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_13921923": {
"type": "attachments",
"id": "arts_13921923",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13921923",
"found": true
},
"parent": 13921900,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/Screen-Shot-2022-11-22-at-4.46.25-PM-1038x576.png",
"width": 1038,
"mimeType": "image/png",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/Screen-Shot-2022-11-22-at-4.46.25-PM-160x101.png",
"width": 160,
"mimeType": "image/png",
"height": 101
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/Screen-Shot-2022-11-22-at-4.46.25-PM-672x372.png",
"width": 672,
"mimeType": "image/png",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/Screen-Shot-2022-11-22-at-4.46.25-PM.png",
"width": 2094,
"height": 1324
},
"2048x2048": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/Screen-Shot-2022-11-22-at-4.46.25-PM-2048x1295.png",
"width": 2048,
"mimeType": "image/png",
"height": 1295
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/Screen-Shot-2022-11-22-at-4.46.25-PM-1020x645.png",
"width": 1020,
"mimeType": "image/png",
"height": 645
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/Screen-Shot-2022-11-22-at-4.46.25-PM-1536x971.png",
"width": 1536,
"mimeType": "image/png",
"height": 971
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/Screen-Shot-2022-11-22-at-4.46.25-PM-1920x1214.png",
"width": 1920,
"mimeType": "image/png",
"height": 1214
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/Screen-Shot-2022-11-22-at-4.46.25-PM-800x506.png",
"width": 800,
"mimeType": "image/png",
"height": 506
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/Screen-Shot-2022-11-22-at-4.46.25-PM-768x486.png",
"width": 768,
"mimeType": "image/png",
"height": 486
}
},
"publishDate": 1669195854,
"modified": 1669195941,
"caption": "The Beastie Boys in their classic 1986 video, ‘(You Gotta) Fight For Your Right (To Party).’",
"description": null,
"title": "The Beastie Boys in their classic 1986 video, ‘(You Gotta) Fight For Your Right (To Party).’",
"credit": null,
"status": "inherit",
"altTag": "Three young men sit close on a couch, gesturing wildly and shouting.",
"isLoading": false,
"fetchFailed": false
},
"arts_13921893": {
"type": "attachments",
"id": "arts_13921893",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13921893",
"found": true
},
"parent": 13921890,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/Traviata.16.9-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/Traviata.16.9-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/Traviata.16.9-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/Traviata.16.9.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/Traviata.16.9-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/Traviata.16.9-1536x864.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 864
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/Traviata.16.9-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/Traviata.16.9-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1669161467,
"modified": 1669161738,
"caption": "Pretty Yende as Violetta in Verdi's 'La Traviata' at San Francisco Opera.",
"description": null,
"title": "Traviata.16.9",
"credit": "Cory Weaver",
"status": "inherit",
"altTag": "A Black woman in a red dress stands against a parlor wall of deep red, adorned with paintings",
"isLoading": false,
"fetchFailed": false
},
"arts_13921870": {
"type": "attachments",
"id": "arts_13921870",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13921870",
"found": true
},
"parent": 13921863,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/suzanimal-pass-the-aux-1038x576.png",
"width": 1038,
"mimeType": "image/png",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/suzanimal-pass-the-aux-160x90.png",
"width": 160,
"mimeType": "image/png",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/suzanimal-pass-the-aux-672x372.png",
"width": 672,
"mimeType": "image/png",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/suzanimal-pass-the-aux.png",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/suzanimal-pass-the-aux-1020x574.png",
"width": 1020,
"mimeType": "image/png",
"height": 574
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/suzanimal-pass-the-aux-1536x864.png",
"width": 1536,
"mimeType": "image/png",
"height": 864
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/suzanimal-pass-the-aux-800x450.png",
"width": 800,
"mimeType": "image/png",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/suzanimal-pass-the-aux-768x432.png",
"width": 768,
"mimeType": "image/png",
"height": 432
}
},
"publishDate": 1669146473,
"modified": 1669146582,
"caption": "Suzanne Galal leads the indie, funk and R&B outfit Suzanimal. ",
"description": null,
"title": "suzanimal pass the aux",
"credit": "Photo: Brittany Powers; illustration: Kelly Heigert",
"status": "inherit",
"altTag": null,
"isLoading": false,
"fetchFailed": false
},
"arts_13921780": {
"type": "attachments",
"id": "arts_13921780",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13921780",
"found": true
},
"parent": 13921777,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/gettyimages-1418888016-5b267ae0a0c5d51a36064448b03c65d4a6703dd4-s1200-c85-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/gettyimages-1418888016-5b267ae0a0c5d51a36064448b03c65d4a6703dd4-s1200-c85-160x93.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 93
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/gettyimages-1418888016-5b267ae0a0c5d51a36064448b03c65d4a6703dd4-s1200-c85-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/gettyimages-1418888016-5b267ae0a0c5d51a36064448b03c65d4a6703dd4-s1200-c85.jpg",
"width": 1198,
"height": 697
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/gettyimages-1418888016-5b267ae0a0c5d51a36064448b03c65d4a6703dd4-s1200-c85-1020x593.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 593
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/gettyimages-1418888016-5b267ae0a0c5d51a36064448b03c65d4a6703dd4-s1200-c85-800x465.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 465
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/gettyimages-1418888016-5b267ae0a0c5d51a36064448b03c65d4a6703dd4-s1200-c85-768x447.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 447
}
},
"publishDate": 1668729104,
"modified": 1668729143,
"caption": "Taylor Swift, pictured at the 2022 MTV VMAs in August, will embark on her first tour in five years this coming March. Over two million people bought tickets to The Eras Tour on the first day of pre-sale, despite major technical issues.",
"description": null,
"title": "gettyimages-1418888016-5b267ae0a0c5d51a36064448b03c65d4a6703dd4-s1200-c85",
"credit": "Jamie McCarthy/Getty Images for MTV/Paramount Global",
"status": "inherit",
"altTag": "a white woman in a rhinestone dress with red lipstick on a red carpet",
"isLoading": false,
"fetchFailed": false
},
"arts_13921664": {
"type": "attachments",
"id": "arts_13921664",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13921664",
"found": true
},
"parent": 13921657,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/Copy-of-Pass-The-Aux-template-10-1038x576.png",
"width": 1038,
"mimeType": "image/png",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/Copy-of-Pass-The-Aux-template-10-160x90.png",
"width": 160,
"mimeType": "image/png",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/Copy-of-Pass-The-Aux-template-10-672x372.png",
"width": 672,
"mimeType": "image/png",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/Copy-of-Pass-The-Aux-template-10.png",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/Copy-of-Pass-The-Aux-template-10-1020x574.png",
"width": 1020,
"mimeType": "image/png",
"height": 574
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/Copy-of-Pass-The-Aux-template-10-1536x864.png",
"width": 1536,
"mimeType": "image/png",
"height": 864
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/Copy-of-Pass-The-Aux-template-10-800x450.png",
"width": 800,
"mimeType": "image/png",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/Copy-of-Pass-The-Aux-template-10-768x432.png",
"width": 768,
"mimeType": "image/png",
"height": 432
}
},
"publishDate": 1668624000,
"modified": 1668637135,
"caption": "Caitlin Gowdey, Erin Chapin and Vanessa May are Rainbow Girls.",
"description": null,
"title": "Copy of Pass The Aux template (10)",
"credit": "Courtesy of the artist",
"status": "inherit",
"altTag": "a trio of women pose in front of a colorful foil backdrop",
"isLoading": false,
"fetchFailed": false
},
"arts_13921643": {
"type": "attachments",
"id": "arts_13921643",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13921643",
"found": true
},
"parent": 13921642,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/beyonce_custom-0ba9487f84a1f8027738bb1ed1f646278d74f109-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/beyonce_custom-0ba9487f84a1f8027738bb1ed1f646278d74f109-160x107.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 107
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/beyonce_custom-0ba9487f84a1f8027738bb1ed1f646278d74f109-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/beyonce_custom-0ba9487f84a1f8027738bb1ed1f646278d74f109.jpg",
"width": 1280,
"height": 852
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/beyonce_custom-0ba9487f84a1f8027738bb1ed1f646278d74f109-1020x679.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 679
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/beyonce_custom-0ba9487f84a1f8027738bb1ed1f646278d74f109-800x533.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 533
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/beyonce_custom-0ba9487f84a1f8027738bb1ed1f646278d74f109-768x511.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 511
}
},
"publishDate": 1668556871,
"modified": 1668557206,
"caption": "Beyoncé performs \"Be Alive\" during the Oscars last March. The song, written for the film 'King Richard' received one of her nine Grammy nominations.",
"description": null,
"title": "Beyoncé performs \"Be Alive\" during the Oscars last March. The song, written for the film 'King Richard' received one of her nine Grammy nominations.",
"credit": "Mason Poole/A.M.P.A.S. via Getty Images",
"status": "inherit",
"altTag": "A beautiful Black woman stands in formation with other Black women. They are all wearing flourescent yellow skirts and dresses.",
"isLoading": false,
"fetchFailed": false
},
"arts_13921592": {
"type": "attachments",
"id": "arts_13921592",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13921592",
"found": true
},
"parent": 13921584,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/Jean-Fineberg-poto-by-Sandy-Morris-cropped-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/Jean-Fineberg-poto-by-Sandy-Morris-cropped-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/Jean-Fineberg-poto-by-Sandy-Morris-cropped-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/Jean-Fineberg-poto-by-Sandy-Morris-cropped.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/Jean-Fineberg-poto-by-Sandy-Morris-cropped-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/Jean-Fineberg-poto-by-Sandy-Morris-cropped-1536x864.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 864
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/Jean-Fineberg-poto-by-Sandy-Morris-cropped-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/Jean-Fineberg-poto-by-Sandy-Morris-cropped-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1668474354,
"modified": 1668474945,
"caption": "In the 1970s, Jean Fineberg recorded with all-time greats like David Bowie and Chic. And in more recent years, she's been a force in the East Bay's jazz scene, connecting and creating opportunities for women players.",
"description": null,
"title": "Jean-Fineberg poto by Sandy Morris cropped",
"credit": "Sandy Morris",
"status": "inherit",
"altTag": "Saxophonist Jean Fineberg plays a solo.",
"isLoading": false,
"fetchFailed": false
},
"arts_13921578": {
"type": "attachments",
"id": "arts_13921578",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13921578",
"found": true
},
"parent": 13921576,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/ap22122515502590_custom-683fd7d25b6664c10d1252a62121d2a3d2387e0d-1-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/ap22122515502590_custom-683fd7d25b6664c10d1252a62121d2a3d2387e0d-1-160x107.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 107
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/ap22122515502590_custom-683fd7d25b6664c10d1252a62121d2a3d2387e0d-1-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/ap22122515502590_custom-683fd7d25b6664c10d1252a62121d2a3d2387e0d-1-scaled.jpg",
"width": 2560,
"height": 1705
},
"2048x2048": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/ap22122515502590_custom-683fd7d25b6664c10d1252a62121d2a3d2387e0d-1-2048x1364.jpg",
"width": 2048,
"mimeType": "image/jpeg",
"height": 1364
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/ap22122515502590_custom-683fd7d25b6664c10d1252a62121d2a3d2387e0d-1-1020x679.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 679
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/ap22122515502590_custom-683fd7d25b6664c10d1252a62121d2a3d2387e0d-1-1536x1023.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 1023
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/ap22122515502590_custom-683fd7d25b6664c10d1252a62121d2a3d2387e0d-1-1920x1279.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1279
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/ap22122515502590_custom-683fd7d25b6664c10d1252a62121d2a3d2387e0d-1-800x533.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 533
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/ap22122515502590_custom-683fd7d25b6664c10d1252a62121d2a3d2387e0d-1-768x511.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 511
}
},
"publishDate": 1668452758,
"modified": 1668453363,
"caption": "The study did not determine whether rats prefer Mozart to Maroon 5.",
"description": "FILE - A rat crosses a Times Square subway platform in New York on Jan. 27, 2015. So far this year, people have called in some 7,100 rat sightings — that’s up from about 5,800 during the same period last year, and up by more than 60% from roughly the first four months of 2019, the last pre-pandemic year. ",
"title": null,
"credit": "Richard Drew/AP",
"status": "inherit",
"altTag": "Small brown rat against yellow bumpy subway tiles",
"isLoading": false,
"fetchFailed": false
},
"arts_13921445": {
"type": "attachments",
"id": "arts_13921445",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13921445",
"found": true
},
"parent": 13921444,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/drake-fakevogue-screenshot_custom-1fc46ad5fafc5baf19d59e04ee0e01abc052f04d-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/drake-fakevogue-screenshot_custom-1fc46ad5fafc5baf19d59e04ee0e01abc052f04d-160x120.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 120
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/drake-fakevogue-screenshot_custom-1fc46ad5fafc5baf19d59e04ee0e01abc052f04d-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/drake-fakevogue-screenshot_custom-1fc46ad5fafc5baf19d59e04ee0e01abc052f04d.jpg",
"width": 1727,
"height": 1295
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/drake-fakevogue-screenshot_custom-1fc46ad5fafc5baf19d59e04ee0e01abc052f04d-1020x765.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 765
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/drake-fakevogue-screenshot_custom-1fc46ad5fafc5baf19d59e04ee0e01abc052f04d-1536x1152.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 1152
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/drake-fakevogue-screenshot_custom-1fc46ad5fafc5baf19d59e04ee0e01abc052f04d-800x600.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 600
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/drake-fakevogue-screenshot_custom-1fc46ad5fafc5baf19d59e04ee0e01abc052f04d-768x576.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 576
}
},
"publishDate": 1668020297,
"modified": 1668020772,
"caption": "Drake and 21 Savage released an Instagram post on Oct. 30 promoting a fake Vogue magazine cover. Vogue's publisher Condé Nast is now suing both rappers for using the fake cover to promote their new album.",
"description": null,
"title": "Drake and 21 Savage released an Instagram post on Oct. 30 promoting a fake Vogue magazine cover. Vogue's publisher Condé Nast is now suing both rappers for using the fake cover to promote their new album.",
"credit": "Drake and 21 Savage/Screenshot by NPR",
"status": "inherit",
