct. 8, Gardner adds that she was 16 years old when she was invited to New Jersey from her home in North Carolina by her friends DeVante Swing and Dalvin DeGrate of the R&B group Jodeci. The lawsuit states that Jodeci’s housing, where Gardner was staying, was “subsidized” by their label, Uptown Records, a subsidiary of MCA and UMG. It goes on to allege that Gardner and her 15-year-old friend, Monica Case, met Combs and Hall at an MCA Records event in New York, where they were reportedly supplied with alcohol. Combs and Hall allegedly provided the minors with more drinks and with marijuana later that night.\u003c/p>\n\u003cp>The lawsuit states that Gardner and her friends were later taken back to Hall’s apartment in New Jersey, where Combs raped Gardner. The suit states that unbeknownst to Gardner at the time, Devante Swing was in the room at the time and did nothing to stop Combs. Swing was added as a co-defendant in the new complaint for “aiding and abetting” the sexual assault.\u003c/p>\n\u003cp>The lawsuit also names UMG Recordings, Universal Music Group and more.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Rodney “Lil Rod” Jones\u003c/strong>\u003c/p>\n\u003cp>Producer Rodney “Lil Rod” Jones worked with Combs on his 2023 release, \u003cem>The Love Album: Off the Grid\u003c/em>. In February, Jones filed a lawsuit alleging that during the making of the album — from 2022 to 2023 — he lived with Combs, who he says repeatedly groped him, forced him to solicit sex workers, take illegal drugs, and more. The suit states that Combs would often walk around naked in front of Jones, and that the music mogul attempted to groom the producer into engaging in sex with other men in the music industry, allegedly promising Jones a Grammy if he complied. Jones also alleges that a cousin of rapper Yung Miami, who was dating Combs at the time, sexually assaulted him in Combs’ home in 2022 in front of Combs and his staff.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13962885",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Jones’ lawsuit also names Combs’ son, Justin Dior Combs, Love Records, Combs Global Enterprises and Combs’ chief of staff, Kristina Khorram, as co-defendants. In addition to the allegations of abuse, the suit describes a shooting at a recording studio involving Combs, his son Justin Dior Combs and an unnamed victim. The suit also claims that Combs did not properly compensate Jones for his work on \u003cem>The Love Album.\u003c/em>\u003c/p>\n\u003cp>The lawsuit originally included Universal Music Group, Motown Records, former Motown CEO Ethiopia Habtemariam and UMG chairman and CEO Lucian Grainge as co-defendants. Lawyers for Grainge and UMG denied their involvement in the allegations, eventually leading Jones’ lawyer to drop Grainge and the labels from the charges.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Crystal McKinney\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13966508\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966508\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/c-mc.png\" alt=\"A beautiful blond woman wearing a coat with a fur collar.\" width=\"2000\" height=\"1326\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/c-mc.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/c-mc-800x530.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/c-mc-1020x676.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/c-mc-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/c-mc-768x509.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/c-mc-1536x1018.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/c-mc-1920x1273.png 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Crystal McKinney. \u003ccite>(Arnaldo Magnani/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In May, Crystal McKinney filed a lawsuit against Combs, Bad Boy Entertainment, Universal Music Group (UMG) and Combs’ clothing company, Sean John Clothing. The charges against UMG Recordings were later dismissed, and Daddy’s House Recordings was added as a co-defendant.\u003c/p>\n\u003cp>The suit states that in 2003, McKinney was 22 years old and working as a model when an unnamed designer introduced her to Combs at a Sean John fashion show in New York City. Combs allegedly expressed interest in getting to know McKinney better and helping her modeling career grow.\u003c/p>\n\u003cp>Later that night, he invited her to a recording studio, where McKinney says Combs and several other men were smoking marijuana and drinking. She took a hit of a joint, which according to the lawsuit, she believes was laced with another substance. The lawsuit states that Combs pressured McKinney to continue drinking and smoking, and as she became more intoxicated, she was led to a bathroom by Combs, who forced her to perform oral sex on him. Afterward, McKinney lost consciousness and awoke in a taxi en route to the designer’s apartment. The lawsuit states that following the assault, McKinney became severely depressed. According to the lawsuit, she believes Combs “blackballed” her in the industry, which led to the downfall of her modeling career, and has had long-lasting effects on her mental health.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>April Lampros\u003c/strong>\u003c/p>\n\u003cp>In May, April Lampros filed a lawsuit naming Combs, Bad Boy Entertainment and Arista Records, a subsidiary of Sony Music. Lampros met Combs in 1994 while studying at the Fashion Institute of Technology in New York City. She says Combs often invited her to the Bad Boy studio, promised to mentor and help her advance her career and began “love-bombing” her. They started dating and Lampros would often travel to see Combs, though he asked that their relationship be kept private.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13956667",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>In the suit, Lampros accuses Combs of sexually assaulting her on four separate occasions and repeatedly threatening to harm her, both physically and professionally. In one such instance, Combs allegedly forced Lampros and his then-girlfriend Kim Porter to take ecstasy, forced them to engage in sex while he watched and then raped Lampros. Though she tried to distance herself from Combs as the relationship turned abusive, Lampros says Combs continually contacted her, and she feared the repercussions of rebuffing his advances. The lawsuit states that after Lampros’ relationship with Combs had ended, she was told by someone she knew that he had seen a video of her and Combs having sex, recorded without her knowledge.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Derrick Lee Cardello-Smith\u003c/strong>\u003c/p>\n\u003cp>In June, a man incarcerated in Michigan filed a lawsuit against Combs alleging that the rapper drugged and sexually assaulted him in Detroit in 1997. During a hearing in September, a default judgment was granted to Cardello-Smith for $100 million after Combs and his lawyers failed to appear in court. Shortly after, the judgment was set aside on grounds that Cardello-Smith’s lawsuit, mailed to a Combs residence in Los Angeles, was not properly served. Cardello-Smith is currently serving sentences for kidnapping and criminal sexual conduct.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Adria English\u003c/strong>\u003c/p>\n\u003cp>In July, a woman named Adria English filed a lawsuit against Combs, Bad Boy Entertainment, Sean John Clothing, Combs Global Enterprises, Tamiko Thomas, Jacob Arabov aka “Jacob The Jeweler,” \u003cem>VIBE\u003c/em> magazine, Penske Media Corporation and several unnamed defendants. The suit alleges that in 2004, English was working as a dancer at a club in New York City when she and her then-boyfriend, aspiring model Anthony Gallo, were hired to work at one of Combs’ famous “White Parties” in the Hamptons.\u003c/p>\n\u003cp>English alleges that while working at the party, she was forced to drink alcohol, which she believes was laced with ecstasy, and forced to consume narcotics. The suit alleges that Combs and a Bad Boy Entertainment employee continued to hire her to work at “White Parties” in New York and in Miami. According to the lawsuit, around the third event, English alleges that she was asked to swap the usual white attire for a black mini-dress and forced to begin having intercourse with guests. She believes the black dress was meant to signal to guests that she was a “sex trafficked sex worker.”\u003c/p>\n\u003cp>The lawsuit names Jacob Arabov aka “Jacob The Jeweler” as one such guest she was coerced into having intercourse with, along with other unnamed defendants. English believes there are secret recordings of those defendants sexually assaulting her in Combs’ homes while she was unconscious.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Dawn Richard\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13966509\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966509\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/dawn.png\" alt=\"A Black woman wearng a gold jacket talks into a microphone.\" width=\"2000\" height=\"1325\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/dawn.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/dawn-800x530.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/dawn-1020x676.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/dawn-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/dawn-768x509.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/dawn-1536x1018.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/dawn-1920x1272.png 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Dawn Richard. \u003ccite>(Josh Brasted/Getty Images for ESSENCE/Getty Images North America)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In September, singer Dawn Richard filed a \u003ca href=\"https://www.npr.org/2024/09/12/nx-s1-5110001/dawn-richard-diddy-danity-kane-lawsuit\">lawsuit\u003c/a> against Combs for sexual assault and battery. The complaint also states that Richard witnessed Combs beat and abuse Ventura on many occasions.\u003c/p>\n\u003cp>Richard first met Combs when she auditioned for the MTV show \u003cem>Making the Band\u003c/em> in 2004 and was selected to be a member of the group Danity Kane under Combs’ mentorship. The lawsuit alleges that Richard and her bandmates were subjected to inhumane working conditions during their time on the show and in the musical group, sometimes being forced to rehearse for up to 48 hours without food or breaks and often being berated by Combs. The complaint states that the abusive behavior continued throughout Richard’s professional relationship with Combs, and that he instilled a culture of fear in the women he worked with.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13918217",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>After Danity Kane disbanded in 2009, Richard continued to work with Combs in the trio Diddy — Dirty Money, along with singer Kalenna Harper — who allegedly also witnessed much of Combs’ abusive behavior and was subject to his numerous threats. The lawsuit alleges Combs would force Richard to take meetings while he was in his underwear, and he would barge into her dressing room unannounced and would grope her breasts and buttocks during stylist fittings.\u003c/p>\n\u003cp>In one instance in 2010, the lawsuit states that Combs berated Richard and Harper in the lobby of SIR Studios and attempted to punch Richard when she asked him to stop calling them “bitches” in front of people. Richard alleges the women were then ushered into a company car and that Combs and Harve Pierre falsely imprisoned them in the vehicle for over two hours.\u003c/p>\n\u003cp>In addition to the allegations of abuse, Richard’s lawsuit demands unpaid salaries, royalties and wages for Richard’s work as part of Danity Kane and Diddy — Dirty Money. The complaint also names Harve Pierre, Remote Productions, Bad Boy Entertainment, Daddy’s House Recording Studio and a number of other music, publishing and finance corporations associated with Combs for enabling his violence.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Thalia Graves\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13966510\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966510\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Thalia-Graves.png\" alt=\"A light skinned Black woman sits on a white armchair wearing a white top.\" width=\"2000\" height=\"1356\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Thalia-Graves.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Thalia-Graves-800x542.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Thalia-Graves-1020x692.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Thalia-Graves-160x108.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Thalia-Graves-768x521.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Thalia-Graves-1536x1041.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Thalia-Graves-1920x1302.png 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Thalia Graves. \u003ccite>(Rodin Eckenroth/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In September, a woman named Thalia Graves filed a \u003ca href=\"https://www.npr.org/2024/09/24/g-s1-24401/sean-diddy-combs-graves-rape-lawsuit\">lawsuit\u003c/a> accusing Combs and his bodyguard Joseph Sherman of raping her, recording the assault without her knowledge and distributing the video as pornography.\u003c/p>\n\u003cp>Graves alleges that the assault took place in 2001, when she was 25 years old and dating an unnamed record producer who worked with Combs. She says Combs and Sherman took advantage of her relationship with their colleague to lure her to a recording studio alone, where they gave her a drink she believes was laced with some kind of drug. The lawsuit says Graves lost consciousness and awoke to find herself bound and restrained; Combs and Sherman then proceeded to take turns raping her.\u003c/p>\n\u003cp>Graves says she did not report the alleged crime out of fear of Combs’ retaliation, and that her boyfriend at the time discouraged her from doing so because it might hurt his career. In November 2023, Graves alleges she learned the rape had been recorded by Sherman and Combs, who showed it to others with the purpose of humiliating Graves and her then-boyfriend. The lawsuit details how the crime and the knowledge of its recording has had dire, long-lasting consequences on Graves’ mental health.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Ashley Parham\u003c/strong>\u003c/p>\n\u003cp>On Oct. 15, a woman named Ashley Parham filed a lawsuit against Combs in California involving sexual assault, battery, rape, sexual abuse, false imprisonment and kidnapping. Parham alleges that in 2018, she met a man named Shane Pearce who was associated with Combs. Parham says Pearce called Combs on FaceTime in front of her, but she made remarks about being unimpressed because “she believed Defendant Diddy had something to do with the murder of Tupac Shakur.” Combs allegedly became upset by Parham’s statements during the call.\u003c/p>\n\u003cp>The complaint says that some time later, Pearce invited Parham over to his home. While she was there, Combs allegedly arrived with Kristina Khorram and several unnamed others. The lawsuit states that Combs was angry at Parham for how she had treated him over the video call. Combs allegedly threatened to physically harm Parham with a knife, while Khorram allegedly said they could “sell” the plaintiff for sex. The lawsuit states that Pearce and Combs then removed Parham’s clothing and Combs squirted Parham with what she believes was an oil or lubricant. According to the lawsuit, Khorram was instructed by Diddy to insert a syringe into Parham’s vagina. The lawsuit goes on to state that Combs, Pearce and two unnamed defendants violently raped Parham and that Combs forced an unknown pill down the woman’s throat.\u003c/p>\n\u003cp>Kristina Khorram, Shane Pearce and several unnamed men and women are listed as co-defendants in the lawsuit.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Bryana “Bana” Bongolan\u003c/strong>\u003c/p>\n\u003cp>On Nov. 27, fashion designer Bryana “Bana” Bongolan filed a lawsuit against Combs in California that alleges the mogul groped her breasts, dangled her over the balcony of a 17th floor apartment and frequently threatened and intimidated her throughout their working relationship.