"altTag": "Nine fake Vogue magazines, featuring Drake and 21 Savage on the cover, arranged in a fan formation.",
"isLoading": false,
"fetchFailed": false
},
"arts_13921381": {
"type": "attachments",
"id": "arts_13921381",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13921381",
"found": true
},
"parent": 13921373,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/DSC_4439-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/DSC_4439-160x106.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 106
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/DSC_4439-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/DSC_4439-scaled-e1667849825570.jpg",
"width": 1920,
"height": 1277
},
"2048x2048": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/DSC_4439-2048x1363.jpg",
"width": 2048,
"mimeType": "image/jpeg",
"height": 1363
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/DSC_4439-1020x679.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 679
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/DSC_4439-1536x1022.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 1022
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/DSC_4439-1920x1277.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1277
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/DSC_4439-800x532.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 532
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/DSC_4439-768x511.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 511
}
},
"publishDate": 1667849809,
"modified": 1667855326,
"caption": "Ensemble Mik Nawooj's resident MC Unity Lewis and composer-pianist and artistic director JooWan Kim (left to right).",
"description": null,
"title": "Joowan and Unity",
"credit": "Pat Mazzera",
"status": "inherit",
"altTag": "Two men in dark clothes back-to-back agains black backgorund",
"isLoading": false,
"fetchFailed": false
},
"arts_13921315": {
"type": "attachments",
"id": "arts_13921315",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13921315",
"found": true
},
"parent": 13921311,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/Copy-of-Pass-The-Aux-template-9-1038x576.png",
"width": 1038,
"mimeType": "image/png",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/Copy-of-Pass-The-Aux-template-9-160x90.png",
"width": 160,
"mimeType": "image/png",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/Copy-of-Pass-The-Aux-template-9-672x372.png",
"width": 672,
"mimeType": "image/png",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/Copy-of-Pass-The-Aux-template-9.png",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/Copy-of-Pass-The-Aux-template-9-1020x574.png",
"width": 1020,
"mimeType": "image/png",
"height": 574
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/Copy-of-Pass-The-Aux-template-9-1536x864.png",
"width": 1536,
"mimeType": "image/png",
"height": 864
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/Copy-of-Pass-The-Aux-template-9-800x450.png",
"width": 800,
"mimeType": "image/png",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/Copy-of-Pass-The-Aux-template-9-768x432.png",
"width": 768,
"mimeType": "image/png",
"height": 432
}
},
"publishDate": 1667580206,
"modified": 1667580343,
"caption": "Guitarist and bassist Kevin Goldberg, singer Jackie Gage and accordionist Manny Junaedy teamed up for 'Green,' a tango-inspired track to channel their frustration with the state of our planet. ",
"description": null,
"title": "Jackie Gage and Kevin Goldberg",
"credit": "Kevin Goldberg and Manny Junaedy",
"status": "inherit",
"altTag": null,
"isLoading": false,
"fetchFailed": false
},
"arts_13921256": {
"type": "attachments",
"id": "arts_13921256",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13921256",
"found": true
},
"parent": 13921254,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/Tales-of-The-Town-Cover-1-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/Tales-of-The-Town-Cover-1-160x160.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 160
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/Tales-of-The-Town-Cover-1-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/Tales-of-The-Town-Cover-1.jpg",
"width": 1779,
"height": 1780
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/Tales-of-The-Town-Cover-1-1020x1021.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 1021
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/Tales-of-The-Town-Cover-1-1536x1536.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 1536
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/Tales-of-The-Town-Cover-1-800x800.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 800
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/Tales-of-The-Town-Cover-1-768x768.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 768
}
},
"publishDate": 1667483518,
"modified": 1667483566,
"caption": "Tales of the Town",
"description": "Tales of the Town",
"title": "Tales of the Town",
"credit": "Courtesy of Tales of The Town",
"status": "inherit",
"altTag": "Tales of the Town",
"isLoading": false,
"fetchFailed": false
}
},
"audioPlayerReducer": {
"postId": "stream_live",
"isPaused": true,
"isPlaying": false,
"pfsActive": false,
"pledgeModalIsOpen": true,
"playerDrawerIsOpen": false,
"liveAudioPlayStartedAt": 0,
"liveAudioPlayContext": ""
},
"authorsReducer": {
"byline_arts_13921777": {
"type": "authors",
"id": "byline_arts_13921777",
"meta": {
"override": true
},
"slug": "byline_arts_13921777",
"name": "Rachel Treisman",
"isLoading": false
},
"byline_arts_13921642": {
"type": "authors",
"id": "byline_arts_13921642",
"meta": {
"override": true
},
"slug": "byline_arts_13921642",
"name": "Mandalit del Barco",
"isLoading": false
},
"byline_arts_13921576": {
"type": "authors",
"id": "byline_arts_13921576",
"meta": {
"override": true
},
"slug": "byline_arts_13921576",
"name": "Ayana Archie",
"isLoading": false
},
"byline_arts_13921444": {
"type": "authors",
"id": "byline_arts_13921444",
"meta": {
"override": true
},
"slug": "byline_arts_13921444",
"name": "Jonathan Franklin",
"isLoading": false
},
"agilbert": {
"type": "authors",
"id": "86",
"meta": {
"index": "authors_1716337520",
"id": "86",
"found": true
},
"name": "Andrew Gilbert",
"firstName": "Andrew",
"lastName": "Gilbert",
"slug": "agilbert",
"email": "jazzscribe@aol.com",
"display_author_email": false,
"staff_mastheads": [],
"title": "KQED Contributor",
"bio": "A Los Angeles native based in the Berkeley area since 1996, Andrew Gilbert covers jazz, international music and dance for KQED's \u003ci>California Report, \u003c/i>the\u003ci> Mercury News\u003c/i>, \u003ci>San Francisco Chronicle\u003c/i>, \u003ci>Berkeleyside.com\u003c/i>, and other publications. He is available for weddings and bar and bat mitzvahs. #jazzscribe",
"avatar": "https://secure.gravatar.com/avatar/d7bcafdbefdd39e9a68f88724ca616eb4e7a5a6bff9cdfb62de652a1e1751471?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"Contributor",
"author"
]
},
{
"site": "news",
"roles": [
"author"
]
}
],
"headData": {
"title": "Andrew Gilbert | KQED",
"description": "KQED Contributor",
"ogImgSrc": "https://secure.gravatar.com/avatar/d7bcafdbefdd39e9a68f88724ca616eb4e7a5a6bff9cdfb62de652a1e1751471?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/d7bcafdbefdd39e9a68f88724ca616eb4e7a5a6bff9cdfb62de652a1e1751471?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/agilbert"
},
"gmeline": {
"type": "authors",
"id": "185",
"meta": {
"index": "authors_1716337520",
"id": "185",
"found": true
},
"name": "Gabe Meline",
"firstName": "Gabe",
"lastName": "Meline",
"slug": "gmeline",
"email": "gmeline@kqed.org",
"display_author_email": true,
"staff_mastheads": [
"arts"
],
"title": "Senior Editor, KQED Arts & Culture",
"bio": "Gabe Meline entered journalism at age 15 making photocopied zines, and has since earned awards from the Edward R. Murrow Awards, the Society for Professional Journalists, the Online Journalism Awards, the Association of Alternative Newsweeklies and the California Newspaper Publishers Association. Prior to KQED, he was the editor of the \u003cem>North Bay Bohemian\u003c/em> and a touring musician. He lives with his wife and daughter in his hometown of Santa Rosa, CA.",
"avatar": "https://secure.gravatar.com/avatar/5bebe57be0d8bc2dd318934feb47299e2d2d10cba28d09d8d7afb389a2ce2bdd?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "",
"roles": [
"editor"
]
},
{
"site": "arts",
"roles": [
"administrator"
]
},
{
"site": "artschool",
"roles": [
"editor"
]
},
{
"site": "news",
"roles": [
"author"
]
},
{
"site": "pop",
"roles": [
"editor"
]
},
{
"site": "bayareabites",
"roles": [
"editor"
]
},
{
"site": "food",
"roles": [
"editor"
]
},
{
"site": "liveblog",
"roles": [
"editor"
]
},
{
"site": "hiphop",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Gabe Meline | KQED",
"description": "Senior Editor, KQED Arts & Culture",
"ogImgSrc": "https://secure.gravatar.com/avatar/5bebe57be0d8bc2dd318934feb47299e2d2d10cba28d09d8d7afb389a2ce2bdd?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/5bebe57be0d8bc2dd318934feb47299e2d2d10cba28d09d8d7afb389a2ce2bdd?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/gmeline"
},
"esilvers": {
"type": "authors",
"id": "7237",
"meta": {
"index": "authors_1716337520",
"id": "7237",
"found": true
},
"name": "Emma Silvers",
"firstName": "Emma",
"lastName": "Silvers",
"slug": "esilvers",
"email": "esilvers@kqed.org",
"display_author_email": false,
"staff_mastheads": [],
"title": "KQED Contributor",
"bio": "Emma Silvers is an editor at KQED Arts and a former digital producer at KQED News. Born and raised in the Bay Area, she has previously been an arts and entertainment editor at the \u003cem>San Francisco Chronicle\u003c/em>, \u003cem>SF Weekly\u003c/em> and the \u003cem>San Francisco Bay Guardian.\u003c/em> \u003ca href=\"https://www.emmasilvers.com\">Her work\u003c/a> has also appeared in \u003cem>Rolling Stone\u003c/em>, Pitchfork and \u003cem>Mother Jones\u003c/em>. In 2017 she was the recipient of the Society of Professional Journalists-Northern California's award for arts and culture reporting. In 1993 she \u003ca href=\"https://www.kqed.org/pop/16759/wait-what-my-coworker-was-a-voice-over-hyperventilator-for-jurassic-park\">hyperventilated in \u003cem>Jurassic Park\u003c/em>\u003c/a>.",
"avatar": "https://secure.gravatar.com/avatar/247beada39b88ea5759db1f51dba05cf?s=600&d=blank&r=g",
"twitter": "emmaruthless",
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"editor"
]
},
{
"site": "news",
"roles": [
"editor"
]
},
{
"site": "pop",
"roles": [
"contributor"
]
},
{
"site": "bayareabites",
"roles": [
"editor"
]
},
{
"site": "food",
"roles": [
"contributor"
]
},
{
"site": "liveblog",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Emma Silvers | KQED",
"description": "KQED Contributor",
"ogImgSrc": "https://secure.gravatar.com/avatar/247beada39b88ea5759db1f51dba05cf?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/247beada39b88ea5759db1f51dba05cf?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/esilvers"
},
"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": [
"arts"
],
"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": [
"editor"
]
},
{
"site": "news",
"roles": [
"editor"
]
},
{
"site": "pop",
"roles": [
"editor"
]
},
{
"site": "bayareabites",
"roles": [
"editor"
]
},
{
"site": "science",
"roles": [
"editor"
]
}
],
"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"
}
},
"pagesReducer": {
"arts_category_music": {
"type": "terms",
"id": "arts_69",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "69",
"score": 10.847853
},
"featImg": null,
"name": "Music",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Music Archives | KQED Arts",
"ogDescription": null
},
"ttid": 70,
"slug": "music",
"isLoading": false,
"title": "Music",
"pageMeta": {
"site": "arts",
"WpPageTemplate": "page-topic-editorial",
"currentPage": 83
},
"blocks": [
{
"blockName": "kqed/post-list",
"attrs": {
"layout": "cardArticle2",
"query": "posts/arts?category=music",
"seeMore": false,
"paginated": true,
"page": 83
}
},
{
"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_13921900": {
"type": "posts",
"id": "arts_13921900",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13921900",
"score": null,
"sort": [
1669669992000
]
},
"parent": 0,
"labelTerm": {},
"blocks": [],
"publishDate": 1669669992,
"format": "standard",
"title": "Gen Z Kids Still Wanna Fight [dun-dun] for Their Right [da-dun] to Paaaaaaartayyy",
"headTitle": "Gen Z Kids Still Wanna Fight [dun-dun] for Their Right [da-dun] to Paaaaaaartayyy | KQED",
"content": "\u003cp>\u003cem>This week, as we near the end of 2022, the writers and editors of KQED Arts & Culture are reflecting on \u003ca href=\"https://ww2.kqed.org/arts/tag/one-beautiful-thing\" target=\"_blank\" rel=\"noopener noreferrer\">One Beautiful Thing\u003c/a> from the year. Here, among a year that saw our tactile relationship to music further deteriorating, writer Rae Alexandra finds joy in a chance encounter affirming that certain icons haven’t been forgotten.\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13882786\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/Rae-Alexandra-KQED_180_final-160x176.jpg\" alt=\"\" width=\"160\" height=\"176\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Rae-Alexandra-KQED_180_final-160x176.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Rae-Alexandra-KQED_180_final.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>n August, I was strolling the packed Santa Cruz Beach Boardwalk with a friend when a trio of teens suddenly caught my eye. Casually walking in the opposite direction, the boys, complete strangers to me, were instantly recognizable.\u003c/p>\n\u003cp>One kid wore a red baseball cap and red shirt with the word “Stuyvesant” on it. The second had scruffy black hair and (despite the very hot weather) sported a black leather jacket over a white T-shirt. The third kid had on blue double denim paired with a FILA logo shirt, a baseball cap, and a VW chain hanging around his neck. The words leapt out of my mouth before I’d had a chance to even think about them. “It’s the Beastie Boys!” I yelled across the boardwalk.\u003c/p>\n\u003cp>All three boys heard me and immediately erupted into the kind of undiluted glee that only comes when someone finally recognizes your brilliance for the first time. Once they’d calmed down a bit, I asked if I could take their photo for posterity. The trio happily obliged, then went on their way, excitedly chatting about what had just happened.\u003c/p>\n\u003cfigure id=\"attachment_13921908\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921908\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Screen-Shot-2022-11-22-at-4.54.26-PM-800x847.png\" alt=\"Three teenage boys huddle together, smiling broadly, while dressed like the Beastie Boys.\" width=\"800\" height=\"847\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Screen-Shot-2022-11-22-at-4.54.26-PM-800x847.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Screen-Shot-2022-11-22-at-4.54.26-PM-1020x1079.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Screen-Shot-2022-11-22-at-4.54.26-PM-160x169.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Screen-Shot-2022-11-22-at-4.54.26-PM-768x813.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Screen-Shot-2022-11-22-at-4.54.26-PM.png 1066w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The super-rad teens who walked around Santa Cruz Beach Boardwalk dressed like 1986 Beastie Boys for no reason. \u003ccite>(Rae Alexandra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I didn’t ask these goofy, incredibly cool kids their names. I didn’t ask them any questions. We simply shared a moment of mutual respect. I respected them for their musical knowledge and attention to detail; they respected that I recognized their point of reference. I suspect our brief exchange was far more important to me, however, than it was to them.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I was 8 years old when the music video for “\u003ca href=\"https://www.youtube.com/watch?v=eBShN8qT4lk\" target=\"_blank\" rel=\"noopener noreferrer\">(You Gotta) Fight For Your Right (To Party)\u003c/a>” — the source of the Santa Cruz teenagers’ outfits — was released. The Beastie Boys went on to soundtrack most of my formative years. I spent the mid-’90s cultivating a wardrobe almost entirely based on the band’s “\u003ca href=\"https://www.youtube.com/watch?v=ru3gH27Fn6E\" target=\"_blank\" rel=\"noopener noreferrer\">So What’cha Want\u003c/a>” video. In 1996, when Kathleen Hanna from Bikini Kill starting dating the Beasties’ Ad Rock, it absolved me of the feminist guilt that had plagued me for still appreciating their earliest records. In college, I noticed that the Beastie Boys were the great leveler — the one thing the punk rock kids, the hip-hop kids, the skater kids and the stoner kids could all agree on.\u003c/p>\n\u003cp>Back then, truly loving a band was hard work. You had to own physical copies of their records (including imports) in order to listen to them. Sometimes you had to order these from the record store, or a mail-order catalog, and sometimes that took over a month. You had to keep a blank tape in the VCR at all times if you wanted to watch your favorite videos on demand later. In the pre-internet age, I remember that coming by Beastie Boys merch — let alone a copy of \u003cem>Grand Royal\u003c/em>, the band’s own fanzine — required patience, persistence and a fair amount of postage. But there was joy in the hunt, and unbelievable satisfaction in finally getting your hands on what you’d wanted.\u003c/p>\n\u003cp>Truthfully, I’ve spent years now feeling bad for Gen Z and their relationship with music. When you have every song in the history of the world in your pocket, the joy of discovery is reduced. The tactile joys of the record store are absent. The price of concert tickets is now astronomically high in part because physical album sales figures are so low — which results in bands being way less physically accessible. Worst of all, with streaming services’ \u003ca href=\"https://www.theverge.com/2021/11/10/22774897/spotify-connect-autoplay-default-speaker-music-streaming\" target=\"_blank\" rel=\"noopener noreferrer\">insistence on autoplay\u003c/a>, songs are often listened to by algorithm, and not by complete album as the artist originally intended. When the hunt is gone, I’ve long worried, the rewards are fleeting.\u003c/p>\n\u003cp>So the teenaged Beastie Boys of Santa Cruz carried some important lessons for 44-year-old me. They taught me that, despite having all the musical options in the world, Gen Z kids still know a Really Great Anthem when they hear it. They let me know that young energy once spent on hunting for music and merch hasn’t disappeared; it’s merely transformed into new forms of dedication. (Like, I don’t know, spending Monday afternoon dressed up like a band most of your friends haven’t even heard of.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>My boardwalk Beasties encounter also taught me that the Beastie Boys are \u003cem>still\u003c/em> a great leveler — and that the spirit of teen rebellion transcends generational barriers. More than anything, these teens let me know that, while they may not do music fandom exactly how we did it, the Gen Z kids are just fine.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 876,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 12
},
"modified": 1705006124,
"excerpt": "How a chance encounter with teenaged Beastie Boys impersonators restored my faith in modern music fandom.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "How a chance encounter with teenaged Beastie Boys impersonators restored my faith in modern music fandom.",
"title": "Gen Z Kids Still Wanna Fight [dun-dun] for Their Right [da-dun] to Paaaaaaartayyy | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Gen Z Kids Still Wanna Fight [dun-dun] for Their Right [da-dun] to Paaaaaaartayyy",
"datePublished": "2022-11-28T13:13:12-08:00",
"dateModified": "2024-01-11T12:48:44-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "best-of-2022-beastie-boys-santa-cruz",
"status": "publish",
"sourceUrl": "https://ww2.kqed.org/arts/tag/one-beautiful-thing",
"templateType": "standard",
"excludeFromSiteSearch": "Include",
"featuredImageType": "standard",
"sticky": false,
"source": "One Beautiful Thing From 2022",
"path": "/arts/13921900/best-of-2022-beastie-boys-santa-cruz",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This week, as we near the end of 2022, the writers and editors of KQED Arts & Culture are reflecting on \u003ca href=\"https://ww2.kqed.org/arts/tag/one-beautiful-thing\" target=\"_blank\" rel=\"noopener noreferrer\">One Beautiful Thing\u003c/a> from the year. Here, among a year that saw our tactile relationship to music further deteriorating, writer Rae Alexandra finds joy in a chance encounter affirming that certain icons haven’t been forgotten.\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13882786\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/Rae-Alexandra-KQED_180_final-160x176.jpg\" alt=\"\" width=\"160\" height=\"176\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Rae-Alexandra-KQED_180_final-160x176.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Rae-Alexandra-KQED_180_final.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>n August, I was strolling the packed Santa Cruz Beach Boardwalk with a friend when a trio of teens suddenly caught my eye. Casually walking in the opposite direction, the boys, complete strangers to me, were instantly recognizable.\u003c/p>\n\u003cp>One kid wore a red baseball cap and red shirt with the word “Stuyvesant” on it. The second had scruffy black hair and (despite the very hot weather) sported a black leather jacket over a white T-shirt. The third kid had on blue double denim paired with a FILA logo shirt, a baseball cap, and a VW chain hanging around his neck. The words leapt out of my mouth before I’d had a chance to even think about them. “It’s the Beastie Boys!” I yelled across the boardwalk.\u003c/p>\n\u003cp>All three boys heard me and immediately erupted into the kind of undiluted glee that only comes when someone finally recognizes your brilliance for the first time. Once they’d calmed down a bit, I asked if I could take their photo for posterity. The trio happily obliged, then went on their way, excitedly chatting about what had just happened.\u003c/p>\n\u003cfigure id=\"attachment_13921908\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921908\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Screen-Shot-2022-11-22-at-4.54.26-PM-800x847.png\" alt=\"Three teenage boys huddle together, smiling broadly, while dressed like the Beastie Boys.\" width=\"800\" height=\"847\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Screen-Shot-2022-11-22-at-4.54.26-PM-800x847.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Screen-Shot-2022-11-22-at-4.54.26-PM-1020x1079.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Screen-Shot-2022-11-22-at-4.54.26-PM-160x169.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Screen-Shot-2022-11-22-at-4.54.26-PM-768x813.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Screen-Shot-2022-11-22-at-4.54.26-PM.png 1066w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The super-rad teens who walked around Santa Cruz Beach Boardwalk dressed like 1986 Beastie Boys for no reason. \u003ccite>(Rae Alexandra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I didn’t ask these goofy, incredibly cool kids their names. I didn’t ask them any questions. We simply shared a moment of mutual respect. I respected them for their musical knowledge and attention to detail; they respected that I recognized their point of reference. I suspect our brief exchange was far more important to me, however, than it was to them.\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 was 8 years old when the music video for “\u003ca href=\"https://www.youtube.com/watch?v=eBShN8qT4lk\" target=\"_blank\" rel=\"noopener noreferrer\">(You Gotta) Fight For Your Right (To Party)\u003c/a>” — the source of the Santa Cruz teenagers’ outfits — was released. The Beastie Boys went on to soundtrack most of my formative years. I spent the mid-’90s cultivating a wardrobe almost entirely based on the band’s “\u003ca href=\"https://www.youtube.com/watch?v=ru3gH27Fn6E\" target=\"_blank\" rel=\"noopener noreferrer\">So What’cha Want\u003c/a>” video. In 1996, when Kathleen Hanna from Bikini Kill starting dating the Beasties’ Ad Rock, it absolved me of the feminist guilt that had plagued me for still appreciating their earliest records. In college, I noticed that the Beastie Boys were the great leveler — the one thing the punk rock kids, the hip-hop kids, the skater kids and the stoner kids could all agree on.\u003c/p>\n\u003cp>Back then, truly loving a band was hard work. You had to own physical copies of their records (including imports) in order to listen to them. Sometimes you had to order these from the record store, or a mail-order catalog, and sometimes that took over a month. You had to keep a blank tape in the VCR at all times if you wanted to watch your favorite videos on demand later. In the pre-internet age, I remember that coming by Beastie Boys merch — let alone a copy of \u003cem>Grand Royal\u003c/em>, the band’s own fanzine — required patience, persistence and a fair amount of postage. But there was joy in the hunt, and unbelievable satisfaction in finally getting your hands on what you’d wanted.\u003c/p>\n\u003cp>Truthfully, I’ve spent years now feeling bad for Gen Z and their relationship with music. When you have every song in the history of the world in your pocket, the joy of discovery is reduced. The tactile joys of the record store are absent. The price of concert tickets is now astronomically high in part because physical album sales figures are so low — which results in bands being way less physically accessible. Worst of all, with streaming services’ \u003ca href=\"https://www.theverge.com/2021/11/10/22774897/spotify-connect-autoplay-default-speaker-music-streaming\" target=\"_blank\" rel=\"noopener noreferrer\">insistence on autoplay\u003c/a>, songs are often listened to by algorithm, and not by complete album as the artist originally intended. When the hunt is gone, I’ve long worried, the rewards are fleeting.\u003c/p>\n\u003cp>So the teenaged Beastie Boys of Santa Cruz carried some important lessons for 44-year-old me. They taught me that, despite having all the musical options in the world, Gen Z kids still know a Really Great Anthem when they hear it. They let me know that young energy once spent on hunting for music and merch hasn’t disappeared; it’s merely transformed into new forms of dedication. (Like, I don’t know, spending Monday afternoon dressed up like a band most of your friends haven’t even heard of.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>My boardwalk Beasties encounter also taught me that the Beastie Boys are \u003cem>still\u003c/em> a great leveler — and that the spirit of teen rebellion transcends generational barriers. More than anything, these teens let me know that, while they may not do music fandom exactly how we did it, the Gen Z kids are just fine.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13921900/best-of-2022-beastie-boys-santa-cruz",
"authors": [
"11242"
],
"categories": [
"arts_1",
"arts_69",
"arts_75"
],
"tags": [
"arts_5665",
"arts_10342",
"arts_10278",
"arts_12735",
"arts_19127"
],
"featImg": "arts_13921923",
"label": "source_arts_13921900"
},
"arts_13921890": {
"type": "posts",
"id": "arts_13921890",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13921890",
"score": null,
"sort": [
1669222800000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 140
},
"blocks": [],
"publishDate": 1669222800,
"format": "aside",
"title": "A Tale of Two 'Traviatas'",
"headTitle": "A Tale of Two ‘Traviatas’ | KQED",
"content": "\u003cfigure id=\"attachment_13921894\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Traviata.MAIN_.jpg\" alt=\"A Black woman in a red dress stands against a parlor wall of deep red, adorned with paintings\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13921894\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Traviata.MAIN_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Traviata.MAIN_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Traviata.MAIN_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Traviata.MAIN_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Traviata.MAIN_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Traviata.MAIN_-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Pretty Yende as Violetta in Verdi’s ‘La Traviata’ at San Francisco Opera. \u003ccite>(Cory Weaver)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I’m used to New York looking down on the Bay Area, but I never realized until recently that its condescension extended to, of all things, opera. \u003c/p>\n\u003cp>Scene: I’m at Lincoln Center in New York a couple weeks ago to see Verdi’s \u003cem>La Traviata\u003c/em>, and a man nearby strikes up a conversation. When he learns I’m from the Bay Area, he furrows his brow: “Oh, I have heard about San Francisco opera. Not so good.” \u003c/p>\n\u003cp>[aside postID='arts_13919101']Coupled with \u003ci>The New York Times\u003c/i> \u003ca href=\"https://www.nytimes.com/2022/09/11/arts/music/john-adams-antony-cleopatra-opera.html\">weirdly slamming\u003c/a> Berkeley-based composer John Adams’ San Francisco premiere of \u003cem>Antony and Cleopatra\u003c/em>, a original and engrossing work, I had to wonder: what gives?\u003c/p>\n\u003cp>Seeing \u003cem>La Traviata\u003c/em> as a first-time visitor to the Met in New York, I couldn’t help but be a little awed by its elegant red-and-white lobby, ascending chandeliers and famous facade. As for the top-notch performance of Nadine Sierra as Violetta? It brought me to tears. \u003c/p>\n\u003cp>But if the package comes with haughtiness, like so many things in New York do (see: the Yankees’ fanbase, Notorious B.I.G. zealots, \u003ca href=\"https://www.nytimes.com/2022/08/29/arts/design/san-francisco-art-market.html\">whatever this Grade-A horse manure is\u003c/a>), then gimme San Francisco’s brand of opera any day.\u003c/p>\n\u003cfigure id=\"attachment_13921896\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/LaTraviataGroup.jpg\" alt=\"A Black woman in a blue dress stands above a crowd engaged in revelry \" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13921896\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/LaTraviataGroup.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/LaTraviataGroup-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/LaTraviataGroup-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/LaTraviataGroup-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/LaTraviataGroup-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/LaTraviataGroup-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Pretty Yende as Violetta among members of the ensemble in Verdi’s ‘La Traviata’ at San Francisco Opera. \u003ccite>(Cory Weaver)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I decided to see \u003cem>La Traviata\u003c/em> again, at SF Opera, just a week after seeing it at the Met, to compare. The primary difference is that the casting is simply more interesting. At the Met, Sierra may have the more gossamer timbre. But in San Francisco, soprano Pretty Yende brings a wholly different dimension to the role, extracting more of the wonder and pathos of Violetta’s predicament. (Jonathan Tetelman as Alfredo and Simone Piazzola as Giorgio, both making their SF Opera debuts, deliver convincing performances as well.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The set in New York? Virtually unchanging, save for some furniture swaps, as well as towers of wooden lattice to convey “the country.” In San Francisco, meanwhile, the audience audibly gasped when the curtain rose on the beautiful, decor-laden deep red set for Act II’s party scene. \u003c/p>\n\u003cp>San Francisco’s \u003cem>Traviata\u003c/em> is also directed by a woman, Shawna Lucey — which, considering its tensions over a woman’s place in society and the men who have the power to reduce it, should be the rule for every staging of \u003cem>La Traviata\u003c/em>. \u003c/p>\n\u003cp>In short, the Met is nice, but we’ve got something special here in the Bay Area. I can guarantee one other difference, too: unlike at the Met, a cup of coffee and a cookie at intermission won’t set you back $19.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘La Traviata’ runs through Saturday, Dec. 3, at the War Memorial Opera House in San Francisco. \u003ca href=\"https://www.sfopera.com/operas/la-traviata/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 509,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 13
},
"modified": 1705006132,
"excerpt": "A report on seeing both the Met’s ‘La Traviata’ and SF Opera’s ‘La Traviata’ in the same week.",
"headData": {
"twImgId": "",
"twTitle": "",
"socialTitle": "‘La Traviata’ Review: NY Has Nothing on SF Opera %%page%% %%sep%% KQED",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "A report on seeing both the Met’s ‘La Traviata’ and SF Opera’s ‘La Traviata’ in the same week.",