\u003c/p>\n\u003cp>The lawsuit states that Bongolan worked with Cassie Ventura at Diamond Supply Co. in 2014, which led the two women to develop a friendship. As they got closer, Bongolan alleges that she became aware of Combs’ violent and abusive behavior towards Ventura, eventually leading to Ventura showing Bongolan bruises and a black eye she received from Combs. According to the lawsuit, Bongolan worked closely with both Ventura and Combs, designing Bad Boy jackets for the mogul, creating costumes for the Bad Boy Family Reunion Tour, starting a clothing line called “Cassie + BANA,” and designing merchandise and cover art for Ventura.\u003c/p>\n\u003cp>Throughout the time they worked together, Bongolan alleges that Combs intimidated and threatened her, including an instance in which he forcibly drugged her and another in which he said “You have no idea what I could do to you. I could kill you.” The lawsuit states that in September of 2016, Bongolan, her then-girlfriend and Ventura were at Ventura’s apartment when Combs began violently knocking on the door. After making his way in, Bongolan alleges he found her on the balcony and began groping her breasts. When she resisted, she alleges that he picked her up and held her over the ledge of the 17th floor balcony, and then slammed her into patio furniture.\u003c/p>\n\u003cp>Ventura’s attorneys declined to comment on Bongolan’s lawsuit.\u003c/p>\n\u003chr>\n\u003ch2>The Accused\u003c/h2>\n\u003cp>\u003cb>Jay-Z\u003c/b>\u003c/p>\n\u003cfigure id=\"attachment_13832289\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-167861280_wide-4d1f06bf6c32c94d5b6c0fb9c6bd351a100f11e9.jpg\" alt=\"Jay-Z, on the red carpet to promote the film The Great Gatsby in New York in 2013.\" width=\"2048\" height=\"1152\" class=\"size-full wp-image-13832289\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-167861280_wide-4d1f06bf6c32c94d5b6c0fb9c6bd351a100f11e9.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-167861280_wide-4d1f06bf6c32c94d5b6c0fb9c6bd351a100f11e9-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-167861280_wide-4d1f06bf6c32c94d5b6c0fb9c6bd351a100f11e9-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-167861280_wide-4d1f06bf6c32c94d5b6c0fb9c6bd351a100f11e9-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-167861280_wide-4d1f06bf6c32c94d5b6c0fb9c6bd351a100f11e9-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-167861280_wide-4d1f06bf6c32c94d5b6c0fb9c6bd351a100f11e9-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-167861280_wide-4d1f06bf6c32c94d5b6c0fb9c6bd351a100f11e9-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-167861280_wide-4d1f06bf6c32c94d5b6c0fb9c6bd351a100f11e9-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-167861280_wide-4d1f06bf6c32c94d5b6c0fb9c6bd351a100f11e9-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-167861280_wide-4d1f06bf6c32c94d5b6c0fb9c6bd351a100f11e9-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-167861280_wide-4d1f06bf6c32c94d5b6c0fb9c6bd351a100f11e9-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/gettyimages-167861280_wide-4d1f06bf6c32c94d5b6c0fb9c6bd351a100f11e9-520x292.jpg 520w\" sizes=\"auto, (max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Jay-Z, on the red carpet to promote the film ‘The Great Gatsby’ in New York in 2013. \u003ccite>(Stephen Lovekin/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In October, an unnamed plaintiff filed a civil lawsuit against Combs alleging that he and an unnamed male celebrity assaulted her at an MTV Video Music Awards after-party in 2000, when she was only 13 years old. On December 8, the lawsuit was amended and refiled to name Jay-Z, whose real name is Shawn Carter, as the second assailant.\u003c/p>\n\u003cp>The complaint alleges that in September of 2000, the unnamed victim was attempting to gain entry to the VMAs in New York City when she approached a limousine driver who told her he worked for Combs and could take her to an after-party and did. The plaintiff alleges that later that night, when she arrived, she was asked to sign a document she now believes was a non-disclosure agreement. The complaint states that the plaintiff accepted a drink that made her woozy, leading her to retire to one of the bedrooms. She alleges that Carter, Combs and an unnamed female celebrity entered the room and that the two men raped her while the female celebrity stood by and watched.\u003c/p>\n\u003cp>In a statement emailed to NPR, Carter denied the allegations and stated that he was the target of a blackmail attempt designed to extort settlement money.\u003c/p>\n\u003cp>“These allegations are so heinous in nature that I implore you to file a criminal complaint, not a civil one!!” he said. “Whomever would commit such a crime against a minor should be locked away, would you not agree? These alleged victims would deserve real justice if that were the case.”\u003c/p>\n\u003cp>“My only heartbreak is for my family,” Carter added. “My wife and I will have to sit our children down, one of whom is at the age where her friends will surely see the press and ask questions about the nature of these claims, and explain the cruelty and greed of people. I mourn yet another loss of innocence.”\u003c/p>\n\u003cp>Carter is the first high-profile co-defendant to be named in over a dozen lawsuits filed by Texas attorney Tony Buzbee, all on behalf of unnamed accusers. The amended complaint accuses Carter of filing his own lawsuit against Buzbee, which the attorney called “frivolous.” NPR has reviewed a lawsuit filed on November 18 by an anonymous celebrity accusing Buzbee of extortion and intentional infliction of emotional distress.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Aaron Hall\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13966511\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966511\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Aaron-Hall.png\" alt=\"A Black man onstage wearing sunglasses and a denim jacket.\" width=\"2000\" height=\"1383\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Aaron-Hall.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Aaron-Hall-800x553.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Aaron-Hall-1020x705.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Aaron-Hall-160x111.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Aaron-Hall-768x531.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Aaron-Hall-1536x1062.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Aaron-Hall-1920x1328.png 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Aaron Hall. \u003ccite>(Paras Griffin/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The R&B singer is named in Gardner’s lawsuit, alleging that he and Combs raped her and an unnamed friend in 1990. Hall could not be reached for comment.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Harve Pierre\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13966512\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966512\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Harve-Pierre.png\" alt=\"A bald Black man in a suit sits at a dinner table.\" width=\"2000\" height=\"1322\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Harve-Pierre.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Harve-Pierre-800x529.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Harve-Pierre-1020x674.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Harve-Pierre-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Harve-Pierre-768x508.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Harve-Pierre-1536x1015.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Harve-Pierre-1920x1269.png 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Harve Pierre. \u003ccite>(Thaddaeus McAdams/FilmMagic/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In December 2023, an unnamed woman filed a \u003ca href=\"https://www.documentcloud.org/documents/24193192-sean-combs-jane-doe-complaint\">lawsuit\u003c/a> accusing Combs, former Bad Boy Entertainment president Harve Pierre and a third man of trafficking and gang raping her when she was 17 years old. The suit states that the victim met Pierre at a lounge in Michigan in 2003 while she was still in high school, and that the record executive sexually assaulted her by forcing her to perform oral sex on him. Pierre allegedly called Combs, who convinced the underaged woman to board a private jet to New Jersey.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13934462",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>After the plane ride, the suit states that the unnamed victim, Pierre and two other men were driven to Combs’ recording studio in New York, where they “plied Ms. Doe with drugs and alcohol.” The lawsuit says that Combs, Pierre and another man proceeded to “gang-rape” the teenager, and that she has limited recollection of the trip back to Michigan the following day. The lawsuit also names recording studio Daddy’s House Recordings and Bad Boy Entertainment as co-defendants. Pierre denied the allegations in a \u003ca href=\"https://www.tmz.com/2023/12/08/diddy-bad-boy-president-harve-pierre-lawsuit/\">statement\u003c/a> to TMZ.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Kristina Khorram\u003c/strong>\u003c/p>\n\u003cp>Khorram is named as Combs’ chief of staff and a co-defendant in Jones’ lawsuit. Jones alleges that Khorram frequently solicited illicit drugs and sex workers for Combs and his guests, forced Jones to carry substances for Combs and ordered Jones to hire sex workers for Combs. He also accuses Khorram of “aiding and abetting” Combs’ sexual assault and helping Combs groom Jones. Though she is not listed as a co-defendant, Khorram is also named in a September 2024 sexual abuse lawsuit filed by an unnamed woman who says the Combs employee often paid for her to travel and “perform” for Combs — the complaint alleges Combs’ staffers would “send drivers to [the victim’s] home to pick her up before she agreed to travel, to the point where she did not believe she had a choice.”\u003c/p>\n\u003cp>NPR reached out to Khorram’s attorneys Oct. 10 and Oct. 22 for comment and is awaiting a reply.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Cuba Gooding Jr.\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13966514\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966514\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Cuba-Gooding-Jr.png\" alt=\"A Black man sits in court wearing a suit and red scarf, looking concerned.\" width=\"2000\" height=\"1335\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Cuba-Gooding-Jr.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Cuba-Gooding-Jr-800x534.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Cuba-Gooding-Jr-1020x681.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Cuba-Gooding-Jr-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Cuba-Gooding-Jr-768x513.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Cuba-Gooding-Jr-1536x1025.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Cuba-Gooding-Jr-1920x1282.png 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Cuba Gooding Jr. \u003ccite>(Alec Tabak/The Daily News via AP, Pool, File)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The actor, who \u003ca href=\"https://www.npr.org/2022/04/13/1092699710/actor-cuba-gooding-jr-pleads-guilty-to-forcibly-touching\">pled guilty\u003c/a> in 2022 to forcibly touching a woman and \u003ca href=\"https://www.npr.org/2023/06/06/1180421961/cuba-gooding-jr-settles-civil-sex-abuse-case\">settled\u003c/a> a civil sexual abuse case in 2023, was named in an amendment to Rodney “Lil Rod” Jones’ original lawsuit against Combs. The producer alleges that Gooding Jr. fondled and groped him on Combs’ yacht. The actor has denied the allegations. “It’s the most ridiculous thing ever,” \u003ca href=\"https://www.youtube.com/watch?v=WuZbTB0Fh24\">he said\u003c/a> in an interview with Extra TV. “Welcome to being a celebrity. Welcome to my world.”\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Justin Dior Combs and Christian Combs\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13966515\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966515\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/dior.png\" alt=\"Two young, casually dressed Black men stand on a red carpet, smiling.\" width=\"2000\" height=\"1765\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/dior.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/dior-800x706.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/dior-1020x900.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/dior-160x141.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/dior-768x678.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/dior-1536x1356.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/dior-1920x1694.png 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Justin Dior Combs (left) and Christian Combs. \u003ccite>(Aaron Davidson/WireImage | Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sean Combs’ son, Justin Dior Combs, is also named in Jones’ lawsuit against the rapper, which alleges that the producer witnessed the father and son solicit sex workers and admit underaged girls to a listening party where they laced the women’s drinks. The lawsuit also alleges that Jones witnessed Christian Combs, another son of Combs, drug and assault a woman.\u003c/p>\n\u003cp>Tyrone Blackburn, an attorney representing Jones, is also part of a separate lawsuit filed in April against Christian Combs on behalf of a plaintiff named Grace O’Marcaigh, alleging the younger Combs assaulted her on a yacht owned by Combs, who is named as co-defendant. Both Justin Dior Combs and Christian Combs have denied the allegations against them.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Jacob Arabov, aka “Jacob The Jeweler” aka Jacob Arabo \u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13966516\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966516\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Jacob-Arabov.png\" alt=\"A middle aged white man in a blue suit holds one wrist up to show his watch.\" width=\"2000\" height=\"1336\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Jacob-Arabov.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Jacob-Arabov-800x534.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Jacob-Arabov-1020x681.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Jacob-Arabov-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Jacob-Arabov-768x513.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Jacob-Arabov-1536x1026.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Jacob-Arabov-1920x1283.png 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jacob Arabov. \u003ccite>(Matthew Eisman/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The founder and chairman of high-profile jewelry and watch company Jacob & Co. is named as a co-defendant in English’s suit, which alleges he was one of the “White Party” guests she was forced to have sex with. Jacob & Co did not respond to NPR’s request for comment.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Joseph “Big Joe” Sherman\u003c/strong>\u003c/p>\n\u003cp>Combs’ former bodyguard is named as a co-defendant in Graves’ lawsuit, along with Daddy’s House Recordings, Bad Boy Entertainment and more. Graves claims that Sherman actively raped her alongside Combs in 2001. The lawsuit states that when she attempted to escape the assault, Combs slammed her head into a pool table, causing her to lose consciousness. After waking up, she says Sherman continued to assault her and slapped her until she passed out a third time. Sherman has \u003ca href=\"https://www.nbcnewyork.com/investigations/former-celeb-body-guard-falsely-accused-raping-woman-with-diddy/5849264/\">denied\u003c/a> Graves’ claims, saying he no longer worked for Bad Boy in 2001 and never met the young woman.