"title": "‘La Traviata’ Review: NY Has Nothing on SF Opera | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "A Tale of Two 'Traviatas'",
"datePublished": "2022-11-23T09:00:00-08:00",
"dateModified": "2024-01-11T12:48:52-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "la-traviata-sf-opera-versus-ny-met",
"status": "publish",
"templateType": "standard",
"excludeFromSiteSearch": "Include",
"featuredImageType": "standard",
"sticky": false,
"path": "/arts/13921890/la-traviata-sf-opera-versus-ny-met",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13921894\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Traviata.MAIN_.jpg\" alt=\"A Black woman in a red dress stands against a parlor wall of deep red, adorned with paintings\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13921894\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Traviata.MAIN_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Traviata.MAIN_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Traviata.MAIN_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Traviata.MAIN_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Traviata.MAIN_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Traviata.MAIN_-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Pretty Yende as Violetta in Verdi’s ‘La Traviata’ at San Francisco Opera. \u003ccite>(Cory Weaver)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I’m used to New York looking down on the Bay Area, but I never realized until recently that its condescension extended to, of all things, opera. \u003c/p>\n\u003cp>Scene: I’m at Lincoln Center in New York a couple weeks ago to see Verdi’s \u003cem>La Traviata\u003c/em>, and a man nearby strikes up a conversation. When he learns I’m from the Bay Area, he furrows his brow: “Oh, I have heard about San Francisco opera. Not so good.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13919101",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Coupled with \u003ci>The New York Times\u003c/i> \u003ca href=\"https://www.nytimes.com/2022/09/11/arts/music/john-adams-antony-cleopatra-opera.html\">weirdly slamming\u003c/a> Berkeley-based composer John Adams’ San Francisco premiere of \u003cem>Antony and Cleopatra\u003c/em>, a original and engrossing work, I had to wonder: what gives?\u003c/p>\n\u003cp>Seeing \u003cem>La Traviata\u003c/em> as a first-time visitor to the Met in New York, I couldn’t help but be a little awed by its elegant red-and-white lobby, ascending chandeliers and famous facade. As for the top-notch performance of Nadine Sierra as Violetta? It brought me to tears. \u003c/p>\n\u003cp>But if the package comes with haughtiness, like so many things in New York do (see: the Yankees’ fanbase, Notorious B.I.G. zealots, \u003ca href=\"https://www.nytimes.com/2022/08/29/arts/design/san-francisco-art-market.html\">whatever this Grade-A horse manure is\u003c/a>), then gimme San Francisco’s brand of opera any day.\u003c/p>\n\u003cfigure id=\"attachment_13921896\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/LaTraviataGroup.jpg\" alt=\"A Black woman in a blue dress stands above a crowd engaged in revelry \" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13921896\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/LaTraviataGroup.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/LaTraviataGroup-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/LaTraviataGroup-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/LaTraviataGroup-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/LaTraviataGroup-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/LaTraviataGroup-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Pretty Yende as Violetta among members of the ensemble in Verdi’s ‘La Traviata’ at San Francisco Opera. \u003ccite>(Cory Weaver)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I decided to see \u003cem>La Traviata\u003c/em> again, at SF Opera, just a week after seeing it at the Met, to compare. The primary difference is that the casting is simply more interesting. At the Met, Sierra may have the more gossamer timbre. But in San Francisco, soprano Pretty Yende brings a wholly different dimension to the role, extracting more of the wonder and pathos of Violetta’s predicament. (Jonathan Tetelman as Alfredo and Simone Piazzola as Giorgio, both making their SF Opera debuts, deliver convincing performances as well.)\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 set in New York? Virtually unchanging, save for some furniture swaps, as well as towers of wooden lattice to convey “the country.” In San Francisco, meanwhile, the audience audibly gasped when the curtain rose on the beautiful, decor-laden deep red set for Act II’s party scene. \u003c/p>\n\u003cp>San Francisco’s \u003cem>Traviata\u003c/em> is also directed by a woman, Shawna Lucey — which, considering its tensions over a woman’s place in society and the men who have the power to reduce it, should be the rule for every staging of \u003cem>La Traviata\u003c/em>. \u003c/p>\n\u003cp>In short, the Met is nice, but we’ve got something special here in the Bay Area. I can guarantee one other difference, too: unlike at the Met, a cup of coffee and a cookie at intermission won’t set you back $19.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘La Traviata’ runs through Saturday, Dec. 3, at the War Memorial Opera House in San Francisco. \u003ca href=\"https://www.sfopera.com/operas/la-traviata/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13921890/la-traviata-sf-opera-versus-ny-met",
"authors": [
"185"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_69",
"arts_967"
],
"tags": [
"arts_13090",
"arts_763",
"arts_3316",
"arts_585"
],
"featImg": "arts_13921893",
"label": "arts_140"
},
"arts_13921863": {
"type": "posts",
"id": "arts_13921863",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13921863",
"score": null,
"sort": [
1669150924000
]
},
"parent": 0,
"labelTerm": {},
"blocks": [],
"publishDate": 1669150924,
"format": "standard",
"title": "Processing New Motherhood, Suzanimal Sings From a Sea Creature’s Perspective",
"headTitle": "Processing New Motherhood, Suzanimal Sings From a Sea Creature’s Perspective | KQED",
"content": "\u003cp>\u003cem>Welcome to \u003ca href=\"http://kqed.org/passtheaux\">Pass the Aux\u003c/a>, where KQED Arts & Culture brings you our favorite new tracks by Bay Area artists.\u003c/em>\u003c/p>\n\u003cp>When Suzanne Galal first had her son, she found herself contemplating her next life phase as she walked along the murky waters of Oakland’s Lake Merritt. Her indie, funk and R&B outfit Suzanimal had just begun to get traction in the Bay Area’s live music scene. Now that she was a parent, would she have time to pursue her passion while holding down her career as a pharmacy professor at the University of the Pacific? [aside postid='arts_13830553']\u003c/p>\n\u003cp>Doubts crept in as Galal pushed her son’s stroller around the edges of the lake. “I was in a time where there’s lots of hormones, and almost, like, grief and trying to find myself again,” says Galal.\u003c/p>\n\u003cp>As she walked, the melody of what would become the song “Eel” began to come to her. In the sweeping, cinematic track, Galal inhabits the persona of a sea creature at the bottom of the lake as she takes time to herself to sort out her emotions. Graham Patzner’s violin playing and Kelly McFarling’s choral backing vocals lend the track rich textures as Galal explores the bittersweetness of saying goodbye to one stage of life while welcoming another.\u003c/p>\n\u003cp>The idea for the chorus, in which she acceptingly repeats “I don’t mind,” came to her after a friend worked with a \u003ca href=\"https://idontmind.com/\">mental health awareness campaign of the same name\u003c/a>. “And so it was like, ‘OK, it’s OK to be sad, but there’s people to reach out to. And it’s also equally empowering, being sad and gaining strength from that moment in my life,” Galal reflects.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1203792050/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=386374829/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>“Eel” is part of Galal’s September album \u003cem>Passing\u003c/em>, which invites the listener to groove and dance, even as it takes stock of life’s difficulties during the pandemic. And on an optimistic note, Galal surprised herself with how creative and productive she’s been since the arrival of her son. “He’s really actually made things better, and I feel even more inspired and am coming up with new songs, and writing even faster, since he’s been around,” she says.\u003c/p>\n\u003cp>Galal says she’s already working on her next project, due in early 2023, and is performing some of her new, unreleased music at her next live show at Amado’s in San Francisco on Dec. 2.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Suzanimal performs with Joshua James Jackson and Fiero at Amado’s in San Francisco on Dec. 2. \u003ca href=\"http://www.amadossf.com/shows/2022/12/2/suzanimal-joshua-james-jackson-fiero\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": true,
"hasAudio": false,
"hasPolis": false,
"wordCount": 463,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [
"https://bandcamp.com/EmbeddedPlayer/album=1203792050/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=386374829/transparent=true/"
],
"paragraphCount": 12
},
"modified": 1705006134,
"excerpt": "The cinematic track ‘Eel’ came into focus on lakeside walks, contemplating the next phase of her life.",
"headData": {
"twImgId": "",
"twTitle": "Processing New Motherhood, Suzanimal Sings From a Sea Creature’s Perspective",
"socialTitle": "Suzanimal Channels a Sea Creature in a Song About Motherhood %%page%% %%sep%% KQED",
"ogTitle": "Processing New Motherhood, Suzanimal Sings From a Sea Creature’s Perspective",
"ogImgId": "",
"twDescription": "",
"description": "The cinematic track ‘Eel’ came into focus on lakeside walks, contemplating the next phase of her life.",
"title": "Suzanimal Channels a Sea Creature in a Song About Motherhood | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Processing New Motherhood, Suzanimal Sings From a Sea Creature’s Perspective",
"datePublished": "2022-11-22T13:02:04-08:00",
"dateModified": "2024-01-11T12:48:54-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "suzanimal-eel-pass-the-aux-new-motherhood",
"status": "publish",
"sourceUrl": "https://www.kqed.org/passtheaux",
"templateType": "standard",
"excludeFromSiteSearch": "Include",
"featuredImageType": "standard",
"sticky": false,
"source": "Pass the Aux",
"path": "/arts/13921863/suzanimal-eel-pass-the-aux-new-motherhood",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Welcome to \u003ca href=\"http://kqed.org/passtheaux\">Pass the Aux\u003c/a>, where KQED Arts & Culture brings you our favorite new tracks by Bay Area artists.\u003c/em>\u003c/p>\n\u003cp>When Suzanne Galal first had her son, she found herself contemplating her next life phase as she walked along the murky waters of Oakland’s Lake Merritt. Her indie, funk and R&B outfit Suzanimal had just begun to get traction in the Bay Area’s live music scene. Now that she was a parent, would she have time to pursue her passion while holding down her career as a pharmacy professor at the University of the Pacific? \u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13830553",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Doubts crept in as Galal pushed her son’s stroller around the edges of the lake. “I was in a time where there’s lots of hormones, and almost, like, grief and trying to find myself again,” says Galal.\u003c/p>\n\u003cp>As she walked, the melody of what would become the song “Eel” began to come to her. In the sweeping, cinematic track, Galal inhabits the persona of a sea creature at the bottom of the lake as she takes time to herself to sort out her emotions. Graham Patzner’s violin playing and Kelly McFarling’s choral backing vocals lend the track rich textures as Galal explores the bittersweetness of saying goodbye to one stage of life while welcoming another.\u003c/p>\n\u003cp>The idea for the chorus, in which she acceptingly repeats “I don’t mind,” came to her after a friend worked with a \u003ca href=\"https://idontmind.com/\">mental health awareness campaign of the same name\u003c/a>. “And so it was like, ‘OK, it’s OK to be sad, but there’s people to reach out to. And it’s also equally empowering, being sad and gaining strength from that moment in my life,” Galal reflects.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1203792050/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=386374829/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>“Eel” is part of Galal’s September album \u003cem>Passing\u003c/em>, which invites the listener to groove and dance, even as it takes stock of life’s difficulties during the pandemic. And on an optimistic note, Galal surprised herself with how creative and productive she’s been since the arrival of her son. “He’s really actually made things better, and I feel even more inspired and am coming up with new songs, and writing even faster, since he’s been around,” she says.\u003c/p>\n\u003cp>Galal says she’s already working on her next project, due in early 2023, and is performing some of her new, unreleased music at her next live show at Amado’s in San Francisco on Dec. 2.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Suzanimal performs with Joshua James Jackson and Fiero at Amado’s in San Francisco on Dec. 2. \u003ca href=\"http://www.amadossf.com/shows/2022/12/2/suzanimal-joshua-james-jackson-fiero\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13921863/suzanimal-eel-pass-the-aux-new-motherhood",
"authors": [
"11387"
],
"categories": [
"arts_1",
"arts_69"
],
"tags": [
"arts_10278",
"arts_13240"
],
"featImg": "arts_13921870",
"label": "source_arts_13921863"
},
"arts_13921777": {
"type": "posts",
"id": "arts_13921777",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13921777",
"score": null,
"sort": [
1668729274000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 10778
},
"blocks": [],
"publishDate": 1668729274,
"format": "standard",
"title": "The Taylor Swift Ticket Fiasco Is Refocusing a Spotlight on Ticketmaster's Dominance",
"headTitle": "The Taylor Swift Ticket Fiasco Is Refocusing a Spotlight on Ticketmaster’s Dominance | KQED",
"content": "\u003cp>Ticket sales for Taylor Swift’s upcoming tour have not gone, in the words of the chart-topping singer, \u003ca href=\"https://www.npr.org/sections/now-playing/2021/11/12/1054886542/taylor-swift-all-too-well-10-minute-version-taylors-version-from-the-vault\">all too well\u003c/a>.\u003c/p>\n\u003cp>Mixed messages, long wait times and temporary \u003ca href=\"https://www.nbcnews.com/business/ticket-sales-taylor-swift-tour-reignite-fan-frustration-ticketmaster-rcna57164\">outages on the Ticketmaster website\u003c/a> left scores of fans frustrated and empty-handed when the first wave of tickets for the 52-date Eras Tour, scheduled for next year and Swift’s first since 2018, went on sale on Tuesday.\u003c/p>\n\u003cp>[aside postid='arts_13906513']Ticketmaster rescheduled additional rounds due to \u003ca href=\"https://twitter.com/Ticketmaster/status/1592579481449168898?s=20&t=aoZMp_rOwRJKG1d-0boJrQ\">what it called\u003c/a> “historically unprecedented demand,” saying “millions” had tried to buy pre-sale tickets and hundreds of thousands had done so successfully.\u003c/p>\n\u003cp>On Thursday afternoon, the day before tickets were due to open to the general public, \u003ca href=\"https://twitter.com/Ticketmaster/status/1593333211769106433?s=20&t=FUhACuptuukloKgaS0D_8A\">it announced\u003c/a> that the sale had been cancelled altogether due to “extraordinarily high demands on ticketing systems and insufficient remaining ticket inventory to meet that demand.”\u003c/p>\n\u003cp>The frenzy has brought renewed scrutiny to the giant Ticketmaster, which critics have long accused of abusing its market power at the expense of consumers. Would-be concertgoers have complained vocally about recent incidents with \u003ca href=\"https://www.npr.org/2021/12/10/1063237219/olivia-rodrigo-sour-tour-tickets\">near-instant sellouts\u003c/a> and \u003ca href=\"https://dailyhive.com/vancouver/ticketmaster-harry-styles-concert\">skyrocketing prices\u003c/a>, and artists like \u003ca href=\"https://www.nytimes.com/1994/07/01/arts/pearl-jam-musicians-testify-on-ticketmaster-s-prices.html\">Pearl Jam\u003c/a> and \u003ca href=\"https://www.rollingstone.com/music/music-news/bruce-springsteen-furious-at-ticketmaster-rails-against-live-nation-merger-97368/\">Bruce Springsteen\u003c/a> have feuded with it over the decades.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>One common complaint is that there doesn’t seem to be a clear alternative or competitor to Ticketmaster, especially after it \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=122970946\">merged with concert provider Live Nation\u003c/a> in 2010 (a controversial move that required conditional approval from the U.S. Department of Justice).\u003c/p>\n\u003cp>Now Tennessee’s attorney general, a Republican, is opening a \u003ca href=\"https://www.cnbc.com/2022/11/17/tennessee-ag-investigating-ticketmaster-after-taylor-swift-ticket-chaos.html\">consumer protection investigation\u003c/a> into the incident and Democratic lawmakers are asking questions about the company’s dominance — not for the first time.\u003c/p>\n\u003cp>Ticketmaster has not responded to NPR’s request for comment, but did \u003ca href=\"https://business.ticketmaster.com/business-solutions/the-taylor-swift-on-sale-explained-2/\">publish a statement\u003c/a> on Thursday called ”The Taylor Swift On Sale Explained.”\u003c/p>\n\u003cp>“Taylor Swift’s tour sale is a perfect example of how the Live Nation/Ticketmaster merger harms consumers by creating a near-monopoly,” \u003ca href=\"https://twitter.com/SenBlumenthal/status/1592719426486693888?s=20&t=6NMdGIyJyVdkFRiIViR22Q\">tweeted \u003c/a>Sen. Richard Blumenthal (D-Conn.), one of several lawmakers who has long \u003ca href=\"https://twitter.com/SenBlumenthal/status/1593041603756986370?s=20&t=qDLR5WiReLMexu-3jldnmA\">called for investigation\u003c/a> and accountability into the company, especially after becoming a subsidiary of concert behemoth Live Nation.\u003c/p>\n\u003cp>And he took some inspiration from the lyrics of Swift herself: “Consumers deserve better than this \u003ca href=\"https://www.youtube.com/watch?v=b1kbLwvqugk\">anti-hero\u003c/a> behavior.”\u003c/p>\n\u003ch2>Lawmakers have long been skeptical of Ticketmaster’s ‘reputation’\u003c/h2>\n\u003cp>Various Democratic lawmakers have called for greater antitrust enforcement over the years, including urging the Justice Department to investigate the state of competition in the ticketing market as recently as \u003ca href=\"https://twitter.com/RepCicilline/status/1592631480563675136?s=20&t=f40vMZ71zLcqFzmvwY9JrA\">April 2021\u003c/a> and \u003ca href=\"https://www.blumenthal.senate.gov/newsroom/press/release/blumenthal-and-klobuchar-urge-doj-action-to-restore-competition-in-the-concert_live-entertainment-market\">March of this year\u003c/a>.\u003c/p>\n\u003cp>Some also want to hear from Ticketmaster directly — including Sen. Amy Klobuchar, chair of the Senate Judiciary Subcommittee on Competition Policy, Antitrust, and Consumer Rights.\u003c/p>\n\u003cp>Klobuchar announced on Thursday that she had \u003ca href=\"https://www.klobuchar.senate.gov/public/index.cfm/news-releases?ID=A32B7DB3-6D73-4ED7-94E5-BD6E205A0F8E\">sent a letter\u003c/a> to Ticketmaster president and CEO Michael Rapino expressing concern about the lack of competition and asking about certain company practices.\u003c/p>\n\u003cp>[aside postid='arts_13846754']“Ticketmaster’s power in the primary ticket market insulates it from the competitive pressures that typically push companies to innovate and improve their services,” she wrote. “That can result in the types of dramatic service failures we saw this week, where consumers are the ones that pay the price.”\u003c/p>\n\u003cp>Ticketmaster was only able to merge Live Nation under an antitrust consent decree, with certain conditions aimed at preventing it from abusing its market position. Citing numerous complaints, Klobuchar expressed concern about a “pattern of non-compliance” with those legal obligations.\u003c/p>\n\u003cp>She requested that Rapino respond in writing by Wednesday to a set of five questions, including: how much the company has invested in upgrading its systems to address demand surges, what percentage of high-profile tour tickets are typically available to the general public and whether it is aware of any complaints to government agencies about noncompliance in the past 12 months.\u003c/p>\n\u003cp>Klobuchar also notes that her concerns date back much further than that.\u003c/p>\n\u003cp>“I have been skeptical of the combination of these companies since you merged in 2011, when the Senate held a hearing into the merger,” she wrote. “At that hearing, you appeared as a witness and pledged to ‘develop an easy-access, one-stop platform that can deliver … tickets.’ And you said that you were ‘confident this plan will work.’ It appears that your confidence was misplaced.”\u003c/p>\n\u003ch2>Critics don’t want Ticketmaster to just ‘shake it off’\u003c/h2>\n\u003cp>Several Democrat lawmakers turned to Twitter to air their bad blood against the company, with many calling it a monopoly and calling for change.\u003c/p>\n\u003cp>“Daily reminder that Ticketmaster is a monopoly, its merger with Live Nation should never have been approved, and they need to be reigned in,” wrote Rep. \u003ca href=\"https://twitter.com/AOC/status/1592587226801934336?s=20&t=FTi6d-kBb5uiFF0QzlvgVw\">Alexandria Ocasio-Cortez\u003c/a> (D-N.Y.). “Break them up.”\u003c/p>\n\u003cp>[aside postid='arts_13841293']Rep. \u003ca href=\"https://twitter.com/RepCicilline/status/1592631477463707650?s=20&t=CTuO9eWVmVEpL-AB5otrgA\">David Cicilline \u003c/a>(D-R.I.), who chairs the House Subcommittee of Antitrust, Commercial and Administrative Law, described Ticketmaster’s wait times and fees as “the symptom of a larger problem.”\u003c/p>\n\u003cp>“It’s no secret that Live Nation-Ticketmaster is an unchecked monopoly,” he added.\u003c/p>\n\u003cp>Rep. Bill Pascrell (D-N.J.) wasted no time weighing in on the Swift fiasco.\u003c/p>\n\u003cp>“You’d think with their endless list of fees Ticketmaster could have a working website,” he \u003ca href=\"https://twitter.com/BillPascrell/status/1593261951664136193?s=20&t=vRyIClxSWX9A_8pzJn60Kw\">tweeted on Thursday\u003c/a>, reiterating comments he made on Tuesday. “Break up the Live Nation-Ticketmaster monopoly.”\u003c/p>\n\u003ch2>Ticketmaster says the sale broke records — and its website\u003c/h2>\n\u003cp>In its Thursday statement, Ticketmaster explained how it prepared for the pre-sale period, noting that 3.5 million people pre-registered for the Verified Fan program, the largest such number in its history and one that “informed the artist team’s decision to add additional dates” to the tour.\u003c/p>\n\u003cp>The company says that using Verified Fan invite codes has historically helped manage the volume of users visiting the website to buy tickets, though that wasn’t the case on Tuesday.\u003c/p>\n\u003cp>“The staggering number of bot attacks as well as fans who didn’t have invite codes drove unprecedented traffic on our site, resulting in 3.5 billion total system requests — 4x our previous peak,” it said, adding that it slowed down some sales and pushed back others to stabilize its systems, resulting in longer wait times for some users.\u003c/p>\n\u003cp>It estimates that about 15% of interactions across the website experienced issues, which it said is “15% too many.” But it also said a record-breaking number of fans were able to buy tickets: More than 2 million were sold on Tuesday for Swift’s tour, the most ever for an artist in a single day.\u003c/p>\n\u003cp>[aside postid='arts_13884673']Ticketmaster acknowledged that in-demand sales pose technical challenges, and says that even if that were not the case, many fans would still be left without tickets.\u003c/p>\n\u003cp>“For example: based on the volume of traffic to our site, Taylor would need to perform over 900 stadium shows (almost 20x the number of shows she is doing),” it said. “That’s a stadium show every single night for the next 2.5 years.”\u003c/p>\n\u003cp>Ticketmaster’s largest shareholder also appeared to place the blame on Swift in an interview on Thursday.\u003c/p>\n\u003cp>Greg Maffei, CEO of Liberty Media, which owns a majority stake of Live Nation, told \u003ca href=\"https://www.cnbc.com/2022/11/17/taylor-swift-ticketmaster-fiasco-due-to-demand-bots-liberty-media-ceo-says.html\">CNBC’s \u003cem>Squawk on the Street\u003c/em>\u003c/a> that the company is sympathetic to fans but the demand was simply too great, which he suggested was due to the fact that Swift hasn’t toured in five years.\u003c/p>\n\u003cp>“It’s a function of Taylor Swift,” he said. “The site was supposed to open up for 1.5 million verified Taylor Swift fans. We had 14 million people hit the site, including bots, which are not supposed to be there.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Fans did not take kindly to that explanation, if the outpouring of \u003ca href=\"https://twitter.com/matthewstoller/status/1593257010702692354/retweets/with_comments\">angry tweets\u003c/a> has been any indication. Swift hasn’t commented publicly on the Ticketmaster fiasco, though a quick scan of her \u003ca href=\"https://www.instagram.com/taylorswift/\">Instagram account\u003c/a> shows that her bio still bears the lyrics from one of her latest hits: “I’m the problem, it’s me.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Taylor+Swift+ticket+fiasco+is+refocusing+a+spotlight+on+Ticketmaster%27s+dominance&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1413,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 36
},
"modified": 1705006144,
"excerpt": "Ticketmaster says unprecedented demand caused tech issues, frustrating fans. Some Democrats say the problem is actually with the company's market power.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Ticketmaster says unprecedented demand caused tech issues, frustrating fans. Some Democrats say the problem is actually with the company's market power.",
"title": "The Taylor Swift Ticket Fiasco Is Refocusing a Spotlight on Ticketmaster's Dominance | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "The Taylor Swift Ticket Fiasco Is Refocusing a Spotlight on Ticketmaster's Dominance",
"datePublished": "2022-11-17T15:54:34-08:00",
"dateModified": "2024-01-11T12:49:04-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "the-taylor-swift-ticket-fiasco-is-refocusing-a-spotlight-on-ticketmasters-dominance",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=1137465465&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprStoryDate": "Thu, 17 Nov 2022 15:57:10 -0500",
"excludeFromSiteSearch": "Include",
"nprLastModifiedDate": "Thu, 17 Nov 2022 15:57:10 -0500",
"featuredImageType": "standard",
"nprHtmlLink": "https://www.npr.org/2022/11/17/1137465465/taylor-swift-ticketmaster-klobuchar-tennessee?ft=nprml&f=1137465465",
"nprImageAgency": "Getty Images for MTV/Paramount G",
"nprStoryId": "1137465465",
"nprByline": "Rachel Treisman",
"sticky": false,
"nprImageCredit": "Jamie McCarthy",
"showOnAuthorArchivePages": "No",
"nprRetrievedStory": "1",
"nprPubDate": "Thu, 17 Nov 2022 15:57:00 -0500",
"path": "/arts/13921777/the-taylor-swift-ticket-fiasco-is-refocusing-a-spotlight-on-ticketmasters-dominance",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ticket sales for Taylor Swift’s upcoming tour have not gone, in the words of the chart-topping singer, \u003ca href=\"https://www.npr.org/sections/now-playing/2021/11/12/1054886542/taylor-swift-all-too-well-10-minute-version-taylors-version-from-the-vault\">all too well\u003c/a>.\u003c/p>\n\u003cp>Mixed messages, long wait times and temporary \u003ca href=\"https://www.nbcnews.com/business/ticket-sales-taylor-swift-tour-reignite-fan-frustration-ticketmaster-rcna57164\">outages on the Ticketmaster website\u003c/a> left scores of fans frustrated and empty-handed when the first wave of tickets for the 52-date Eras Tour, scheduled for next year and Swift’s first since 2018, went on sale on Tuesday.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13906513",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Ticketmaster rescheduled additional rounds due to \u003ca href=\"https://twitter.com/Ticketmaster/status/1592579481449168898?s=20&t=aoZMp_rOwRJKG1d-0boJrQ\">what it called\u003c/a> “historically unprecedented demand,” saying “millions” had tried to buy pre-sale tickets and hundreds of thousands had done so successfully.\u003c/p>\n\u003cp>On Thursday afternoon, the day before tickets were due to open to the general public, \u003ca href=\"https://twitter.com/Ticketmaster/status/1593333211769106433?s=20&t=FUhACuptuukloKgaS0D_8A\">it announced\u003c/a> that the sale had been cancelled altogether due to “extraordinarily high demands on ticketing systems and insufficient remaining ticket inventory to meet that demand.”\u003c/p>\n\u003cp>The frenzy has brought renewed scrutiny to the giant Ticketmaster, which critics have long accused of abusing its market power at the expense of consumers. Would-be concertgoers have complained vocally about recent incidents with \u003ca href=\"https://www.npr.org/2021/12/10/1063237219/olivia-rodrigo-sour-tour-tickets\">near-instant sellouts\u003c/a> and \u003ca href=\"https://dailyhive.com/vancouver/ticketmaster-harry-styles-concert\">skyrocketing prices\u003c/a>, and artists like \u003ca href=\"https://www.nytimes.com/1994/07/01/arts/pearl-jam-musicians-testify-on-ticketmaster-s-prices.html\">Pearl Jam\u003c/a> and \u003ca href=\"https://www.rollingstone.com/music/music-news/bruce-springsteen-furious-at-ticketmaster-rails-against-live-nation-merger-97368/\">Bruce Springsteen\u003c/a> have feuded with it over the decades.\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>One common complaint is that there doesn’t seem to be a clear alternative or competitor to Ticketmaster, especially after it \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=122970946\">merged with concert provider Live Nation\u003c/a> in 2010 (a controversial move that required conditional approval from the U.S. Department of Justice).\u003c/p>\n\u003cp>Now Tennessee’s attorney general, a Republican, is opening a \u003ca href=\"https://www.cnbc.com/2022/11/17/tennessee-ag-investigating-ticketmaster-after-taylor-swift-ticket-chaos.html\">consumer protection investigation\u003c/a> into the incident and Democratic lawmakers are asking questions about the company’s dominance — not for the first time.\u003c/p>\n\u003cp>Ticketmaster has not responded to NPR’s request for comment, but did \u003ca href=\"https://business.ticketmaster.com/business-solutions/the-taylor-swift-on-sale-explained-2/\">publish a statement\u003c/a> on Thursday called ”The Taylor Swift On Sale Explained.”\u003c/p>\n\u003cp>“Taylor Swift’s tour sale is a perfect example of how the Live Nation/Ticketmaster merger harms consumers by creating a near-monopoly,” \u003ca href=\"https://twitter.com/SenBlumenthal/status/1592719426486693888?s=20&t=6NMdGIyJyVdkFRiIViR22Q\">tweeted \u003c/a>Sen. Richard Blumenthal (D-Conn.), one of several lawmakers who has long \u003ca href=\"https://twitter.com/SenBlumenthal/status/1593041603756986370?s=20&t=qDLR5WiReLMexu-3jldnmA\">called for investigation\u003c/a> and accountability into the company, especially after becoming a subsidiary of concert behemoth Live Nation.\u003c/p>\n\u003cp>And he took some inspiration from the lyrics of Swift herself: “Consumers deserve better than this \u003ca href=\"https://www.youtube.com/watch?v=b1kbLwvqugk\">anti-hero\u003c/a> behavior.”\u003c/p>\n\u003ch2>Lawmakers have long been skeptical of Ticketmaster’s ‘reputation’\u003c/h2>\n\u003cp>Various Democratic lawmakers have called for greater antitrust enforcement over the years, including urging the Justice Department to investigate the state of competition in the ticketing market as recently as \u003ca href=\"https://twitter.com/RepCicilline/status/1592631480563675136?s=20&t=f40vMZ71zLcqFzmvwY9JrA\">April 2021\u003c/a> and \u003ca href=\"https://www.blumenthal.senate.gov/newsroom/press/release/blumenthal-and-klobuchar-urge-doj-action-to-restore-competition-in-the-concert_live-entertainment-market\">March of this year\u003c/a>.\u003c/p>\n\u003cp>Some also want to hear from Ticketmaster directly — including Sen. Amy Klobuchar, chair of the Senate Judiciary Subcommittee on Competition Policy, Antitrust, and Consumer Rights.\u003c/p>\n\u003cp>Klobuchar announced on Thursday that she had \u003ca href=\"https://www.klobuchar.senate.gov/public/index.cfm/news-releases?ID=A32B7DB3-6D73-4ED7-94E5-BD6E205A0F8E\">sent a letter\u003c/a> to Ticketmaster president and CEO Michael Rapino expressing concern about the lack of competition and asking about certain company practices.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13846754",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>“Ticketmaster’s power in the primary ticket market insulates it from the competitive pressures that typically push companies to innovate and improve their services,” she wrote. “That can result in the types of dramatic service failures we saw this week, where consumers are the ones that pay the price.”