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>DeVante Swing\u003c/strong>\u003c/p>\n\u003cp>In an amended complaint filed on Oct. 8, Liza Gardner added Devante Swing of the R&B group Jodeci as a co-defendant to her lawsuit. Gardner alleges that Swing, who was an adult at the time, was her “assumed co-guardian” when he invited the underaged Gardner to New Jersey. The suit alleges that Swing “trafficked and or coerced the child to travel across state lines from North Carolina to New York and New Jersey with the hidden intention of providing the child with alcohol, and marijuana and prostituting the child to his A&R Combs.” Gardner’s friend, Monica Case, also filed a sworn declaration alleging Swing was in the room “watching whatever Puffy was doing to Liza.”\u003c/p>\n\u003cp>Swing could not be reached for comment.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Shane Pearce\u003c/strong>\u003c/p>\n\u003cp>Pearce is accused of inviting Parham to his home with the intention of allowing Combs to assault her. The lawsuit also alleges Pearce is one of the men who participated in the “gang-raping” of Parham.\u003c/p>\n\u003cp>Pearce could not be reached for comment.\u003c/p>\n\u003chr>\n\u003ch2>Other Names To Know\u003c/h2>\n\u003cp>\u003cstrong>Jimmy Iovine\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13966518\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966518\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Jimmy-Iovine.png\" alt=\"A white man wearing a white baseball cap, backwards and sunglasses.\" width=\"2000\" height=\"1331\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Jimmy-Iovine.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Jimmy-Iovine-800x532.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Jimmy-Iovine-1020x679.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Jimmy-Iovine-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Jimmy-Iovine-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Jimmy-Iovine-1536x1022.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Jimmy-Iovine-1920x1278.png 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jimmy Iovine. \u003ccite>(Ronald Martinez/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In her lawsuit, Richard alleges that she attended a party where Interscope Records co-founder Jimmy Iovine witnessed Combs punch Ventura in the stomach. The lawsuit blames Iovine — and Interscope — for moving forward with a deal with Combs and Bad Boy Entertainment after becoming aware of his violent and abusive behavior. Separately, in 2022, Iovine was accused of sexual abuse and harassment by an unnamed woman under New York’s Adult Survivors Act. The woman later dropped the case.\u003c/p>\n\u003cp>NPR reached out to Interscope and Iovine’s team but did not receive a comment.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Kid Cudi\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13966519\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966519\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/cudi.png\" alt=\"A Black man wearing a white t-shirt sings passionately into a microphone on stage.\" width=\"2000\" height=\"1320\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/cudi.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/cudi-800x528.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/cudi-1020x673.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/cudi-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/cudi-768x507.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/cudi-1536x1014.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/cudi-1920x1267.png 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Kid Cudi. \u003ccite>(Theo Wargo/Getty Images for Coachella)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kid Cudi and Ventura were romantically involved in 2011. In her lawsuit, Ventura alleged that when Combs found emails between the two on Ventura’s phone, he became enraged and attacked her. Ventura attempted to run away but returned due to pressure from Combs’ staff; the lawsuit alleged that Combs then hit and kicked her.\u003c/p>\n\u003cp>The lawsuit stated that in 2012, Combs told Ventura he wanted to “blow up” Kid Cudi’s car while the rapper was home. Kid Cudi corroborated to \u003cem>The New York Times\u003c/em> that his car exploded in his driveway around that time.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Caresha Brownlee, aka Yung Miami\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13966520\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966520\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Caresha-Brownlee-aka-Yung-Miami.png\" alt=\"A glamourous Black woman performs on stage wearing a strapless leather dress.\" width=\"2000\" height=\"1336\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Caresha-Brownlee-aka-Yung-Miami.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Caresha-Brownlee-aka-Yung-Miami-800x534.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Caresha-Brownlee-aka-Yung-Miami-1020x681.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Caresha-Brownlee-aka-Yung-Miami-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Caresha-Brownlee-aka-Yung-Miami-768x513.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Caresha-Brownlee-aka-Yung-Miami-1536x1026.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Caresha-Brownlee-aka-Yung-Miami-1920x1283.png 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Caresha Brownlee, aka Yung Miami. \u003ccite>(Terence Rushin/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Yung Miami, half of the rap duo City Girls, dated Combs in recent years. In August, she denied knowing anything about the accusations that have surfaced against her ex. “I can’t speak on these allegations because I wasn’t around at the time,” she said on her Revolt TV show, \u003cem>Caresha Please\u003c/em>. “I don’t know that person, and that wasn’t my experience.”\u003c/p>\n\u003cp>In September, however, Brownlee was named in a \u003ca href=\"https://www.npr.org/2024/09/27/g-s1-25157/sean-diddy-combs-jane-doe-pregnant-assault-lawsuit\">\u003cu>lawsuit\u003c/u>\u003c/a> filed against Combs by an unnamed woman. The lawsuit alleges that the plaintiff was forced to travel and “perform” for Combs many times from 2021 to 2024. Much of this travel was reportedly paid for by Combs’ staffer Kristina Khorram. The suit states that in 2022, the plaintiff was forced to take drugs and have sex with Combs. When she learned she was pregnant and told Combs, the lawsuit states that Brownlee — who is not a co-defendant on the complaint — harassed and called the plaintiff repeatedly, pressuring her to get an abortion. The stress allegedly led the woman to suffer a miscarriage.\u003c/p>\n\u003cp>NPR reached out to Brownlee’s representation Thursday morning and is awaiting a reply.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Tony Buzbee\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13966521\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966521\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Tony-Buzbee.png\" alt=\"A white man in a suit.\" width=\"2000\" height=\"1335\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Tony-Buzbee.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Tony-Buzbee-800x534.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Tony-Buzbee-1020x681.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Tony-Buzbee-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Tony-Buzbee-768x513.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Tony-Buzbee-1536x1025.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Tony-Buzbee-1920x1282.png 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Tony Buzbee. \u003ccite>(Eric Gay/AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On Oct. 1, Texas attorney Tony Buzbee held a press conference announcing that his firm will be filing at least 120 individual civil lawsuits against Combs in the coming weeks. “The biggest secret in the entertainment industry that wasn’t really a secret at all has finally been revealed to the world,” Buzbee said during the presser. “The wall of silence has been broken, and victims are coming forward.”\u003c/p>\n\u003cp>Since then, Buzbee has filed more than a dozen sexual assault lawsuits against Combs, all on behalf of unnamed plaintiffs. On December 8, one such complaint was amended to name Jay-Z as a co-defendant.\u003c/p>\n\u003cp>On Oct. 14, six unnamed plaintiffs filed separate lawsuits against Combs; all are being represented by Buzbee. One of the alleged victims is a man who says Combs fondled him when he was 16 years old at a “White Party” in the Hamptons.\u003c/p>\n\u003cp>Buzbee is known for representing clients in high-profile cases, including Texas attorney general Ken Paxton during his 2023 impeachment trial, the women who sued football player \u003ca href=\"https://www.npr.org/2022/06/21/1106409107/cleveland-browns-deshaun-watson-settles-20-of-24-sexual-misconduct-lawsuits\">Deshaun Watson\u003c/a> for sexual misconduct, and the victims of the \u003ca href=\"https://www.npr.org/2021/11/11/1054765905/what-went-wrong-at-astroworld-the-deadly-dynamics-of-crowd-surge\">Astroworld\u003c/a> deadly crowd surge. During Paxton’s trial, Buzbee took his own share of the spotlight for a \u003ca href=\"https://www.houstonchronicle.com/opinion/editorials/article/ken-paxton-trial-buzbee-altuve-bucees-18355320.php\">public spat\u003c/a> with the media over how they photographed his tan in the courtroom.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In addition to practicing at the Buzbee Law Firm, his professional ventures include property development, a short-lived THC-infused \u003ca href=\"https://www.chron.com/food/article/houston-buzbee-thc-seltzer-discontinued-19462337.php\">seltzer company\u003c/a> and local politics. He self-funded \u003ca href=\"https://www.texastribune.org/2019/11/05/houston-mayor-race-sylvester-turner-tony-buzbee-runoff/\">a run for Houston mayor\u003c/a> against Democratic incumbent Sylvester Turner in 2019 and \u003ca href=\"https://www.texastribune.org/2023/11/07/tony-buzbee-houston-city-council-election-nan-huffman/\">ran for Houston City Council\u003c/a> in 2023, ultimately losing both races.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13966505/heres-everyone-caught-in-the-web-of-the-sean-diddy-combs-allegations-so-far",
"authors": [
"byline_arts_13966505"
],
"categories": [
"arts_1",
"arts_69",
"arts_235"
],
"tags": [
"arts_2798",
"arts_21822",
"arts_831",
"arts_4959",
"arts_2462"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13966506",
"label": "arts_137"
},
"arts_13966395": {
"type": "posts",
"id": "arts_13966395",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13966395",
"score": null,
"sort": [
1728588208000
]
},
"guestAuthors": [],
"slug": "hemorage-metal-band-guerrilla-shows-aftershock",
"title": "Metal Band Hemorage Usually Crashes the Party — Now They’re Invited Guests",
"publishDate": 1728588208,
"format": "standard",
"headTitle": "Metal Band Hemorage Usually Crashes the Party — Now They’re Invited Guests | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>If it weren’t for a small black-and-white band sticker slapped on the door of the faded, peach colored building, you’d completely miss the entrance to the Bayview headquarters of San Francisco metal band Hemorage. \u003c/p>\n\u003cp>“This is like our training facility,” Orc tells me as we wind through the warehouse. “We actually throw shows for other bands here too, but it’s mainly a practice space.” \u003c/p>\n\u003cp>Clothing hangers, tools, alcohol, cleaning supplies and plastic tubs full of merch line the walls along the path to the rehearsal space. Inside, the back wall is painted black with “HEMORAGE” painted across it in white. Felt squares in a tricolor blend of black, orange and turquoise dot the walls and ceiling for makeshift soundproofing, while Polaroids from the band’s shows sit in a pile off to the side, along with a few mismatched chairs, which Orc grabs for us to sit on. \u003c/p>\n\u003cfigure id=\"attachment_13966403\" class=\"wp-caption aligncenter\" style=\"max-width: 1956px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HemorageinSF_GC-26_qed.jpg\" alt=\"\" width=\"1956\" height=\"1333\" class=\"size-full wp-image-13966403\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HemorageinSF_GC-26_qed.jpg 1956w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HemorageinSF_GC-26_qed-800x545.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HemorageinSF_GC-26_qed-1020x695.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HemorageinSF_GC-26_qed-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HemorageinSF_GC-26_qed-768x523.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HemorageinSF_GC-26_qed-1536x1047.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HemorageinSF_GC-26_qed-1920x1308.jpg 1920w\" sizes=\"(max-width: 1956px) 100vw, 1956px\">\u003cfigcaption class=\"wp-caption-text\">Hemorage guitarist and vocalist Jon Orc practices in a warehouse in San Francisco on October 8, 2024.\u003c/figcaption>\u003c/figure>\n\u003cp>Hemorage has spent years establishing themselves in the metal scene with a unique DIY ethos. Tired of dealing with music venues and promoters, the band, which also consists of vocalist and guitarist Bona “Toby” Pak and drummer Ron Roussell, began taking matters into their own hands with pop-up, guerrilla-style shows out of the back of their bus.\u003c/p>\n\u003cp>Hemorage has made these aftershow appearances for Bay Area crowds leaving concerts for bands like Hatebreed and Metallica, and proudly crashed music festivals like Riot Fest. Last year, they even pulled up unannounced for an impromptu concert on the street outside of Outside Lands.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But this year, their hard work and years of surprise shows are paying off. After a multi-state tour that kicked off last month in Petaluma, they’ll finish the tour with a dream stop: Aftershock Festival in Sacramento. Having played guerrilla-style in the parking lot outside Aftershock for the past two years, Hemorage will make their debut on Friday as an official artist on the festival’s Soundwave stage. \u003c/p>\n\u003cfigure id=\"attachment_13966367\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HEMORAGEINSF_GC-11-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13966367\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HEMORAGEINSF_GC-11-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HEMORAGEINSF_GC-11-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HEMORAGEINSF_GC-11-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HEMORAGEINSF_GC-11-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HEMORAGEINSF_GC-11-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HEMORAGEINSF_GC-11-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HEMORAGEINSF_GC-11-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Metal rock band Hemorage practice in a warehouse in San Francisco on October 8, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s pretty exciting,” Orc tells me. “They actually reached out to us and I couldn’t believe it. I thought it was a lie until I looked [him] up on LinkedIn and there was like, a legit guy!”\u003c/p>\n\u003cp>I ask Orc if Aftershock knew they’d played in their parking lot before. “I think they’ve been aware,” he said. “But we didn’t realize how many people [had] actually heard of us.” \u003c/p>\n\u003cp>After years of performing guerrilla shows, it’s clear that the band has the attention of the local punk and thrash scene. Hemorage has made a point to seek out crowds for bands they also admire, like Exodus and Slayer, and perform pop-up shows for them. \u003c/p>\n\u003cp>“We’re chasing the big crowd because the more people we play in front of, the more people hear about us,” says Orc. “It’s a snowball effect kind of thing, you know?” \u003c/p>\n\u003cfigure id=\"attachment_13966366\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HEMORAGEINSF_GC-7-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13966366\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HEMORAGEINSF_GC-7-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HEMORAGEINSF_GC-7-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HEMORAGEINSF_GC-7-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HEMORAGEINSF_GC-7-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HEMORAGEINSF_GC-7-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HEMORAGEINSF_GC-7-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HEMORAGEINSF_GC-7-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Hemorage guitarist and vocalist Bona Pak practices in a warehouse in San Francisco on October 8, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I ask if any bands have ever gotten mad at them for crashing their shows, and Orc laughs. Without naming names, “there was one band member from a big band that didn’t like us,” he tells me. “But we just ignored it and kept going.” \u003c/p>\n\u003cp>Police, on the other hand, can’t always be ignored. \u003c/p>\n\u003cp>“We don’t get in trouble that often,” Orc tells me. “Sometimes the cops shut us down, but sometimes they let us finish.” \u003c/p>\n\u003cp>In the end, it doesn’t really matter if the cops or headlining bands don’t like Hemorage’s approach, because the fans certainly do. “The craziest ones [guerrilla shows] are like when there’s so many people around us — people jumping on things, people climbing on things,” Orc says. He estimates they’ve done over 500 of these types of shows throughout the band’s history, which spans more than a decade. \u003c/p>\n\u003cfigure id=\"attachment_13966404\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HemorageinSF_GC-23_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13966404\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HemorageinSF_GC-23_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HemorageinSF_GC-23_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HemorageinSF_GC-23_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HemorageinSF_GC-23_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HemorageinSF_GC-23_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HemorageinSF_GC-23_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HemorageinSF_GC-23_qed-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Hemorage drummer Ron Russell practices in a warehouse in San Francisco on October 8, 2024.\u003c/figcaption>\u003c/figure>\n\u003cp>Their drive to keep playing stems from one of Hemorage’s biggest goals: to put Bay Area punk and metal artists back on the map. “That’s the reason we’re still here [in San Francisco],” Orc tells me. “A lot of people write off the Bay Area. People don’t expect anything cool that’s coming out of San Francisco anymore. We just want to thrive here, and then we can carry that flag and maybe inspire the next generation of musicians.” \u003c/p>\n\u003cp>Soon, Pak and Roussell arrive for practice, and they show me the new matte black guitars the band has decided to start using. After some chit-chat, the three fall seamlessly into practice mode, playing just as loud as you’d imagine for a thrash metal band. \u003c/p>\n\u003cfigure id=\"attachment_13966368\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HEMORAGEINSF_GC-13-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13966368\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HEMORAGEINSF_GC-13-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HEMORAGEINSF_GC-13-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HEMORAGEINSF_GC-13-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HEMORAGEINSF_GC-13-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HEMORAGEINSF_GC-13-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HEMORAGEINSF_GC-13-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HEMORAGEINSF_GC-13-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Hemorage guitarist and vocalist Jon Orc practices in a warehouse in San Francisco on October 8, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Before leaving, I ask Orc how being part of the official Aftershock lineup feels compared to playing in the parking lot.\u003c/p>\n\u003cp>“We’ve never gotten a shot at playing a big show or opening for a bigger artist here in the Bay Area,” Orc says. “It feels really good.”\u003c/p>\n\u003cp>I also ask if there’s any chance fans will be able to catch a parking lot show after their set on Friday, when Aftershock gets out. Orc tells me he can’t confirm or deny anything, because of course, they’re obligated to the contract they signed.\u003c/p>\n\u003cp>“But we might,” he says, laughing. “We might just do it.” \u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Hemorage performs Friday, Oct. 11, on the Soundwave stage at the Aftershock festival in Sacramento’s Discovery Park. \u003ca href=\"https://aftershockfestival.com/\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "After a decade of guerrilla pop-up shows, the San Francisco thrash band is booked at a large festival.",
"status": "publish",
"parent": 0,
"modified": 1728588208,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 23,
"wordCount": 1060
},
"headData": {
"title": "Metal Band Hemorage Usually Crashes the Party — Now They’re Invited Guests | KQED",
"description": "After a decade of guerrilla pop-up shows, the San Francisco thrash band is booked at a large festival.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Metal Band Hemorage Usually Crashes the Party — Now They’re Invited Guests",
"datePublished": "2024-10-10T12:23:28-07:00",
"dateModified": "2024-10-10T12:23:28-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprStoryId": "kqed-13966395",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13966395/hemorage-metal-band-guerrilla-shows-aftershock",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If it weren’t for a small black-and-white band sticker slapped on the door of the faded, peach colored building, you’d completely miss the entrance to the Bayview headquarters of San Francisco metal band Hemorage. \u003c/p>\n\u003cp>“This is like our training facility,” Orc tells me as we wind through the warehouse. “We actually throw shows for other bands here too, but it’s mainly a practice space.” \u003c/p>\n\u003cp>Clothing hangers, tools, alcohol, cleaning supplies and plastic tubs full of merch line the walls along the path to the rehearsal space. Inside, the back wall is painted black with “HEMORAGE” painted across it in white. Felt squares in a tricolor blend of black, orange and turquoise dot the walls and ceiling for makeshift soundproofing, while Polaroids from the band’s shows sit in a pile off to the side, along with a few mismatched chairs, which Orc grabs for us to sit on. \u003c/p>\n\u003cfigure id=\"attachment_13966403\" class=\"wp-caption aligncenter\" style=\"max-width: 1956px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HemorageinSF_GC-26_qed.jpg\" alt=\"\" width=\"1956\" height=\"1333\" class=\"size-full wp-image-13966403\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HemorageinSF_GC-26_qed.jpg 1956w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HemorageinSF_GC-26_qed-800x545.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HemorageinSF_GC-26_qed-1020x695.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HemorageinSF_GC-26_qed-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HemorageinSF_GC-26_qed-768x523.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HemorageinSF_GC-26_qed-1536x1047.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HemorageinSF_GC-26_qed-1920x1308.jpg 1920w\" sizes=\"(max-width: 1956px) 100vw, 1956px\">\u003cfigcaption class=\"wp-caption-text\">Hemorage guitarist and vocalist Jon Orc practices in a warehouse in San Francisco on October 8, 2024.\u003c/figcaption>\u003c/figure>\n\u003cp>Hemorage has spent years establishing themselves in the metal scene with a unique DIY ethos. Tired of dealing with music venues and promoters, the band, which also consists of vocalist and guitarist Bona “Toby” Pak and drummer Ron Roussell, began taking matters into their own hands with pop-up, guerrilla-style shows out of the back of their bus.\u003c/p>\n\u003cp>Hemorage has made these aftershow appearances for Bay Area crowds leaving concerts for bands like Hatebreed and Metallica, and proudly crashed music festivals like Riot Fest. Last year, they even pulled up unannounced for an impromptu concert on the street outside of Outside Lands.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But this year, their hard work and years of surprise shows are paying off. After a multi-state tour that kicked off last month in Petaluma, they’ll finish the tour with a dream stop: Aftershock Festival in Sacramento. Having played guerrilla-style in the parking lot outside Aftershock for the past two years, Hemorage will make their debut on Friday as an official artist on the festival’s Soundwave stage. \u003c/p>\n\u003cfigure id=\"attachment_13966367\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HEMORAGEINSF_GC-11-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13966367\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HEMORAGEINSF_GC-11-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HEMORAGEINSF_GC-11-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HEMORAGEINSF_GC-11-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HEMORAGEINSF_GC-11-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HEMORAGEINSF_GC-11-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HEMORAGEINSF_GC-11-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HEMORAGEINSF_GC-11-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Metal rock band Hemorage practice in a warehouse in San Francisco on October 8, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s pretty exciting,” Orc tells me. “They actually reached out to us and I couldn’t believe it. I thought it was a lie until I looked [him] up on LinkedIn and there was like, a legit guy!”\u003c/p>\n\u003cp>I ask Orc if Aftershock knew they’d played in their parking lot before. “I think they’ve been aware,” he said. “But we didn’t realize how many people [had] actually heard of us.” \u003c/p>\n\u003cp>After years of performing guerrilla shows, it’s clear that the band has the attention of the local punk and thrash scene. Hemorage has made a point to seek out crowds for bands they also admire, like Exodus and Slayer, and perform pop-up shows for them. \u003c/p>\n\u003cp>“We’re chasing the big crowd because the more people we play in front of, the more people hear about us,” says Orc. “It’s a snowball effect kind of thing, you know?” \u003c/p>\n\u003cfigure id=\"attachment_13966366\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HEMORAGEINSF_GC-7-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13966366\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HEMORAGEINSF_GC-7-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HEMORAGEINSF_GC-7-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HEMORAGEINSF_GC-7-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HEMORAGEINSF_GC-7-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HEMORAGEINSF_GC-7-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HEMORAGEINSF_GC-7-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HEMORAGEINSF_GC-7-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Hemorage guitarist and vocalist Bona Pak practices in a warehouse in San Francisco on October 8, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I ask if any bands have ever gotten mad at them for crashing their shows, and Orc laughs. Without naming names, “there was one band member from a big band that didn’t like us,” he tells me. “But we just ignored it and kept going.” \u003c/p>\n\u003cp>Police, on the other hand, can’t always be ignored. \u003c/p>\n\u003cp>“We don’t get in trouble that often,” Orc tells me. “Sometimes the cops shut us down, but sometimes they let us finish.” \u003c/p>\n\u003cp>In the end, it doesn’t really matter if the cops or headlining bands don’t like Hemorage’s approach, because the fans certainly do. “The craziest ones [guerrilla shows] are like when there’s so many people around us — people jumping on things, people climbing on things,” Orc says. He estimates they’ve done over 500 of these types of shows throughout the band’s history, which spans more than a decade. \u003c/p>\n\u003cfigure id=\"attachment_13966404\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HemorageinSF_GC-23_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13966404\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HemorageinSF_GC-23_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HemorageinSF_GC-23_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HemorageinSF_GC-23_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HemorageinSF_GC-23_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HemorageinSF_GC-23_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HemorageinSF_GC-23_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HemorageinSF_GC-23_qed-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Hemorage drummer Ron Russell practices in a warehouse in San Francisco on October 8, 2024.\u003c/figcaption>\u003c/figure>\n\u003cp>Their drive to keep playing stems from one of Hemorage’s biggest goals: to put Bay Area punk and metal artists back on the map. “That’s the reason we’re still here [in San Francisco],” Orc tells me. “A lot of people write off the Bay Area. People don’t expect anything cool that’s coming out of San Francisco anymore. We just want to thrive here, and then we can carry that flag and maybe inspire the next generation of musicians.” \u003c/p>\n\u003cp>Soon, Pak and Roussell arrive for practice, and they show me the new matte black guitars the band has decided to start using. After some chit-chat, the three fall seamlessly into practice mode, playing just as loud as you’d imagine for a thrash metal band. \u003c/p>\n\u003cfigure id=\"attachment_13966368\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HEMORAGEINSF_GC-13-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13966368\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HEMORAGEINSF_GC-13-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HEMORAGEINSF_GC-13-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HEMORAGEINSF_GC-13-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HEMORAGEINSF_GC-13-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HEMORAGEINSF_GC-13-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HEMORAGEINSF_GC-13-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20241008_HEMORAGEINSF_GC-13-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Hemorage guitarist and vocalist Jon Orc practices in a warehouse in San Francisco on October 8, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Before leaving, I ask Orc how being part of the official Aftershock lineup feels compared to playing in the parking lot.\u003c/p>\n\u003cp>“We’ve never gotten a shot at playing a big show or opening for a bigger artist here in the Bay Area,” Orc says. “It feels really good.”\u003c/p>\n\u003cp>I also ask if there’s any chance fans will be able to catch a parking lot show after their set on Friday, when Aftershock gets out. Orc tells me he can’t confirm or deny anything, because of course, they’re obligated to the contract they signed.\u003c/p>\n\u003cp>“But we might,” he says, laughing. “We might just do it.” \u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Hemorage performs Friday, Oct. 11, on the Soundwave stage at the Aftershock festival in Sacramento’s Discovery Park. \u003ca href=\"https://aftershockfestival.com/\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13966395/hemorage-metal-band-guerrilla-shows-aftershock",
"authors": [
"11919"
],
"categories": [
"arts_1",
"arts_69"
],
"tags": [
"arts_10278",
"arts_994",
"arts_1694",
"arts_5779"
],
"featImg": "arts_13966370",
"label": "arts"
},
"arts_13966358": {
"type": "posts",
"id": "arts_13966358",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13966358",
"score": null,
"sort": [
1728510229000
]
},
"guestAuthors": [],
"slug": "ticket-alert-cher-at-the-golden-gate-theatre-in-san-francisco",
"title": "Ticket Alert: Cher at the Golden Gate Theatre in San Francisco",
"publishDate": 1728510229,
"format": "standard",