\u003c/p>\n\u003cp>Ticketmaster was only able to merge Live Nation under an antitrust consent decree, with certain conditions aimed at preventing it from abusing its market position. Citing numerous complaints, Klobuchar expressed concern about a “pattern of non-compliance” with those legal obligations.\u003c/p>\n\u003cp>She requested that Rapino respond in writing by Wednesday to a set of five questions, including: how much the company has invested in upgrading its systems to address demand surges, what percentage of high-profile tour tickets are typically available to the general public and whether it is aware of any complaints to government agencies about noncompliance in the past 12 months.\u003c/p>\n\u003cp>Klobuchar also notes that her concerns date back much further than that.\u003c/p>\n\u003cp>“I have been skeptical of the combination of these companies since you merged in 2011, when the Senate held a hearing into the merger,” she wrote. “At that hearing, you appeared as a witness and pledged to ‘develop an easy-access, one-stop platform that can deliver … tickets.’ And you said that you were ‘confident this plan will work.’ It appears that your confidence was misplaced.”\u003c/p>\n\u003ch2>Critics don’t want Ticketmaster to just ‘shake it off’\u003c/h2>\n\u003cp>Several Democrat lawmakers turned to Twitter to air their bad blood against the company, with many calling it a monopoly and calling for change.\u003c/p>\n\u003cp>“Daily reminder that Ticketmaster is a monopoly, its merger with Live Nation should never have been approved, and they need to be reigned in,” wrote Rep. \u003ca href=\"https://twitter.com/AOC/status/1592587226801934336?s=20&t=FTi6d-kBb5uiFF0QzlvgVw\">Alexandria Ocasio-Cortez\u003c/a> (D-N.Y.). “Break them up.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13841293",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Rep. \u003ca href=\"https://twitter.com/RepCicilline/status/1592631477463707650?s=20&t=CTuO9eWVmVEpL-AB5otrgA\">David Cicilline \u003c/a>(D-R.I.), who chairs the House Subcommittee of Antitrust, Commercial and Administrative Law, described Ticketmaster’s wait times and fees as “the symptom of a larger problem.”\u003c/p>\n\u003cp>“It’s no secret that Live Nation-Ticketmaster is an unchecked monopoly,” he added.\u003c/p>\n\u003cp>Rep. Bill Pascrell (D-N.J.) wasted no time weighing in on the Swift fiasco.\u003c/p>\n\u003cp>“You’d think with their endless list of fees Ticketmaster could have a working website,” he \u003ca href=\"https://twitter.com/BillPascrell/status/1593261951664136193?s=20&t=vRyIClxSWX9A_8pzJn60Kw\">tweeted on Thursday\u003c/a>, reiterating comments he made on Tuesday. “Break up the Live Nation-Ticketmaster monopoly.”\u003c/p>\n\u003ch2>Ticketmaster says the sale broke records — and its website\u003c/h2>\n\u003cp>In its Thursday statement, Ticketmaster explained how it prepared for the pre-sale period, noting that 3.5 million people pre-registered for the Verified Fan program, the largest such number in its history and one that “informed the artist team’s decision to add additional dates” to the tour.\u003c/p>\n\u003cp>The company says that using Verified Fan invite codes has historically helped manage the volume of users visiting the website to buy tickets, though that wasn’t the case on Tuesday.\u003c/p>\n\u003cp>“The staggering number of bot attacks as well as fans who didn’t have invite codes drove unprecedented traffic on our site, resulting in 3.5 billion total system requests — 4x our previous peak,” it said, adding that it slowed down some sales and pushed back others to stabilize its systems, resulting in longer wait times for some users.\u003c/p>\n\u003cp>It estimates that about 15% of interactions across the website experienced issues, which it said is “15% too many.” But it also said a record-breaking number of fans were able to buy tickets: More than 2 million were sold on Tuesday for Swift’s tour, the most ever for an artist in a single day.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13884673",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Ticketmaster acknowledged that in-demand sales pose technical challenges, and says that even if that were not the case, many fans would still be left without tickets.\u003c/p>\n\u003cp>“For example: based on the volume of traffic to our site, Taylor would need to perform over 900 stadium shows (almost 20x the number of shows she is doing),” it said. “That’s a stadium show every single night for the next 2.5 years.”\u003c/p>\n\u003cp>Ticketmaster’s largest shareholder also appeared to place the blame on Swift in an interview on Thursday.\u003c/p>\n\u003cp>Greg Maffei, CEO of Liberty Media, which owns a majority stake of Live Nation, told \u003ca href=\"https://www.cnbc.com/2022/11/17/taylor-swift-ticketmaster-fiasco-due-to-demand-bots-liberty-media-ceo-says.html\">CNBC’s \u003cem>Squawk on the Street\u003c/em>\u003c/a> that the company is sympathetic to fans but the demand was simply too great, which he suggested was due to the fact that Swift hasn’t toured in five years.\u003c/p>\n\u003cp>“It’s a function of Taylor Swift,” he said. “The site was supposed to open up for 1.5 million verified Taylor Swift fans. We had 14 million people hit the site, including bots, which are not supposed to be there.”\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>Fans did not take kindly to that explanation, if the outpouring of \u003ca href=\"https://twitter.com/matthewstoller/status/1593257010702692354/retweets/with_comments\">angry tweets\u003c/a> has been any indication. Swift hasn’t commented publicly on the Ticketmaster fiasco, though a quick scan of her \u003ca href=\"https://www.instagram.com/taylorswift/\">Instagram account\u003c/a> shows that her bio still bears the lyrics from one of her latest hits: “I’m the problem, it’s me.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Taylor+Swift+ticket+fiasco+is+refocusing+a+spotlight+on+Ticketmaster%27s+dominance&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13921777/the-taylor-swift-ticket-fiasco-is-refocusing-a-spotlight-on-ticketmasters-dominance",
"authors": [
"byline_arts_13921777"
],
"categories": [
"arts_1",
"arts_69",
"arts_235",
"arts_75"
],
"tags": [
"arts_19106",
"arts_3219",
"arts_3026",
"arts_4802"
],
"affiliates": [
"arts_10778"
],
"featImg": "arts_13921780",
"label": "arts_10778"
},
"arts_13921657": {
"type": "posts",
"id": "arts_13921657",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13921657",
"score": null,
"sort": [
1668637040000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1668637040,
"format": "standard",
"title": "Rainbow Girls’ ‘American Dream’ Reminds Us We’re More Than Our Bank Accounts",
"headTitle": "Rainbow Girls’ ‘American Dream’ Reminds Us We’re More Than Our Bank Accounts | KQED",
"content": "\u003cp>Songs that straight-up tell you they’re about America are tricky. They can veer so easily into grandstanding or cliché. The ones that don’t — the songs that say something \u003ca href=\"https://www.youtube.com/watch?v=VYOjWnS4cMY\" target=\"_blank\" rel=\"noopener noreferrer\">real and honest\u003c/a> about the United States — are often sad and conflicted. Then we as listeners \u003ca href=\"https://www.youtube.com/watch?v=EPhWR4d3FJQ\">overlook those darker aspects\u003c/a> in our collective memory in order to make said songs more easily enjoyable at 4th of July barbecues. This irony isn’t new.\u003c/p>\n\u003cp>What’s fresh about \u003ca href=\"https://www.kqed.org/news/11638481/rainbow-girls-turn-up-their-political-message-by-turning-off-their-amps\">Rainbow Girls\u003c/a>’ “American Dream” is how poignantly the North Bay trio captures the changing shape of this country’s broken promises — without soapboxing. This song knocks the wind out of me. Vulnerability, stubborn hope and deep, overwhelming grief all leak through the spaces between the words and the harmonies and the fingerpicked guitar.[aside label= postID=\"news_11638481\"]\u003c/p>\n\u003cp>The band wrote “American Dream” \u003ca href=\"https://www.popmatters.com/rainbow-girls-american-dream-2507655759.html\">five years ago\u003c/a>; it’s the title track from an album they released November 8, 2017. When I first heard it — a year after the election that, fittingly, knocked the wind out of so many of us — it made me cry. It tapped so perfectly into that feeling of being \u003cem>robbed\u003c/em>.\u003c/p>\n\u003cp>But of course I had also spent much of 2017 feeling stupid, and privileged, for thinking anything had ever been guaranteed. To those of us who graduated high school around 9/11 (kicking off decades of war) and entered the job market during a historic recession (all while basic costs of living continued to skyrocket), adult life had been one instance after another of the bottom dropping out. Why should we expect anything different?\u003c/p>\n\u003cp>Five years later, now with a live version and warm, intimate video recorded at the band’s Bodega home, this song still makes me cry — for all the same reasons and also some new ones.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>It’s nice to have a plan for growing old\u003cbr>\nUnfathomable luxury, a plan for growing old\u003cbr>\nIt hits you all at once, then you wish that you’d been told\u003cbr>\nBut circumstances change and then you’re kicked out in the cold\u003cbr>\nBut everyone’s worth something and it’s not their weight in gold\u003c/em>\u003c/p>\n\u003cp>A lot of people have downsized their dreams over the last few years. Forget a white picket fence and 2.5 children; try staying sober one more day, keeping your loved ones healthy or affording that next grocery run. In 2022, so many of us are trying to stay afloat on an increasingly flimsy life raft of sure things: Will it be safe to have a family holiday party next month? Will I be able to afford health care when I’m 65? Will it not matter, because the entirety of California will be on fire or under the sea or somehow both?\u003c/p>\n\u003cp>“American Dream” is a sad and conflicted song, to be sure. But it also now plays, to me, as quietly triumphant. Because against a backdrop of economic desperation and uncertainty, it becomes fundamentally beautiful to \u003cem>have\u003c/em> dreams — to not only admit to them, but to nurture and share them.\u003c/p>\n\u003cp>The institutions have failed us. Home ownership is increasingly out of reach. This song reminds me that how we treat one another, and the small ways we bear witness to each others’ humanity and desire and grief — finding ways to say \u003cem>yes, you were here, your hopes meant something, you mean something\u003c/em> — all of that is still very much up to us.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=rqV852TP8gA\u003c/p>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 610,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 11
},
"modified": 1705006152,
"excerpt": "The North Bay trio grieves this country's broken promises — and offers a quietly radical morsel of hope.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The North Bay trio grieves this country's broken promises — and offers a quietly radical morsel of hope.",
"title": "Rainbow Girls’ ‘American Dream’ Reminds Us We’re More Than Our Bank Accounts | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Rainbow Girls’ ‘American Dream’ Reminds Us We’re More Than Our Bank Accounts",
"datePublished": "2022-11-16T14:17:20-08:00",
"dateModified": "2024-01-11T12:49:12-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "rainbow-girls-american-dream-reminds-us-were-more-than-our-bank-accounts",
"status": "publish",
"templateType": "standard",
"excludeFromSiteSearch": "Include",
"featuredImageType": "standard",
"sticky": false,
"path": "/arts/13921657/rainbow-girls-american-dream-reminds-us-were-more-than-our-bank-accounts",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Songs that straight-up tell you they’re about America are tricky. They can veer so easily into grandstanding or cliché. The ones that don’t — the songs that say something \u003ca href=\"https://www.youtube.com/watch?v=VYOjWnS4cMY\" target=\"_blank\" rel=\"noopener noreferrer\">real and honest\u003c/a> about the United States — are often sad and conflicted. Then we as listeners \u003ca href=\"https://www.youtube.com/watch?v=EPhWR4d3FJQ\">overlook those darker aspects\u003c/a> in our collective memory in order to make said songs more easily enjoyable at 4th of July barbecues. This irony isn’t new.\u003c/p>\n\u003cp>What’s fresh about \u003ca href=\"https://www.kqed.org/news/11638481/rainbow-girls-turn-up-their-political-message-by-turning-off-their-amps\">Rainbow Girls\u003c/a>’ “American Dream” is how poignantly the North Bay trio captures the changing shape of this country’s broken promises — without soapboxing. This song knocks the wind out of me. Vulnerability, stubborn hope and deep, overwhelming grief all leak through the spaces between the words and the harmonies and the fingerpicked guitar.\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "news_11638481",
"label": "label="
},
"numeric": [
"label="
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The band wrote “American Dream” \u003ca href=\"https://www.popmatters.com/rainbow-girls-american-dream-2507655759.html\">five years ago\u003c/a>; it’s the title track from an album they released November 8, 2017. When I first heard it — a year after the election that, fittingly, knocked the wind out of so many of us — it made me cry. It tapped so perfectly into that feeling of being \u003cem>robbed\u003c/em>.\u003c/p>\n\u003cp>But of course I had also spent much of 2017 feeling stupid, and privileged, for thinking anything had ever been guaranteed. To those of us who graduated high school around 9/11 (kicking off decades of war) and entered the job market during a historic recession (all while basic costs of living continued to skyrocket), adult life had been one instance after another of the bottom dropping out. Why should we expect anything different?\u003c/p>\n\u003cp>Five years later, now with a live version and warm, intimate video recorded at the band’s Bodega home, this song still makes me cry — for all the same reasons and also some new ones.\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>\u003cem>It’s nice to have a plan for growing old\u003cbr>\nUnfathomable luxury, a plan for growing old\u003cbr>\nIt hits you all at once, then you wish that you’d been told\u003cbr>\nBut circumstances change and then you’re kicked out in the cold\u003cbr>\nBut everyone’s worth something and it’s not their weight in gold\u003c/em>\u003c/p>\n\u003cp>A lot of people have downsized their dreams over the last few years. Forget a white picket fence and 2.5 children; try staying sober one more day, keeping your loved ones healthy or affording that next grocery run. In 2022, so many of us are trying to stay afloat on an increasingly flimsy life raft of sure things: Will it be safe to have a family holiday party next month? Will I be able to afford health care when I’m 65? Will it not matter, because the entirety of California will be on fire or under the sea or somehow both?\u003c/p>\n\u003cp>“American Dream” is a sad and conflicted song, to be sure. But it also now plays, to me, as quietly triumphant. Because against a backdrop of economic desperation and uncertainty, it becomes fundamentally beautiful to \u003cem>have\u003c/em> dreams — to not only admit to them, but to nurture and share them.\u003c/p>\n\u003cp>The institutions have failed us. Home ownership is increasingly out of reach. This song reminds me that how we treat one another, and the small ways we bear witness to each others’ humanity and desire and grief — finding ways to say \u003cem>yes, you were here, your hopes meant something, you mean something\u003c/em> — all of that is still very much up to us.\u003c/p>\n\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/rqV852TP8gA'\n title='//www.youtube.com/embed/rqV852TP8gA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13921657/rainbow-girls-american-dream-reminds-us-were-more-than-our-bank-accounts",
"authors": [
"7237"
],
"categories": [
"arts_1",
"arts_69"
],
"tags": [
"arts_17110",
"arts_2415",
"arts_21788",
"arts_1720",
"arts_13240"
],
"featImg": "arts_13921664",
"label": "arts"
},
"arts_13921642": {
"type": "posts",
"id": "arts_13921642",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13921642",
"score": null,
"sort": [
1668557358000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1668557358,