"headTitle": "Ticket Alert: Cher at the Golden Gate Theatre in San Francisco | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003cp>This just in: Cher will be appearing at the Golden Gate Theatre in San Francisco, and tickets go on sale Thursday, Oct. 10, at 9 a.m.\u003c/p>\n\u003cp>The global superstar won’t be singing at the Dec. 4 appearance, but rather talking about her life in a casual one-hour conversation with former \u003cem>San Francisco Chronicle\u003c/em> music critic Joel Selvin. Attendees will each receive a copy of her new memoir. \u003c/p>\n\u003cp>And what a life it is: Sonny Bono! Variety TV! \u003ca href=\"https://www.youtube.com/watch?v=iIJFfFzorhg\">Those dresses\u003c/a>! \u003cem>Mask\u003c/em>! Autotune! Dating a \u003ca href=\"https://people.com/music/alexander-edwards-facts/\">music producer from Oakland 40 years her junior\u003c/a>! It’s a life that could fill multiple books. (Maybe that’s why her memoir is titled \u003cem>Cher: The Memoir, Part One\u003c/em>.)\u003c/p>\n\u003cp>Here in San Francisco, Cher has a huge fanbase, so expect tickets to sell quickly. \u003ca href=\"https://www.broadwaysf.com/events/cher-unscripted/\">Find them here at the BroadwaySF.com site\u003c/a> at 9 a.m. Thursday. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
"blocks": [],
"excerpt": "The global superstar appears in conversation on Dec. 4 to discuss her new memoir.",
"status": "publish",
"parent": 0,
"modified": 1728510503,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 6,
"wordCount": 149
},
"headData": {
"title": "Ticket Alert: Cher at the Golden Gate Theatre in San Francisco | KQED",
"description": "The global superstar appears in conversation on Dec. 4 to discuss her new memoir.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Ticket Alert: Cher at the Golden Gate Theatre in San Francisco",
"datePublished": "2024-10-09T14:43:49-07:00",
"dateModified": "2024-10-09T14:48:23-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprStoryId": "kqed-13966358",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13966358/ticket-alert-cher-at-the-golden-gate-theatre-in-san-francisco",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This just in: Cher will be appearing at the Golden Gate Theatre in San Francisco, and tickets go on sale Thursday, Oct. 10, at 9 a.m.\u003c/p>\n\u003cp>The global superstar won’t be singing at the Dec. 4 appearance, but rather talking about her life in a casual one-hour conversation with former \u003cem>San Francisco Chronicle\u003c/em> music critic Joel Selvin. Attendees will each receive a copy of her new memoir. \u003c/p>\n\u003cp>And what a life it is: Sonny Bono! Variety TV! \u003ca href=\"https://www.youtube.com/watch?v=iIJFfFzorhg\">Those dresses\u003c/a>! \u003cem>Mask\u003c/em>! Autotune! Dating a \u003ca href=\"https://people.com/music/alexander-edwards-facts/\">music producer from Oakland 40 years her junior\u003c/a>! It’s a life that could fill multiple books. (Maybe that’s why her memoir is titled \u003cem>Cher: The Memoir, Part One\u003c/em>.)\u003c/p>\n\u003cp>Here in San Francisco, Cher has a huge fanbase, so expect tickets to sell quickly. \u003ca href=\"https://www.broadwaysf.com/events/cher-unscripted/\">Find them here at the BroadwaySF.com site\u003c/a> at 9 a.m. Thursday. \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/13966358/ticket-alert-cher-at-the-golden-gate-theatre-in-san-francisco",
"authors": [
"185"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_76",
"arts_74",
"arts_69",
"arts_75",
"arts_22313"
],
"tags": [
"arts_7032",
"arts_585",
"arts_4798"
],
"featImg": "arts_13966359",
"label": "arts_140"
},
"arts_13966304": {
"type": "posts",
"id": "arts_13966304",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13966304",
"score": null,
"sort": [
1728493545000
]
},
"guestAuthors": [],
"slug": "nicki-minaj-fans-election-barbz-harris-trump",
"title": "The Beautiful Chaos of Nicki Minaj Fans During an Election",
"publishDate": 1728493545,
"format": "standard",
"headTitle": "The Beautiful Chaos of Nicki Minaj Fans During an Election | KQED",
"labelTerm": {},
"content": "\u003cp>\u003cem>This story is part of the KQED series \u003ca href=\"https://www.kqed.org/fandomvote\">The Fandom Vote\u003c/a>, exploring the election-year concerns and voting preferences of pop culture fanbases.\u003c/em>\u003c/p>\n\u003cp>[dropcap]W[/dropcap]hen we began planning to talk to pop culture fandoms about this year’s election, we knew we couldn’t overlook the Barbz.\u003c/p>\n\u003cp>Nicki Minaj fans come from all walks of life, unified in their fierce loyalty to the Queen of Rap. As a pivotal figure in music who blew open the doors for today’s female rappers, Nicki is an icon — one whose fanbase has as many different political leanings as \u003ca href=\"https://nickiminaj.fandom.com/wiki/Alter_egos\">she has alter egos\u003c/a>. [aside postID='news_11999092']\u003c/p>\n\u003cp>Nicki’s own politics don’t exactly fit into a box, either. She’s expressed \u003ca href=\"https://www.billboard.com/music/music-news/nicki-minaj-hillary-clinton-donald-trump-barack-obama-sandra-bland-6804598/\">admiration for Hillary Clinton and Barack Obama\u003c/a>, but has also \u003ca href=\"https://x.com/NICKIMINAJ/status/1438256221660663812?lang=en\">decried\u003c/a> being told what to do by Democrats, including getting COVID vaccines. In trademark chaotic style, she once \u003ca href=\"https://www.eonline.com/news/760126/nicki-minaj-dedicates-anaconda-to-donald-trump-and-joe-biden-at-time-100-gala\">dedicated her ass-centric hit “Anaconda”\u003c/a> to \u003cem>both\u003c/em> Joe Biden and Donald Trump, “in the spirit of unity.”\u003c/p>\n\u003cp>So it wasn’t too surprising that outside Nicki Minaj’s show at the Chase Center in San Francisco, just over a month before Election Day, we found Barbz for Trump, Barbz for Harris, Barbz who didn’t care — as well as Barbz who flat-out hate both candidates.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>You already know in advance what political opinions you’ll get at a Ted Nugent concert. Or a Phoebe Bridgers concert. Nicki, though? It’s all over the place.\u003c/p>\n\u003cfigure id=\"attachment_13965820\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965820\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-1-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-1-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-1-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-1-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-1-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-1-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-1-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-1-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jeremiah Gage, left, and Elissa Amin, right, pose for a photo ahead of a Nicki Minaj concert at the Chase Center on September 23, 2024 \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I’m voting Trump all the way, and anybody that got a problem can fight me,” said Elissa Amin, from Reno. “When he was president four years ago, everything was better, prices were lower. He’s even said he’s gonna lower all the prices.”\u003c/p>\n\u003cp>Amin praised Trump’s foreign policy as well. “I feel like we’ve just been at war with a lot of countries. You can just make peace with someone in a phone call. That’s what he does,” she said.\u003c/p>\n\u003cp>As for other issues, like abortion, Amin said that she was “definitely learning more about that stuff right now. I’m trying to extend my knowledge on that. But I’m definitely all about pro-choice, whatever a woman wants to do with her body.”\u003c/p>\n\u003cp>Her friend, Jeremiah Gage, just turned 18. “I’m not really big on politics,” he said. “But I feel like it’s cool. Everyone has an opinion, and everyone’s opinion can change the world, you know? Definitely, next year, I will be voting.”\u003c/p>\n\u003cfigure id=\"attachment_13965829\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965829\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-15-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-15-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-15-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-15-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-15-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-15-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-15-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-15-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Domi Nhan, left, and Anecia Brown, right, of Modesto pose for a photo ahead of a Nicki Minaj concert at the Chase Center on September 23, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Domi Nhan came to the show from Modesto with her friend Anecia Brown.\u003c/p>\n\u003cp>“Go Kamala,” Nhan said, planning to vote for the candidate who “can actually have a difference and not go backwards.”\u003c/p>\n\u003cp>“I mean, look at the presidential debate. It was a mess. You can’t spit false information 24/7 just to save your ass,” Nhan said. “And women’s rights mean a lot to me. That’s \u003cem>something\u003c/em>, at least, and I’d rather go forward with something than nothing.”\u003c/p>\n\u003cfigure id=\"attachment_13965830\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965830\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-16-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-16-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-16-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-16-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-16-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-16-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-16-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-16-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Sierra Northcutt, left, and Leanna Taylor, right, of Sacramento pose for a photo ahead of a Nicki Minaj concert at the Chase Center on September 23, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sierra Northcutt, from Sacramento, was blunt about her stance on the candidates.\u003c/p>\n\u003cp>“They’re both evil. They both fuckin’ suck,” she said. “I don’t think any one of ’em would be a good choice. We need somebody who’s actually for the people.”\u003c/p>\n\u003cp>Her friend Leanna Taylor agreed.\u003c/p>\n\u003cp>[aside postID='arts_13963687']“Either one, they’re just not ready for the White House,” Taylor said. “’Cause [Kamala] stands with how Joe Biden stands. I feel like Joe Biden hasn’t really done as much as other presidents. And Donald Trump, people say he’s crazy and everything, but there’s also just his age. We need somebody a little bit younger, who sees more of the younger generation’s perspective on things.\u003c/p>\n\u003cp>So what qualities would their ideal candidate have?\u003c/p>\n\u003cp>“Somebody who doesn’t come from privilege, obviously,” said Northcutt. “And under 70. Actually, under 50.”\u003c/p>\n\u003cfigure id=\"attachment_13965828\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965828\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-12-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-12-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-12-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-12-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-12-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-12-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-12-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-12-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Siena Starr of San Jose, 15, poses for a photo ahead of a Nicki Minaj concert at the Chase Center on September 23, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Siena Starr was just one year old when Nicki Minaj’s debut album \u003cem>Pink Friday\u003c/em> was released. Hailing from San Jose, Starr plans to start voting when she turns 18, but for now, at the age of 15, she’s already paying attention.\u003c/p>\n\u003cp>“I mean, if I could vote, I’d vote for Kamala Harris,” Starr said. “I feel like she’s very woman-empowering. I feel like she’d be a good representative for our country.”\u003c/p>\n\u003cp>Starr added that she doesn’t like Trump, stating it plain: “He used to be our president, and I didn’t like the ideas he had.”\u003c/p>\n\u003cfigure id=\"attachment_13966341\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20240923_NickiMinajFandomVote-27.jpg\" alt=\"\" width=\"2000\" height=\"1320\" class=\"size-full wp-image-13966341\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20240923_NickiMinajFandomVote-27.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20240923_NickiMinajFandomVote-27-800x528.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20240923_NickiMinajFandomVote-27-1020x673.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20240923_NickiMinajFandomVote-27-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20240923_NickiMinajFandomVote-27-768x507.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20240923_NickiMinajFandomVote-27-1536x1014.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20240923_NickiMinajFandomVote-27-1920x1267.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Nikaiyah Williams and Kiera Baldwin attend the Nicki Minaj concert at Chase Center on Sept. 23, 2024 in San Francisco. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kiera Baldwin and Nikaiyah Williams, both from Hayward, are that rare breed of Bay Area voter: undecided about whether to vote for Harris or Trump. And it’s not that they don’t participate in elections.\u003c/p>\n\u003cp>“I vote,” Baldwin said. “But right now, I’m still thinking about it.” Baldwin cited the economy, homelessness and women’s rights as issues that are important to her.\u003c/p>\n\u003cp>Williams said her concerns in this election cycle include “homelessness and low-income families.”\u003c/p>\n\u003cp>As for any issue that Nicki fans are united on, “I would probably say women’s rights, most likely,” Baldwin offered, noting that Nicki Minaj is a mom.\u003c/p>\n\u003cfigure id=\"attachment_13965827\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965827\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-11-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-11-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-11-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-11-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-11-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-11-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-11-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-11-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Trini of Oakland poses for a photo ahead of a Nicki Minaj concert at the Chase Center on September 23, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Trini, a recording artist from Oakland, did not hesitate in her opinion.\u003c/p>\n\u003cp>“Vote Kamala,” she implored. “Please get Trump out of my face. I don’t want to see him no more. And I just hate the fact that he’s even an option. If a felon can run the country, then why can’t felons get jobs?”\u003c/p>\n\u003cp>An advocate for reproductive rights, Trini worries about what could happen if Trump wins and assumes the role of a dictator, especially since he’s given a lot of leeway already, she said.\u003c/p>\n\u003cp>“As far as the debate, he didn’t answer no questions directly. Just tiptoein’ around. I’m just over it. It’s like a theatrical performance at this point,” Trini added.\u003c/p>\n\u003cfigure id=\"attachment_13965823\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965823\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-5-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-5-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-5-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-5-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-5-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-5-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-5-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-5-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Ronnie Punani of Stockton poses for a photo ahead of a Nicki Minaj concert at the Chase Center on September 23, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ronnie Punani came from Stockton for the show to celebrate her four-year anniversary with partner Nate — but was decidedly not celebrating her choices at the ballot box.\u003c/p>\n\u003cp>Each candidate “kind of sucks ass, you know, at this point,” she said. “It’s like, what the lesser evil is.”\u003c/p>\n\u003cp>Still, Ronnie encouraged people to vote anyway. “There’s a lot of people that are not registered, whose voice does matter. Every voice matters, wherever you come from, no matter your skin tone or who you are. Your voice matters.”\u003c/p>\n\u003cp>Neither Nate nor Ronnie wanted to say who they’d be voting for. But Nate offered an array of issues on his mind this election cycle.\u003c/p>\n\u003cfigure id=\"attachment_13965824\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965824\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-6-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-6-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-6-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-6-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-6-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-6-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-6-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-6-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Ronnie Punani of Stockton wears pink boots for a Nicki Minaj concert at the Chase Center on September 23, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Everyday middle-class American jobs are always an issue,” Nate said. “Pay is always an issue. Living situations are always an issue. Groceries, everything from eggs to milk to bread and butter, are an issue.” He added that taxes, high rent, poverty and crime create poor living conditions.\u003c/p>\n\u003cp>“If you come in to the city, here in Frisco, it almost looks like a third-world country,” he said.\u003c/p>\n\u003cp>As for solutions? “I think we need to bring American jobs back to the states. I think taxes need to be lowered, I think police need to be reinforced, and I think that local government needs to step up.”\u003c/p>\n\u003cp>Ronnie said she’s not very concerned with Nicki Minaj making an endorsement of one candidate or the other.\u003c/p>\n\u003cp>“If you look in an interview, she always makes sure that her Barbz go to school. She’s encouraged people to make sure that they get their college degree. But when it comes down to politics, it’s like… you’ve seen the meme of Nicki Minaj with the American flag, right? Nicki for President, honestly. Period.”\u003c/p>\n\u003cfigure id=\"attachment_13965826\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965826\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-9-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-9-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-9-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-9-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-9-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-9-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-9-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-9-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Ally Thomas, left, and Cordè Faafiu, right, of Chico, pose for a photo ahead of a Nicki Minaj concert at the Chase Center on September 23, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ally Thomas came for the show from Chico with her friend Cordé Faafiu. And while the three-hour drive proved her passion for Nicki Minaj, Thomas doesn’t have the same interest the election.\u003c/p>\n\u003cp>“I try to avoid it, to be honest. It’s just a mess,” she said.\u003c/p>\n\u003cp>Asked about any issues that concern her in Chico, Thomas said, “I mean, wildfires are always a concern, up in Chico. I was evacuated twice this year.”\u003c/p>\n\u003cfigure id=\"attachment_13965831\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965831\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-17-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1428\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-17-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-17-KQED-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-17-KQED-1020x728.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-17-KQED-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-17-KQED-768x548.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-17-KQED-1536x1097.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-17-KQED-1920x1371.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">From left, Lakayla Shelton, Shanquae Perry and Loretta Stanberry pose for a photo ahead of a Nicki Minaj concert at the Chase Center on September 23, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lakayla Shelton, from San Francisco, said that with her background as a prosecutor, Harris would be a firm but fair president.\u003c/p>\n\u003cp>“She’s just a strong, independent woman, and that’s what we need in the office right now,” Shelton said.\u003c/p>\n\u003cp>[aside postID='arts_13960424']Her friend Loretta Stanberry, also from San Francisco, acknowledged some good in the Trump administration, like the stimulus checks authorized during the first year of COVID. But she plans to vote for Kamala, and “it’s not just because she’s a woman or she’s an African American,” she said.\u003c/p>\n\u003cp>“I feel like the direction Trump’s going, we’re not going to make it too long. And I also feel like if you could be a felon, indicted on felonies, and still run? I don’t think that’s fair.”\u003c/p>\n\u003cp>Stanberry went on to praise Harris’ mindset. “Even when working with Biden, she’s on our team, all the issues, she’s working for us. She’s for all minorities. No matter what descent, what you identify as, she’s equal to everybody. I feel like she’ll be a great president.”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Read more stories of pop culture fandoms and the election in the KQED series \u003ca href=\"https://www.kqed.org/fandomvote\">The Fandom Vote\u003c/a>.\u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "At Nicki’s San Francisco concert, the Barbz spoke out on abortion, taxes and Trump.",
"status": "publish",
"parent": 0,
"modified": 1728968349,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 50,
"wordCount": 2006
},
"headData": {
"title": "The Beautiful Chaos of Nicki Minaj Fans During an Election | KQED",
"description": "At Nicki’s San Francisco concert, the Barbz spoke out on abortion, taxes and Trump.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "The Beautiful Chaos of Nicki Minaj Fans During an Election",
"datePublished": "2024-10-09T10:05:45-07:00",
"dateModified": "2024-10-14T21:59:09-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"source": "The Fandom Vote",
"sourceUrl": "https://www.kqed.org/fandomvote",
"sticky": false,
"nprStoryId": "kqed-13966304",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13966304/nicki-minaj-fans-election-barbz-harris-trump",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This story is part of the KQED series \u003ca href=\"https://www.kqed.org/fandomvote\">The Fandom Vote\u003c/a>, exploring the election-year concerns and voting preferences of pop culture fanbases.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">W\u003c/span>\u003c/p>\u003cp>hen we began planning to talk to pop culture fandoms about this year’s election, we knew we couldn’t overlook the Barbz.\u003c/p>\n\u003cp>Nicki Minaj fans come from all walks of life, unified in their fierce loyalty to the Queen of Rap. As a pivotal figure in music who blew open the doors for today’s female rappers, Nicki is an icon — one whose fanbase has as many different political leanings as \u003ca href=\"https://nickiminaj.fandom.com/wiki/Alter_egos\">she has alter egos\u003c/a>. \u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "news_11999092",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Nicki’s own politics don’t exactly fit into a box, either. She’s expressed \u003ca href=\"https://www.billboard.com/music/music-news/nicki-minaj-hillary-clinton-donald-trump-barack-obama-sandra-bland-6804598/\">admiration for Hillary Clinton and Barack Obama\u003c/a>, but has also \u003ca href=\"https://x.com/NICKIMINAJ/status/1438256221660663812?lang=en\">decried\u003c/a> being told what to do by Democrats, including getting COVID vaccines. In trademark chaotic style, she once \u003ca href=\"https://www.eonline.com/news/760126/nicki-minaj-dedicates-anaconda-to-donald-trump-and-joe-biden-at-time-100-gala\">dedicated her ass-centric hit “Anaconda”\u003c/a> to \u003cem>both\u003c/em> Joe Biden and Donald Trump, “in the spirit of unity.”\u003c/p>\n\u003cp>So it wasn’t too surprising that outside Nicki Minaj’s show at the Chase Center in San Francisco, just over a month before Election Day, we found Barbz for Trump, Barbz for Harris, Barbz who didn’t care — as well as Barbz who flat-out hate both candidates.\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>You already know in advance what political opinions you’ll get at a Ted Nugent concert. Or a Phoebe Bridgers concert. Nicki, though? It’s all over the place.\u003c/p>\n\u003cfigure id=\"attachment_13965820\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965820\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-1-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-1-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-1-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-1-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-1-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-1-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-1-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-1-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jeremiah Gage, left, and Elissa Amin, right, pose for a photo ahead of a Nicki Minaj concert at the Chase Center on September 23, 2024 \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I’m voting Trump all the way, and anybody that got a problem can fight me,” said Elissa Amin, from Reno. “When he was president four years ago, everything was better, prices were lower. He’s even said he’s gonna lower all the prices.”\u003c/p>\n\u003cp>Amin praised Trump’s foreign policy as well. “I feel like we’ve just been at war with a lot of countries. You can just make peace with someone in a phone call. That’s what he does,” she said.\u003c/p>\n\u003cp>As for other issues, like abortion, Amin said that she was “definitely learning more about that stuff right now. I’m trying to extend my knowledge on that. But I’m definitely all about pro-choice, whatever a woman wants to do with her body.”\u003c/p>\n\u003cp>Her friend, Jeremiah Gage, just turned 18. “I’m not really big on politics,” he said. “But I feel like it’s cool. Everyone has an opinion, and everyone’s opinion can change the world, you know? Definitely, next year, I will be voting.”\u003c/p>\n\u003cfigure id=\"attachment_13965829\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965829\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-15-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-15-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-15-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-15-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-15-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-15-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-15-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-15-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Domi Nhan, left, and Anecia Brown, right, of Modesto pose for a photo ahead of a Nicki Minaj concert at the Chase Center on September 23, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Domi Nhan came to the show from Modesto with her friend Anecia Brown.\u003c/p>\n\u003cp>“Go Kamala,” Nhan said, planning to vote for the candidate who “can actually have a difference and not go backwards.”\u003c/p>\n\u003cp>“I mean, look at the presidential debate. It was a mess. You can’t spit false information 24/7 just to save your ass,” Nhan said. “And women’s rights mean a lot to me. That’s \u003cem>something\u003c/em>, at least, and I’d rather go forward with something than nothing.”\u003c/p>\n\u003cfigure id=\"attachment_13965830\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965830\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-16-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-16-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-16-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-16-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-16-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-16-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-16-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-16-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Sierra Northcutt, left, and Leanna Taylor, right, of Sacramento pose for a photo ahead of a Nicki Minaj concert at the Chase Center on September 23, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sierra Northcutt, from Sacramento, was blunt about her stance on the candidates.\u003c/p>\n\u003cp>“They’re both evil. They both fuckin’ suck,” she said. “I don’t think any one of ’em would be a good choice. We need somebody who’s actually for the people.”\u003c/p>\n\u003cp>Her friend Leanna Taylor agreed.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13963687",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>“Either one, they’re just not ready for the White House,” Taylor said. “’Cause [Kamala] stands with how Joe Biden stands. I feel like Joe Biden hasn’t really done as much as other presidents. And Donald Trump, people say he’s crazy and everything, but there’s also just his age. We need somebody a little bit younger, who sees more of the younger generation’s perspective on things.\u003c/p>\n\u003cp>So what qualities would their ideal candidate have?\u003c/p>\n\u003cp>“Somebody who doesn’t come from privilege, obviously,” said Northcutt. “And under 70. Actually, under 50.”\u003c/p>\n\u003cfigure id=\"attachment_13965828\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965828\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-12-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-12-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-12-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-12-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-12-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-12-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-12-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-12-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Siena Starr of San Jose, 15, poses for a photo ahead of a Nicki Minaj concert at the Chase Center on September 23, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Siena Starr was just one year old when Nicki Minaj’s debut album \u003cem>Pink Friday\u003c/em> was released. Hailing from San Jose, Starr plans to start voting when she turns 18, but for now, at the age of 15, she’s already paying attention.\u003c/p>\n\u003cp>“I mean, if I could vote, I’d vote for Kamala Harris,” Starr said. “I feel like she’s very woman-empowering. I feel like she’d be a good representative for our country.”\u003c/p>\n\u003cp>Starr added that she doesn’t like Trump, stating it plain: “He used to be our president, and I didn’t like the ideas he had.”\u003c/p>\n\u003cfigure id=\"attachment_13966341\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20240923_NickiMinajFandomVote-27.jpg\" alt=\"\" width=\"2000\" height=\"1320\" class=\"size-full wp-image-13966341\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20240923_NickiMinajFandomVote-27.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20240923_NickiMinajFandomVote-27-800x528.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20240923_NickiMinajFandomVote-27-1020x673.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20240923_NickiMinajFandomVote-27-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20240923_NickiMinajFandomVote-27-768x507.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20240923_NickiMinajFandomVote-27-1536x1014.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/20240923_NickiMinajFandomVote-27-1920x1267.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Nikaiyah Williams and Kiera Baldwin attend the Nicki Minaj concert at Chase Center on Sept. 23, 2024 in San Francisco. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kiera Baldwin and Nikaiyah Williams, both from Hayward, are that rare breed of Bay Area voter: undecided about whether to vote for Harris or Trump. And it’s not that they don’t participate in elections.\u003c/p>\n\u003cp>“I vote,” Baldwin said. “But right now, I’m still thinking about it.” Baldwin cited the economy, homelessness and women’s rights as issues that are important to her.