"format": "standard",
"title": "Beyoncé Leads Nominations for the 2023 Grammy Awards",
"headTitle": "Beyoncé Leads Nominations for the 2023 Grammy Awards | KQED",
"content": "\u003cp>Beyoncé is the top artist nominated in the 65th annual Grammy Awards, set for Feb. 5 at the Crypto.com center in Los Angeles. The full list of nominees is on \u003ca href=\"https://www.grammy.com/news/2023-grammy-nominations-complete-winners-nominees-list\">Grammy.com\u003c/a>.\u003c/p>\n\u003cp>She is now tied with her husband Jay-Z for the most Grammy nominations by any musician. If she wins three more awards, she will match \u003ca href=\"https://www.npr.org/2012/10/19/163224678/recordings-reissued-on-soltis-100th-birthday\">classical conductor Georg Solti \u003c/a>for the most Grammy wins.\u003c/p>\n\u003cp>[aside postid='arts_13916796']Beyoncé’s nine nominations were scattered across several different categories. One is for “Be Alive,” from the film \u003cem>King Richard\u003c/em>, in the Best Song Written For Visual Media category, and the rest are for tracks from \u003ca href=\"https://www.npr.org/2022/08/01/1114499960/revolutionary-fun-beyonce-renaissance-review-roundtable\">\u003cem>Renaissance\u003c/em>\u003c/a>, which is up for album of the year. “Break My Soul” is a nominee for Song of the Year, Record of the Year and Best Dance/ Electronic Recording; “Virgo’s Groove” is up for Best R&B Performance; and “Plastic Off the Sofa” is up for Best Traditional R&B Performance.\u003c/p>\n\u003cp>Other notable Grammy contenders are \u003ca href=\"https://www.npr.org/2022/05/31/1101485755/kendrick-lamar-looks-inward-on-mr-morale-the-big-steppers\">Kendrick Lamar\u003c/a>, with eight nominations; \u003ca href=\"https://www.npr.org/2021/11/24/1058848231/with-30-adele-unleashes-another-blockbuster\">Adele\u003c/a> and \u003ca href=\"https://www.npr.org/2021/10/08/1044006453/for-brandi-carlile-band-and-family-are-one-and-the-same\">Brandi Carlile\u003c/a>, each with seven; as well as \u003ca href=\"https://www.npr.org/2022/05/16/1099120341/harry-styles-sinks-into-summer-vibes-on-harrys-house\">Harry Styles\u003c/a>, Mary J. Blige, Future, DJ Khaled and the producer and songwriter The-Dream, each with six Grammy nominations.\u003c/p>\n\u003cp>The Best New Artist category has entries from a mix of genres: 22-year-old \u003ca href=\"https://www.npr.org/2022/09/20/1124142705/at-age-22-samara-joy-is-a-classic-jazz-singer-from-a-new-generation\">TikTok phenomenon Samara Joy\u003c/a>, bluegrass singer \u003ca href=\"https://www.npr.org/2022/03/30/1089523329/maren-morris-and-molly-tuttle-tell-their-origin-stories-anew\">Molly Tuttle\u003c/a>, jazz duo \u003ca href=\"https://www.npr.org/2022/08/10/1116353580/domi-jd-beck-tiny-desk-concert\">Domi & JD Beck\u003c/a>, rapper \u003ca href=\"https://www.npr.org/sections/now-playing/2022/07/15/1111794554/latto-p\">Latto\u003c/a>, conceptual artist \u003ca href=\"https://www.youtube.com/watch?v=V71cl130ARg\">Tobe Nwigwe\u003c/a>, R&B singer \u003ca href=\"https://www.npr.org/sections/altlatino/2022/10/03/1126590920/omar-apollo-talks-music-queer-latinx\">Omar Apollo\u003c/a>, Brazilian singer \u003ca href=\"https://www.harpersbazaar.com/culture/art-books-music/a41012543/anitta-makes-history-for-brazil-vmas-2022/\">Anitta\u003c/a>, British indie rock band \u003ca href=\"https://www.youtube.com/watch?v=bJUUnXZVIfY\">Wet Leg\u003c/a>, Italian rock band \u003ca href=\"https://www.npr.org/transcripts/1098170515\">Maneskin\u003c/a>, and singer \u003ca href=\"https://www.youtube.com/watch?v=doL8DaaTYD4\">Muni Long\u003c/a>, who formerly went by the name Priscilla Renae.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The 2023 Grammys will feature several new awards categories, including Best Spoken Word Poetry Album and Best Score Soundtrack for Video Games.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Beyonc%C3%A9+leads+nominations+for+the+2023+Grammy+Awards&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 311,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 8
},
"modified": 1705006157,
"excerpt": "This year's nominations are in and there are few surprises.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "This year's nominations are in and there are few surprises.",
"title": "Beyoncé Leads Nominations for the 2023 Grammy Awards | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Beyoncé Leads Nominations for the 2023 Grammy Awards",
"datePublished": "2022-11-15T16:09:18-08:00",
"dateModified": "2024-01-11T12:49:17-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "beyonce-leads-nominations-for-the-2023-grammy-awards",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=1136765793&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprStoryDate": "Tue, 15 Nov 2022 15:26:06 -0500",
"excludeFromSiteSearch": "Include",
"nprLastModifiedDate": "Tue, 15 Nov 2022 16:27:13 -0500",
"featuredImageType": "standard",
"nprHtmlLink": "https://www.npr.org/2022/11/15/1136765793/beyonce-leads-2023-grammy-award-nominations?ft=nprml&f=1136765793",
"nprImageAgency": "A.M.P.A.S. via Getty Images",
"nprStoryId": "1136765793",
"nprByline": "Mandalit del Barco",
"sticky": false,
"nprImageCredit": "Mason Poole",
"showOnAuthorArchivePages": "No",
"nprRetrievedStory": "1",
"nprPubDate": "Tue, 15 Nov 2022 16:27:00 -0500",
"path": "/arts/13921642/beyonce-leads-nominations-for-the-2023-grammy-awards",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Beyoncé is the top artist nominated in the 65th annual Grammy Awards, set for Feb. 5 at the Crypto.com center in Los Angeles. The full list of nominees is on \u003ca href=\"https://www.grammy.com/news/2023-grammy-nominations-complete-winners-nominees-list\">Grammy.com\u003c/a>.\u003c/p>\n\u003cp>She is now tied with her husband Jay-Z for the most Grammy nominations by any musician. If she wins three more awards, she will match \u003ca href=\"https://www.npr.org/2012/10/19/163224678/recordings-reissued-on-soltis-100th-birthday\">classical conductor Georg Solti \u003c/a>for the most Grammy wins.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13916796",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Beyoncé’s nine nominations were scattered across several different categories. One is for “Be Alive,” from the film \u003cem>King Richard\u003c/em>, in the Best Song Written For Visual Media category, and the rest are for tracks from \u003ca href=\"https://www.npr.org/2022/08/01/1114499960/revolutionary-fun-beyonce-renaissance-review-roundtable\">\u003cem>Renaissance\u003c/em>\u003c/a>, which is up for album of the year. “Break My Soul” is a nominee for Song of the Year, Record of the Year and Best Dance/ Electronic Recording; “Virgo’s Groove” is up for Best R&B Performance; and “Plastic Off the Sofa” is up for Best Traditional R&B Performance.\u003c/p>\n\u003cp>Other notable Grammy contenders are \u003ca href=\"https://www.npr.org/2022/05/31/1101485755/kendrick-lamar-looks-inward-on-mr-morale-the-big-steppers\">Kendrick Lamar\u003c/a>, with eight nominations; \u003ca href=\"https://www.npr.org/2021/11/24/1058848231/with-30-adele-unleashes-another-blockbuster\">Adele\u003c/a> and \u003ca href=\"https://www.npr.org/2021/10/08/1044006453/for-brandi-carlile-band-and-family-are-one-and-the-same\">Brandi Carlile\u003c/a>, each with seven; as well as \u003ca href=\"https://www.npr.org/2022/05/16/1099120341/harry-styles-sinks-into-summer-vibes-on-harrys-house\">Harry Styles\u003c/a>, Mary J. Blige, Future, DJ Khaled and the producer and songwriter The-Dream, each with six Grammy nominations.\u003c/p>\n\u003cp>The Best New Artist category has entries from a mix of genres: 22-year-old \u003ca href=\"https://www.npr.org/2022/09/20/1124142705/at-age-22-samara-joy-is-a-classic-jazz-singer-from-a-new-generation\">TikTok phenomenon Samara Joy\u003c/a>, bluegrass singer \u003ca href=\"https://www.npr.org/2022/03/30/1089523329/maren-morris-and-molly-tuttle-tell-their-origin-stories-anew\">Molly Tuttle\u003c/a>, jazz duo \u003ca href=\"https://www.npr.org/2022/08/10/1116353580/domi-jd-beck-tiny-desk-concert\">Domi & JD Beck\u003c/a>, rapper \u003ca href=\"https://www.npr.org/sections/now-playing/2022/07/15/1111794554/latto-p\">Latto\u003c/a>, conceptual artist \u003ca href=\"https://www.youtube.com/watch?v=V71cl130ARg\">Tobe Nwigwe\u003c/a>, R&B singer \u003ca href=\"https://www.npr.org/sections/altlatino/2022/10/03/1126590920/omar-apollo-talks-music-queer-latinx\">Omar Apollo\u003c/a>, Brazilian singer \u003ca href=\"https://www.harpersbazaar.com/culture/art-books-music/a41012543/anitta-makes-history-for-brazil-vmas-2022/\">Anitta\u003c/a>, British indie rock band \u003ca href=\"https://www.youtube.com/watch?v=bJUUnXZVIfY\">Wet Leg\u003c/a>, Italian rock band \u003ca href=\"https://www.npr.org/transcripts/1098170515\">Maneskin\u003c/a>, and singer \u003ca href=\"https://www.youtube.com/watch?v=doL8DaaTYD4\">Muni Long\u003c/a>, who formerly went by the name Priscilla Renae.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The 2023 Grammys will feature several new awards categories, including Best Spoken Word Poetry Album and Best Score Soundtrack for Video Games.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Beyonc%C3%A9+leads+nominations+for+the+2023+Grammy+Awards&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13921642/beyonce-leads-nominations-for-the-2023-grammy-awards",
"authors": [
"byline_arts_13921642"
],
"categories": [
"arts_1",
"arts_69",
"arts_75"
],
"tags": [
"arts_1686",
"arts_977",
"arts_1685",
"arts_9669",
"arts_3070",
"arts_1774",
"arts_19073"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13921643",
"label": "arts_137"
},
"arts_13921584": {
"type": "posts",
"id": "arts_13921584",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13921584",
"score": null,
"sort": [
1668535580000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1668535580,
"format": "standard",
"title": "Since Bowie’s ‘Fame,’ Jean Fineberg Has Written Her Own Musical Rules",
"headTitle": "Since Bowie’s ‘Fame,’ Jean Fineberg Has Written Her Own Musical Rules | KQED",
"content": "\u003cp>Carry your horn with you and you never know where you might end up. For East Bay saxophonist and flutist \u003ca href=\"https://jeanfineberg.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Jean Fineberg\u003c/a>, toting an instrument around has led to some memorable encounters, like the time she ended up at a drug-fueled Electric Ladyland Studios recording session with David Bowie and John Lennon, contributing backup vocals on the 1975 hit “Fame.”\u003c/p>\n\u003cp>A Bronx native who spent more than a decade on the New York music scene playing R&B, pop, jazz and fusion, Fineberg has been a creative force in the Bay Area since moving west in 1989 with trumpeter Ellen Seeling, her partner in music and life. A versatile and well-traveled performer with more than 50 albums to her credit, including recordings by Patti LaBelle, Bo Diddley and Laura Nyro, Fineberg also played on Sister Sledge’s iconic hit “We Are Family” and anchored the horn section on Chic’s influential albums \u003cem>C’est Chic\u003c/em> and \u003cem>Risqué\u003c/em>.\u003c/p>\n\u003cp>In the Bay Area she and Seeling have long co-led the \u003ca href=\"https://www.montclairwomensbigband.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Montclair Women’s Big Band\u003c/a>, but in April of this year the saxophonist released her first album under her own name, \u003cem>Jean Fineberg & JAZZphoria. \u003c/em>Drawing from the Montclair band’s deep pool of talent, the eight-piece combo makes its \u003ca href=\"https://secure.thefreight.org/11707/jean-feinberg-and-jazzphoria\">Freight & Salvage debut Sunday, Nov. 20\u003c/a>. Featuring her original tunes and arrangements, the album reflects Fineberg’s love of improvisation and her conviction that music should be inextricably tied to dance and communal celebration, both of which served her well in her session with Bowie.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=VWjucGsfzg4\u003c/p>\n\u003cp>Fineberg drifted into Bowie’s orbit because a friend was dating him at the time, and she invited Fineberg to the studio. “I happened to have my flute with me and he asked if I wanted to play,” she recalls. “I ended up taking a solo on ‘Fame.’ And I sang on that too, and I’m not a singer! We all spent the night at his brownstone all coked up listening back to all the tracks. Philip Glass was there too, though I don’t know if he was doing coke. Two weeks later Bowie’s people called and asked for my info. I was in a 20-something daze and didn’t grasp the import. I was credited for vocals, but he cut most of the flute solo, which was totally fine. It’s an amazing song.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Many years later, the track with \u003ca href=\"https://www.youtube.com/watch?v=BGbWQn7cXxc\">Fineberg’s flute work\u003c/a> surfaced online.\u003c/p>\n\u003cp>https://youtu.be/BGbWQn7cXxc\u003c/p>\n\u003cp>In making her own musical statement, Fineberg wanted to document a diverse program of her originals exploring a variety of forms and grooves. While her burly tenor sax guides the proceedings, she gives plenty of space to top-shelf players like trumpeter Marina Garza, guitarist Nancy Wenstrom and low-reed expert Carolyn Walter on baritone sax and bass clarinet\u003c/p>\n\u003cp>They’re all well-traveled veterans, but Fineberg always has her eye out for young talent. Handling acoustic and electric bass duties is Jodi Durst, a recent graduate of the California Jazz Conservatory. And \u003ca href=\"https://erikaoba.com/bio\" target=\"_blank\" rel=\"noopener noreferrer\">Erika Oba\u003c/a> is a rising composer with an Oberlin Conservatory jazz piano degree who serves as resident YouthStage musical director at Berkeley Playhouse. She holds down the JAZZphoria keyboard bench while also contributing on flute and piccolo.\u003c/p>\n\u003cp>Oba credits Fineberg and Seeling, who are devoted to championing rising female musicians, with hiring her for some of her first gigs when she moved back to the East Bay, starting with a faculty spot on the summer \u003ca href=\"https://cjc.edu/jazzschool/camps-and-intensives/summer-youth-programs/girls-jazz-blues-camp/\" target=\"_blank\" rel=\"noopener noreferrer\">Girls’ Jazz & Blues Camp\u003c/a> they’ve produced at the California Jazz Conservatory since 2011. Before long she was subbing in the Montclair Women’s Big Band for pianist \u003ca href=\"https://www.kqed.org/arts/13875256/a-solution-for-musicians-suffering-from-exposure-labor-organizing\" target=\"_blank\" rel=\"noopener noreferrer\">Tammy Hall\u003c/a>, “who was a great mentor for me,” says Oba. She also connected so well with new JAZZphoria drummer Jeremy Steinkoler that they’ve started performing in another trio (including a \u003ca href=\"https://erikaoba.com/calendar/erika-oba-trio-at-the-back-room-8a35j-jyklw\">Dec. 11 Outsound date\u003c/a> at Musicians Union in San Francisco). [aside postid='arts_13921184']\u003c/p>\n\u003cp>“Jeanie’s band is always a really good time,” Oba says. “All of her concerts feel like a party. Her music is really fun, and while a lot of it is pretty complicated with shifting meters, it still feels like party music. We love it when people dance.”\u003c/p>\n\u003cp>Fineberg also plays drums in \u003ca href=\"https://www.youtube.com/watch?v=a_vTKBxT8bk\">Party Monsters\u003c/a>, a five-women cover band that often gets booked at county fairs. She’s worked in lots of mixed-gender combos, and has found that she prefers the camaraderie of all- or majority-women ensembles, which is what she was looking for in JAZZphoria. As a composer and arranger, she puts a premium on good readers and multi-instrumentalists, “because the bigger the palette the better,” she says. “And I wanted team players, people who were into the music, not hired guns. If I found two players who met those criteria and one was a man and one was a woman, I went with the woman. I wanted these underrecognized to players to have more visibility, and it turned out to be seven women and one man.”\u003c/p>\n\u003cfigure id=\"attachment_13921593\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921593\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Jean-Fineberg-JAZZphoria-PHOTO-LoRes-Horizontal_Credit-Irene-Young-Copy-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Jean-Fineberg-JAZZphoria-PHOTO-LoRes-Horizontal_Credit-Irene-Young-Copy-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Jean-Fineberg-JAZZphoria-PHOTO-LoRes-Horizontal_Credit-Irene-Young-Copy-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Jean-Fineberg-JAZZphoria-PHOTO-LoRes-Horizontal_Credit-Irene-Young-Copy-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Jean-Fineberg-JAZZphoria-PHOTO-LoRes-Horizontal_Credit-Irene-Young-Copy-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Jean-Fineberg-JAZZphoria-PHOTO-LoRes-Horizontal_Credit-Irene-Young-Copy.