\u003c/p>\n\u003cp>Williams said her concerns in this election cycle include “homelessness and low-income families.”\u003c/p>\n\u003cp>As for any issue that Nicki fans are united on, “I would probably say women’s rights, most likely,” Baldwin offered, noting that Nicki Minaj is a mom.\u003c/p>\n\u003cfigure id=\"attachment_13965827\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965827\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-11-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-11-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-11-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-11-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-11-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-11-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-11-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-11-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Trini of Oakland poses for a photo ahead of a Nicki Minaj concert at the Chase Center on September 23, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Trini, a recording artist from Oakland, did not hesitate in her opinion.\u003c/p>\n\u003cp>“Vote Kamala,” she implored. “Please get Trump out of my face. I don’t want to see him no more. And I just hate the fact that he’s even an option. If a felon can run the country, then why can’t felons get jobs?”\u003c/p>\n\u003cp>An advocate for reproductive rights, Trini worries about what could happen if Trump wins and assumes the role of a dictator, especially since he’s given a lot of leeway already, she said.\u003c/p>\n\u003cp>“As far as the debate, he didn’t answer no questions directly. Just tiptoein’ around. I’m just over it. It’s like a theatrical performance at this point,” Trini added.\u003c/p>\n\u003cfigure id=\"attachment_13965823\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965823\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-5-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-5-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-5-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-5-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-5-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-5-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-5-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-5-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Ronnie Punani of Stockton poses for a photo ahead of a Nicki Minaj concert at the Chase Center on September 23, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ronnie Punani came from Stockton for the show to celebrate her four-year anniversary with partner Nate — but was decidedly not celebrating her choices at the ballot box.\u003c/p>\n\u003cp>Each candidate “kind of sucks ass, you know, at this point,” she said. “It’s like, what the lesser evil is.”\u003c/p>\n\u003cp>Still, Ronnie encouraged people to vote anyway. “There’s a lot of people that are not registered, whose voice does matter. Every voice matters, wherever you come from, no matter your skin tone or who you are. Your voice matters.”\u003c/p>\n\u003cp>Neither Nate nor Ronnie wanted to say who they’d be voting for. But Nate offered an array of issues on his mind this election cycle.\u003c/p>\n\u003cfigure id=\"attachment_13965824\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965824\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-6-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-6-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-6-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-6-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-6-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-6-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-6-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-6-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Ronnie Punani of Stockton wears pink boots for a Nicki Minaj concert at the Chase Center on September 23, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Everyday middle-class American jobs are always an issue,” Nate said. “Pay is always an issue. Living situations are always an issue. Groceries, everything from eggs to milk to bread and butter, are an issue.” He added that taxes, high rent, poverty and crime create poor living conditions.\u003c/p>\n\u003cp>“If you come in to the city, here in Frisco, it almost looks like a third-world country,” he said.\u003c/p>\n\u003cp>As for solutions? “I think we need to bring American jobs back to the states. I think taxes need to be lowered, I think police need to be reinforced, and I think that local government needs to step up.”\u003c/p>\n\u003cp>Ronnie said she’s not very concerned with Nicki Minaj making an endorsement of one candidate or the other.\u003c/p>\n\u003cp>“If you look in an interview, she always makes sure that her Barbz go to school. She’s encouraged people to make sure that they get their college degree. But when it comes down to politics, it’s like… you’ve seen the meme of Nicki Minaj with the American flag, right? Nicki for President, honestly. Period.”\u003c/p>\n\u003cfigure id=\"attachment_13965826\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965826\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-9-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-9-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-9-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-9-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-9-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-9-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-9-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-9-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Ally Thomas, left, and Cordè Faafiu, right, of Chico, pose for a photo ahead of a Nicki Minaj concert at the Chase Center on September 23, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ally Thomas came for the show from Chico with her friend Cordé Faafiu. And while the three-hour drive proved her passion for Nicki Minaj, Thomas doesn’t have the same interest the election.\u003c/p>\n\u003cp>“I try to avoid it, to be honest. It’s just a mess,” she said.\u003c/p>\n\u003cp>Asked about any issues that concern her in Chico, Thomas said, “I mean, wildfires are always a concern, up in Chico. I was evacuated twice this year.”\u003c/p>\n\u003cfigure id=\"attachment_13965831\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13965831\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-17-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1428\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-17-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-17-KQED-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-17-KQED-1020x728.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-17-KQED-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-17-KQED-768x548.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-17-KQED-1536x1097.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/20240923_NICKIMINAJFANDOMVOTE_GC-17-KQED-1920x1371.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">From left, Lakayla Shelton, Shanquae Perry and Loretta Stanberry pose for a photo ahead of a Nicki Minaj concert at the Chase Center on September 23, 2024. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lakayla Shelton, from San Francisco, said that with her background as a prosecutor, Harris would be a firm but fair president.\u003c/p>\n\u003cp>“She’s just a strong, independent woman, and that’s what we need in the office right now,” Shelton said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13960424",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Her friend Loretta Stanberry, also from San Francisco, acknowledged some good in the Trump administration, like the stimulus checks authorized during the first year of COVID. But she plans to vote for Kamala, and “it’s not just because she’s a woman or she’s an African American,” she said.\u003c/p>\n\u003cp>“I feel like the direction Trump’s going, we’re not going to make it too long. And I also feel like if you could be a felon, indicted on felonies, and still run? I don’t think that’s fair.”\u003c/p>\n\u003cp>Stanberry went on to praise Harris’ mindset. “Even when working with Biden, she’s on our team, all the issues, she’s working for us. She’s for all minorities. No matter what descent, what you identify as, she’s equal to everybody. I feel like she’ll be a great president.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Read more stories of pop culture fandoms and the election in the KQED series \u003ca href=\"https://www.kqed.org/fandomvote\">The Fandom Vote\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13966304/nicki-minaj-fans-election-barbz-harris-trump",
"authors": [
"185"
],
"series": [
"arts_22318"
],
"categories": [
"arts_1",
"arts_69",
"arts_75"
],
"tags": [
"arts_6926",
"arts_22277",
"arts_22227",
"arts_10278",
"arts_831",
"arts_1146"
],
"featImg": "arts_13965825",
"label": "source_arts_13966304"
}
},
"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": 480,
"size": 12
},
"vitalsOnly": false,
"totalRequested": 12,
"isLoading": false,
"isLoadingMore": true,
"total": {
"value": 4928,
"relation": "eq"
},
"items": [
"arts_13966390",
"arts_13966771",
"arts_13966756",
"arts_13966738",
"arts_13966547",
"arts_13966594",
"arts_13966541",
"arts_13966525",
"arts_13966505",
"arts_13966395",
"arts_13966358",
"arts_13966304"
],
"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"
},
"source_arts_13966304": {
"type": "terms",
"id": "source_arts_13966304",
"meta": {
"override": true
},
"name": "The Fandom Vote",
"link": "https://www.kqed.org/fandomvote",
"isLoading": false
},
"arts_140": {
"type": "terms",
"id": "arts_140",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "140",
"found": true
},
"relationships": {},
"name": "The Do List",
"slug": "the-do-list",
"taxonomy": "program",
"description": null,
"featImg": "https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/The-Do-LIst-logo-2014-horizontal-015.png",
"headData": {
"title": "The Do List Archives | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 141,
"isLoading": false,
"link": "/arts/program/the-do-list"
},
"arts_1": {
"type": "terms",
"id": "arts_1",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Arts",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Arts Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1,
"slug": "arts",
"isLoading": false,
"link": "/arts/category/arts"
},
"arts_73": {
"type": "terms",
"id": "arts_73",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "73",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Books",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Books Archives | KQED Arts",
"ogDescription": null
},
"ttid": 74,
"slug": "literature",
"isLoading": false,
"link": "/arts/category/literature"
},
"arts_76": {
"type": "terms",
"id": "arts_76",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "76",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Fashion/Design",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Fashion/Design Archives | KQED Arts",
"ogDescription": null
},
"ttid": 77,
"slug": "design",
"isLoading": false,
"link": "/arts/category/design"
},
"arts_74": {
"type": "terms",
"id": "arts_74",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "74",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Movies",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Movies Archives | KQED Arts",
"ogDescription": null
},
"ttid": 75,
"slug": "movies",
"isLoading": false,
"link": "/arts/category/movies"
},
"arts_75": {
"type": "terms",
"id": "arts_75",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "75",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Pop Culture",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Pop Culture Archives | KQED Arts",
"ogDescription": null
},
"ttid": 76,
"slug": "popculture",
"isLoading": false,
"link": "/arts/category/popculture"
},
"arts_13238": {
"type": "terms",
"id": "arts_13238",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "13238",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Sports",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Sports Archives | KQED Arts",
"ogDescription": null
},
"ttid": 13250,
"slug": "sports",
"isLoading": false,
"link": "/arts/category/sports"
},
"arts_22313": {
"type": "terms",
"id": "arts_22313",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "22313",
"found": true
},
"relationships": {},
"name": "The Do List",
"slug": "the-do-list",
"taxonomy": "category",
"description": null,
"featImg": null,
"headData": {
"title": "The Do List | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 22325,
"isLoading": false,
"link": "/arts/category/the-do-list"
},
"arts_4672": {
"type": "terms",
"id": "arts_4672",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "4672",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Asian American",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Asian American Archives | KQED Arts",
"ogDescription": null
},
"ttid": 4684,
"slug": "asian-american",
"isLoading": false,
"link": "/arts/tag/asian-american"
},
"arts_10278": {
"type": "terms",
"id": "arts_10278",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "10278",
"found": true
},
"relationships": {},
"featImg": null,
"name": "featured-arts",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "featured-arts Archives | KQED Arts",
"ogDescription": null
},
"ttid": 10290,
"slug": "featured-arts",
"isLoading": false,
"link": "/arts/tag/featured-arts"
},
"arts_7970": {
"type": "terms",
"id": "arts_7970",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "7970",
"found": true
},
"relationships": {},
"featImg": null,
"name": "magazines",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "magazines Archives | KQED Arts",
"ogDescription": null
},
"ttid": 7982,
"slug": "magazines",
"isLoading": false,
"link": "/arts/tag/magazines"
},
"arts_769": {
"type": "terms",
"id": "arts_769",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "769",
"found": true
},
"relationships": {},
"featImg": null,
"name": "review",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "review Archives | KQED Arts",
"ogDescription": null
},
"ttid": 787,
"slug": "review",
"isLoading": false,
"link": "/arts/tag/review"
},
"arts_585": {
"type": "terms",
"id": "arts_585",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "585",
"found": true
},
"relationships": {},
"featImg": null,
"name": "thedolist",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "thedolist Archives | KQED Arts",
"ogDescription": null
},
"ttid": 590,
"slug": "thedolist",
"isLoading": false,
"link": "/arts/tag/thedolist"
},
"arts_914": {
"type": "terms",
"id": "arts_914",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "914",
"found": true
},
"relationships": {},
"featImg": null,
"name": "zines",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "zines Archives | KQED Arts",
"ogDescription": null
},
"ttid": 932,
"slug": "zines",
"isLoading": false,
"link": "/arts/tag/zines"
},
"arts_21866": {
"type": "terms",
"id": "arts_21866",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21866",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Arts and Culture",
"description": null,
"taxonomy": "interest",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Arts and Culture Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21878,
"slug": "arts-and-culture",
"isLoading": false,
"link": "/arts/interest/arts-and-culture"
},
"arts_21879": {
"type": "terms",
"id": "arts_21879",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21879",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Entertainment",
"description": null,
"taxonomy": "interest",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Entertainment Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21891,
"slug": "entertainment",
"isLoading": false,
"link": "/arts/interest/entertainment"
},
"arts_21859": {
"type": "terms",
"id": "arts_21859",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21859",
"found": true
},
"relationships": {},
"featImg": null,
"name": "San Francisco",
"description": null,
"taxonomy": "interest",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "San Francisco Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21871,
"slug": "san-francisco",
"isLoading": false,
"link": "/arts/interest/san-francisco"
},
"arts_8838": {
"type": "terms",
"id": "arts_8838",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "8838",
"found": true
},
"relationships": {},
"featImg": null,
"name": "gaza",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "gaza Archives | KQED Arts",
"ogDescription": null
},
"ttid": 8850,
"slug": "gaza",
"isLoading": false,
"link": "/arts/tag/gaza"
},
"arts_21682": {
"type": "terms",
"id": "arts_21682",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21682",
"found": true
},
"relationships": {},
"featImg": null,
"name": "palestine",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "palestine Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21694,
"slug": "palestine",
"isLoading": false,
"link": "/arts/tag/palestine"
},
"arts_21861": {
"type": "terms",
"id": "arts_21861",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21861",
"found": true
},
"relationships": {},
"featImg": null,
"name": "South Bay",
"description": null,
"taxonomy": "interest",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "South Bay Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21873,
"slug": "south-bay",
"isLoading": false,
"link": "/arts/interest/south-bay"
},
"arts_235": {
"type": "terms",
"id": "arts_235",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "235",
"found": true
},
"relationships": {},
"featImg": null,
"name": "News",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "News Archives | KQED Arts",
"ogDescription": null
},
"ttid": 236,
"slug": "news",
"isLoading": false,
"link": "/arts/category/news"
},
"arts_1564": {
"type": "terms",
"id": "arts_1564",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1564",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Remembrance",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Remembrance Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1576,
"slug": "remembrance",
"isLoading": false,
"link": "/arts/category/remembrance"
},
"arts_925": {
"type": "terms",
"id": "arts_925",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "925",
"found": true
},
"relationships": {},
"featImg": null,
"name": "pop",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "pop Archives | KQED Arts",
"ogDescription": null
},
"ttid": 943,
"slug": "pop",
"isLoading": false,
"link": "/arts/tag/pop"
},
"arts_5292": {
"type": "terms",
"id": "arts_5292",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "5292",
"found": true
},
"relationships": {},
"featImg": null,
"name": "uk",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "uk Archives | KQED Arts",
"ogDescription": null
},
"ttid": 5304,
"slug": "uk",
"isLoading": false,
"link": "/arts/tag/uk"
},
"arts_70": {
"type": "terms",
"id": "arts_70",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "70",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Visual Arts",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Visual Arts Archives | KQED Arts",
"ogDescription": null
},
"ttid": 71,
"slug": "visualarts",
"isLoading": false,
"link": "/arts/category/visualarts"
},
"arts_5375": {
"type": "terms",
"id": "arts_5375",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "5375",
"found": true
},
"relationships": {},
"featImg": null,
"name": "protest art",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "protest art Archives | KQED Arts",
"ogDescription": null
},
"ttid": 5387,
"slug": "protest-art",
"isLoading": false,
"link": "/arts/tag/protest-art"
},
"arts_7862": {
"type": "terms",
"id": "arts_7862",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "7862",
"found": true
},
"relationships": {},
"featImg": null,
"name": "History",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "History Archives | KQED Arts",
"ogDescription": null
},
"ttid": 7874,
"slug": "history",
"isLoading": false,
"link": "/arts/category/history"
},
"arts_2855": {
"type": "terms",
"id": "arts_2855",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2855",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Filipino",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Filipino Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2867,
"slug": "filipino",
"isLoading": false,
"link": "/arts/tag/filipino"
},
"arts_1420": {
"type": "terms",
"id": "arts_1420",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1420",
"found": true
},
"relationships": {},
"featImg": null,
"name": "jazz",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "jazz Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1432,
"slug": "jazz",
"isLoading": false,
"link": "/arts/tag/jazz"
},
"arts_2755": {
"type": "terms",
"id": "arts_2755",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2755",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Oakland Museum of California",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Oakland Museum of California Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2767,
"slug": "oakland-museum-of-california",
"isLoading": false,
"link": "/arts/tag/oakland-museum-of-california"
},
"arts_21871": {
"type": "terms",
"id": "arts_21871",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21871",
"found": true
},
"relationships": {},
"featImg": null,
"name": "East Bay",
"description": null,
"taxonomy": "interest",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "East Bay Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21883,
"slug": "east-bay",
"isLoading": false,
"link": "/arts/interest/east-bay"
},
"arts_21870": {
"type": "terms",
"id": "arts_21870",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21870",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Events",
"description": null,
"taxonomy": "interest",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Events Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21882,
"slug": "events",
"isLoading": false,
"link": "/arts/interest/events"
},
"arts_21860": {
"type": "terms",
"id": "arts_21860",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21860",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Oakland",
"description": null,
"taxonomy": "interest",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Oakland Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21872,
"slug": "oakland",
"isLoading": false,
"link": "/arts/interest/oakland"
},
"arts_1143": {
"type": "terms",
"id": "arts_1143",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1143",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Oakland",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Oakland Archives | KQED Arts",
"ogDescription": null
},
"ttid": 692,
"slug": "oakland",
"isLoading": false,
"link": "/arts/tag/oakland"
},
"arts_967": {
"type": "terms",
"id": "arts_967",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "967",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Theater",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Theater Archives | KQED Arts",
"ogDescription": null
},
"ttid": 985,
"slug": "theater",
"isLoading": false,
"link": "/arts/category/theater"
},
"arts_1501": {
"type": "terms",
"id": "arts_1501",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1501",
"found": true
},
"relationships": {},
"featImg": null,
"name": "electronic music",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "electronic music Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1513,
"slug": "electronic-music",
"isLoading": false,
"link": "/arts/tag/electronic-music"
},
"arts_2020": {
"type": "terms",
"id": "arts_2020",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2020",
"found": true
},
"relationships": {},
"featImg": null,
"name": "magic theatre",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "magic theatre Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2032,
"slug": "magic-theatre",
"isLoading": false,
"link": "/arts/tag/magic-theatre"
},
"arts_3178": {
"type": "terms",
"id": "arts_3178",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3178",
"found": true
},
"relationships": {},
"featImg": null,
"name": "native american",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "native american Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3190,
"slug": "native-american",
"isLoading": false,
"link": "/arts/tag/native-american"
},
"arts_4271": {
"type": "terms",
"id": "arts_4271",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "4271",
"found": true
},
"relationships": {},
"featImg": null,
"name": "tiny desk concert",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "tiny desk concert Archives | KQED Arts",
"ogDescription": null
},
"ttid": 4283,
"slug": "tiny-desk-concert",
"isLoading": false,
"link": "/arts/tag/tiny-desk-concert"
},
"arts_137": {
"type": "terms",
"id": "arts_137",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "137",
"found": true
},
"relationships": {},
"featImg": "https://ww2.kqed.org/app/uploads/sites/2/2014/04/logo-npr-lg1.png",
"name": "NPR",
"description": null,
"taxonomy": "affiliate",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "NPR Archives | KQED Arts",
"ogDescription": null
},
"ttid": 138,
"slug": "npr",
"isLoading": false,
"link": "/arts/affiliate/npr"
},
"arts_2798": {
"type": "terms",
"id": "arts_2798",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2798",
"found": true
},
"relationships": {},
"name": "#MeToo",
"slug": "metoo",
"taxonomy": "tag",
"description": null,
"featImg": null,
"headData": {
"title": "#MeToo | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 2810,
"isLoading": false,
"link": "/arts/tag/metoo"
},
"arts_21822": {
"type": "terms",
"id": "arts_21822",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21822",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Crime",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Crime Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21834,
"slug": "crime",
"isLoading": false,
"link": "/arts/tag/crime"
},
"arts_831": {
"type": "terms",
"id": "arts_831",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "831",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Hip Hop",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"socialTitle": "Fresh Off the Streets: Get Amped by the Bay's Hottest Hip-Hop Stories",
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": "Discover rising stars, hidden gems, and live events that'll keep your head nodding. Find your next favorite local hip hop artist right here.",
"metaRobotsNoIndex": "index",
"title": "Fresh Off the Streets: Get Amped by the Bay's Hottest Hip-Hop Stories",
"ogDescription": null
},
"ttid": 849,
"slug": "hip-hop",
"isLoading": false,
"link": "/arts/tag/hip-hop"
},
"arts_4959": {
"type": "terms",
"id": "arts_4959",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "4959",
"found": true
},
"relationships": {},
"featImg": null,
"name": "sexual abuse",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "sexual abuse Archives | KQED Arts",
"ogDescription": null
},
"ttid": 4971,
"slug": "sexual-abuse",
"isLoading": false,
"link": "/arts/tag/sexual-abuse"
},
"arts_2462": {
"type": "terms",
"id": "arts_2462",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2462",
"found": true
},
"relationships": {},
"featImg": null,
"name": "sexual assault",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "sexual assault Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2474,
"slug": "sexual-assault",
"isLoading": false,
"link": "/arts/tag/sexual-assault"
},
"arts_21875": {
"type": "terms",
"id": "arts_21875",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21875",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Criminal Justice",
"description": null,
"taxonomy": "interest",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Criminal Justice Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21887,
"slug": "criminal-justice",
"isLoading": false,
"link": "/arts/interest/criminal-justice"
},
"arts_994": {
"type": "terms",
"id": "arts_994",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "994",
"found": true
},
"relationships": {},
"featImg": null,
"name": "metal",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "metal Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1012,
"slug": "metal",
"isLoading": false,
"link": "/arts/tag/metal"
},
"arts_1694": {
"type": "terms",
"id": "arts_1694",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1694",
"found": true
},
"relationships": {},
"featImg": null,
"name": "music festivals",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "music festivals Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1706,
"slug": "music-festivals",
"isLoading": false,
"link": "/arts/tag/music-festivals"
},
"arts_5779": {
"type": "terms",
"id": "arts_5779",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "5779",
"found": true
},
"relationships": {},
"featImg": null,
"name": "sacramento",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "sacramento Archives | KQED Arts",
"ogDescription": null
},
"ttid": 5791,
"slug": "sacramento",
"isLoading": false,
"link": "/arts/tag/sacramento"
},
"arts_7032": {
"type": "terms",
"id": "arts_7032",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "7032",
"found": true
},
"relationships": {},
"featImg": null,
"name": "golden gate theatre",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "golden gate theatre Archives | KQED Arts",
"ogDescription": null
},
"ttid": 7044,
"slug": "golden-gate-theatre",
"isLoading": false,
"link": "/arts/tag/golden-gate-theatre"
},
"arts_4798": {
"type": "terms",
"id": "arts_4798",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "4798",
"found": true
},
"relationships": {},
"featImg": null,
"name": "tickets",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "tickets Archives | KQED Arts",
"ogDescription": null
},
"ttid": 4810,
"slug": "tickets",
"isLoading": false,
"link": "/arts/tag/tickets"
},
"arts_22318": {
"type": "terms",
"id": "arts_22318",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "22318",
"found": true
},
"relationships": {},
"name": "The Fandom Vote",
"slug": "the-fandom-vote",
"taxonomy": "series",
"description": null,
"featImg": null,
"headData": {
"title": "The Fandom Vote | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 22330,
"isLoading": false,
"link": "/arts/series/the-fandom-vote"
},
"arts_6926": {
"type": "terms",
"id": "arts_6926",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "6926",
"found": true
},
"relationships": {},
"featImg": null,
"name": "chase center",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "chase center Archives | KQED Arts",
"ogDescription": null
},
"ttid": 6938,
"slug": "chase-center",
"isLoading": false,
"link": "/arts/tag/chase-center"
},
"arts_22277": {
"type": "terms",
"id": "arts_22277",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "22277",
"found": true
},
"relationships": {},
"name": "election 2024",
"slug": "election-2024",
"taxonomy": "tag",
"description": null,
"featImg": null,
"headData": {
"title": "election 2024 | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 22289,
"isLoading": false,
"link": "/arts/tag/election-2024"
},
"arts_22227": {
"type": "terms",
"id": "arts_22227",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "22227",
"found": true
},
"relationships": {},
"name": "fandomvote",
"slug": "fandomvote",
"taxonomy": "tag",
"description": null,
"featImg": null,
"headData": {
"title": "fandomvote Archives | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 22239,
"isLoading": false,
"link": "/arts/tag/fandomvote"
},
"arts_1146": {
"type": "terms",
"id": "arts_1146",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1146",
"found": true
},
"relationships": {},
"featImg": null,
"name": "San Francisco",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "San Francisco Archives | KQED Arts",
"ogDescription": null
},
"ttid": 701,
"slug": "san-francisco",
"isLoading": false,
"link": "/arts/tag/san-francisco"
},
"arts_21863": {
"type": "terms",
"id": "arts_21863",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21863",
"found": true
},
"relationships": {},
"featImg": null,
"name": "News",
"description": null,
"taxonomy": "interest",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "News Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21875,
"slug": "news",
"isLoading": false,
"link": "/arts/interest/news"
}
},
"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": []
}
}