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jean Fineberg & JAZZphoria. \u003ccite>(Irene Young)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If Hollywood ever makes a film about women horn players, Fineberg and Seeling’s story could serve as a model for the romantic subplot. They met via the all-women band Isis, which Carol MacDonald and Ginger Bianco launched in 1972 when horn-driven bands like Chicago and Blood, Sweat and Tears were juggernauts. Fineberg was a founding member, and Seeling connected with the group several years later during the making of the third Isis album \u003cem>Breaking Through\u003c/em> “in Allen Toussaint’s studio in New Orleans,” Fineberg says.\u003c/p>\n\u003cp>Recommended by the great multi-instrumentalist Howard Johnson, Seeling arrived at the session “and we did \u003cem>not\u003c/em> get along at all,” Fineberg says. “I was a wild rock ‘n’ roll player, so here we were, me and trombonist Lolly Bienenfeld, and Ellen starts instructing us that the trumpet always leads the horn section. That’s what she learned in school.”\u003c/p>\n\u003cp>Whatever the tensions, Seeling joined the band for an East Coast tour, and somewhere along the Atlantic seaboard, their relationship changed. They both went on to tour and record with Laura Nyro, becoming close friends with her while the women in the band joined Nyro in the RV and the men flew to the next gig. Playing horn parts they created behind her vocals, they’re featured throughout her 1977 live album \u003cem>Season of Lights \u003c/em>(in a band that included jazz bass legend Richard Davis, vibraphonist Mike Mainieri and drummer Andy Newmark). [aside postid='arts_13921373']\u003c/p>\n\u003cp>“‘\u003ca href=\"https://www.youtube.com/watch?v=GBCfJ0MqqVY\">Upstairs By A Chinese Lamp\u003c/a>’ has some of my best flute work on record, and ‘I Am the Blues’ is some of Ellen’s best trumpet playing,” Fineberg says. “Laura didn’t have any charts and couldn’t tell you what chords you were playing. She’d say, ‘I want you to play palm trees on this section, or ocean waves.’”\u003c/p>\n\u003cp>Looking for an outlet for her songwriting, Fineberg and Seeling launched the Brecker Brothers-inspired fusion band \u003ca href=\"https://www.youtube.com/watch?v=xvvOAo1Z5qE\">DEUCE\u003c/a>, which performed at jazz festivals and clubs around the world in the 1980s while releasing several well-received albums. The band continued to tour and perform after they relocated to the East Bay in 1989, but when the opportunity arose to create the Montclair Women’s Big Band in 1997, they quickly established the 17-piece orchestra. Over the past decade or so Seeling has often taken a more visible role as an activist demanding equal opportunities for women instrumentalists, who are still often overlooked when it comes to major festivals. With JAZZphoria, Fineberg is making a potent musical statement that draws on her wealth of accumulated experience.\u003c/p>\n\u003cp>https://youtu.be/xvvOAo1Z5qE\u003c/p>\n\u003cp>“I’m coming from the blues essentially in everything I do,” she says. “I’m coming from rhythm. That’s how I start a tune, whether it’s blues, R&B or Latin music. I thought long and hard about calling it JAZZphoria because I didn’t want to typecast the group, that we’d be swinging all the time. But it is all improvised music. The tunes are vehicles for the soloists, but it’s very eclectic because I like so many different things. I’m tired of going to concerts where everything sounds the same.”\u003c/p>\n\u003cp>If there’s one thing that doesn’t seem to have changed much over the years it’s the predictable reaction to a woman with a horn. Fineberg recently posted on Facebook about a random encounter at a hotel in Wisconsin where “a 77-year-old lawyer and university professor, upon hearing that I’m a sax player, said ‘That’s a big instrument for a little girl.’” The post elicited more than 250 comments, with women bassists, drummers, saxophonists, percussionists and trombonists all describing similarly witless comments.\u003c/p>\n\u003cp>Fineberg has no time for fogies of any age. She’s looking to carry her horn into all the best places, bringing JAZZphoria to “the Monterey Jazz Festival, San Jose, Healdsburg, SFJAZZ, Yoshi’s. What everybody wants.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Jean Fineberg & JAZZphoria perform at \u003ca href=\"https://secure.thefreight.org/11707/jean-feinberg-and-jazzphoria\" target=\"_blank\" rel=\"noopener noreferrer\">Freight & Salvage in Berkeley on Nov. 20\u003c/a> at 7 p.m.\u003c/em>\u003c/p>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1624,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 22
},
"modified": 1705006160,
"excerpt": "The esteemed saxophonist and flutist has dedicated much of her career to building up women musicians.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The esteemed saxophonist and flutist has dedicated much of her career to building up women musicians.",
"title": "Since Bowie’s ‘Fame,’ Jean Fineberg Has Written Her Own Musical Rules | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Since Bowie’s ‘Fame,’ Jean Fineberg Has Written Her Own Musical Rules",
"datePublished": "2022-11-15T10:06:20-08:00",
"dateModified": "2024-01-11T12:49:20-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "jean-fineberg-jazzphoria-montclair-womens-big-band-jazz",
"status": "publish",
"templateType": "standard",
"excludeFromSiteSearch": "Include",
"featuredImageType": "standard",
"sticky": false,
"path": "/arts/13921584/jean-fineberg-jazzphoria-montclair-womens-big-band-jazz",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Carry your horn with you and you never know where you might end up. For East Bay saxophonist and flutist \u003ca href=\"https://jeanfineberg.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Jean Fineberg\u003c/a>, toting an instrument around has led to some memorable encounters, like the time she ended up at a drug-fueled Electric Ladyland Studios recording session with David Bowie and John Lennon, contributing backup vocals on the 1975 hit “Fame.”\u003c/p>\n\u003cp>A Bronx native who spent more than a decade on the New York music scene playing R&B, pop, jazz and fusion, Fineberg has been a creative force in the Bay Area since moving west in 1989 with trumpeter Ellen Seeling, her partner in music and life. A versatile and well-traveled performer with more than 50 albums to her credit, including recordings by Patti LaBelle, Bo Diddley and Laura Nyro, Fineberg also played on Sister Sledge’s iconic hit “We Are Family” and anchored the horn section on Chic’s influential albums \u003cem>C’est Chic\u003c/em> and \u003cem>Risqué\u003c/em>.\u003c/p>\n\u003cp>In the Bay Area she and Seeling have long co-led the \u003ca href=\"https://www.montclairwomensbigband.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Montclair Women’s Big Band\u003c/a>, but in April of this year the saxophonist released her first album under her own name, \u003cem>Jean Fineberg & JAZZphoria. \u003c/em>Drawing from the Montclair band’s deep pool of talent, the eight-piece combo makes its \u003ca href=\"https://secure.thefreight.org/11707/jean-feinberg-and-jazzphoria\">Freight & Salvage debut Sunday, Nov. 20\u003c/a>. Featuring her original tunes and arrangements, the album reflects Fineberg’s love of improvisation and her conviction that music should be inextricably tied to dance and communal celebration, both of which served her well in her session with Bowie.\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/VWjucGsfzg4'\n title='//www.youtube.com/embed/VWjucGsfzg4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Fineberg drifted into Bowie’s orbit because a friend was dating him at the time, and she invited Fineberg to the studio. “I happened to have my flute with me and he asked if I wanted to play,” she recalls. “I ended up taking a solo on ‘Fame.’ And I sang on that too, and I’m not a singer! We all spent the night at his brownstone all coked up listening back to all the tracks. Philip Glass was there too, though I don’t know if he was doing coke. Two weeks later Bowie’s people called and asked for my info. I was in a 20-something daze and didn’t grasp the import. I was credited for vocals, but he cut most of the flute solo, which was totally fine. It’s an amazing song.”\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>Many years later, the track with \u003ca href=\"https://www.youtube.com/watch?v=BGbWQn7cXxc\">Fineberg’s flute work\u003c/a> surfaced online.\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/BGbWQn7cXxc'\n title='//www.youtube.com/embed/BGbWQn7cXxc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In making her own musical statement, Fineberg wanted to document a diverse program of her originals exploring a variety of forms and grooves. While her burly tenor sax guides the proceedings, she gives plenty of space to top-shelf players like trumpeter Marina Garza, guitarist Nancy Wenstrom and low-reed expert Carolyn Walter on baritone sax and bass clarinet\u003c/p>\n\u003cp>They’re all well-traveled veterans, but Fineberg always has her eye out for young talent. Handling acoustic and electric bass duties is Jodi Durst, a recent graduate of the California Jazz Conservatory. And \u003ca href=\"https://erikaoba.com/bio\" target=\"_blank\" rel=\"noopener noreferrer\">Erika Oba\u003c/a> is a rising composer with an Oberlin Conservatory jazz piano degree who serves as resident YouthStage musical director at Berkeley Playhouse. She holds down the JAZZphoria keyboard bench while also contributing on flute and piccolo.\u003c/p>\n\u003cp>Oba credits Fineberg and Seeling, who are devoted to championing rising female musicians, with hiring her for some of her first gigs when she moved back to the East Bay, starting with a faculty spot on the summer \u003ca href=\"https://cjc.edu/jazzschool/camps-and-intensives/summer-youth-programs/girls-jazz-blues-camp/\" target=\"_blank\" rel=\"noopener noreferrer\">Girls’ Jazz & Blues Camp\u003c/a> they’ve produced at the California Jazz Conservatory since 2011. Before long she was subbing in the Montclair Women’s Big Band for pianist \u003ca href=\"https://www.kqed.org/arts/13875256/a-solution-for-musicians-suffering-from-exposure-labor-organizing\" target=\"_blank\" rel=\"noopener noreferrer\">Tammy Hall\u003c/a>, “who was a great mentor for me,” says Oba. She also connected so well with new JAZZphoria drummer Jeremy Steinkoler that they’ve started performing in another trio (including a \u003ca href=\"https://erikaoba.com/calendar/erika-oba-trio-at-the-back-room-8a35j-jyklw\">Dec. 11 Outsound date\u003c/a> at Musicians Union in San Francisco). \u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13921184",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Jeanie’s band is always a really good time,” Oba says. “All of her concerts feel like a party. Her music is really fun, and while a lot of it is pretty complicated with shifting meters, it still feels like party music. We love it when people dance.”\u003c/p>\n\u003cp>Fineberg also plays drums in \u003ca href=\"https://www.youtube.com/watch?v=a_vTKBxT8bk\">Party Monsters\u003c/a>, a five-women cover band that often gets booked at county fairs. She’s worked in lots of mixed-gender combos, and has found that she prefers the camaraderie of all- or majority-women ensembles, which is what she was looking for in JAZZphoria. As a composer and arranger, she puts a premium on good readers and multi-instrumentalists, “because the bigger the palette the better,” she says. “And I wanted team players, people who were into the music, not hired guns. If I found two players who met those criteria and one was a man and one was a woman, I went with the woman. I wanted these underrecognized to players to have more visibility, and it turned out to be seven women and one man.”\u003c/p>\n\u003cfigure id=\"attachment_13921593\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921593\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Jean-Fineberg-JAZZphoria-PHOTO-LoRes-Horizontal_Credit-Irene-Young-Copy-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Jean-Fineberg-JAZZphoria-PHOTO-LoRes-Horizontal_Credit-Irene-Young-Copy-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Jean-Fineberg-JAZZphoria-PHOTO-LoRes-Horizontal_Credit-Irene-Young-Copy-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Jean-Fineberg-JAZZphoria-PHOTO-LoRes-Horizontal_Credit-Irene-Young-Copy-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Jean-Fineberg-JAZZphoria-PHOTO-LoRes-Horizontal_Credit-Irene-Young-Copy-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Jean-Fineberg-JAZZphoria-PHOTO-LoRes-Horizontal_Credit-Irene-Young-Copy.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jean Fineberg & JAZZphoria. \u003ccite>(Irene Young)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If Hollywood ever makes a film about women horn players, Fineberg and Seeling’s story could serve as a model for the romantic subplot. They met via the all-women band Isis, which Carol MacDonald and Ginger Bianco launched in 1972 when horn-driven bands like Chicago and Blood, Sweat and Tears were juggernauts. Fineberg was a founding member, and Seeling connected with the group several years later during the making of the third Isis album \u003cem>Breaking Through\u003c/em> “in Allen Toussaint’s studio in New Orleans,” Fineberg says.\u003c/p>\n\u003cp>Recommended by the great multi-instrumentalist Howard Johnson, Seeling arrived at the session “and we did \u003cem>not\u003c/em> get along at all,” Fineberg says. “I was a wild rock ‘n’ roll player, so here we were, me and trombonist Lolly Bienenfeld, and Ellen starts instructing us that the trumpet always leads the horn section. That’s what she learned in school.”\u003c/p>\n\u003cp>Whatever the tensions, Seeling joined the band for an East Coast tour, and somewhere along the Atlantic seaboard, their relationship changed. They both went on to tour and record with Laura Nyro, becoming close friends with her while the women in the band joined Nyro in the RV and the men flew to the next gig. Playing horn parts they created behind her vocals, they’re featured throughout her 1977 live album \u003cem>Season of Lights \u003c/em>(in a band that included jazz bass legend Richard Davis, vibraphonist Mike Mainieri and drummer Andy Newmark). \u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13921373",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“‘\u003ca href=\"https://www.youtube.com/watch?v=GBCfJ0MqqVY\">Upstairs By A Chinese Lamp\u003c/a>’ has some of my best flute work on record, and ‘I Am the Blues’ is some of Ellen’s best trumpet playing,” Fineberg says. “Laura didn’t have any charts and couldn’t tell you what chords you were playing. She’d say, ‘I want you to play palm trees on this section, or ocean waves.’”\u003c/p>\n\u003cp>Looking for an outlet for her songwriting, Fineberg and Seeling launched the Brecker Brothers-inspired fusion band \u003ca href=\"https://www.youtube.com/watch?v=xvvOAo1Z5qE\">DEUCE\u003c/a>, which performed at jazz festivals and clubs around the world in the 1980s while releasing several well-received albums. The band continued to tour and perform after they relocated to the East Bay in 1989, but when the opportunity arose to create the Montclair Women’s Big Band in 1997, they quickly established the 17-piece orchestra. Over the past decade or so Seeling has often taken a more visible role as an activist demanding equal opportunities for women instrumentalists, who are still often overlooked when it comes to major festivals. With JAZZphoria, Fineberg is making a potent musical statement that draws on her wealth of accumulated experience.\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/xvvOAo1Z5qE'\n title='//www.youtube.com/embed/xvvOAo1Z5qE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“I’m coming from the blues essentially in everything I do,” she says. “I’m coming from rhythm. That’s how I start a tune, whether it’s blues, R&B or Latin music. I thought long and hard about calling it JAZZphoria because I didn’t want to typecast the group, that we’d be swinging all the time. But it is all improvised music. The tunes are vehicles for the soloists, but it’s very eclectic because I like so many different things. I’m tired of going to concerts where everything sounds the same.”\u003c/p>\n\u003cp>If there’s one thing that doesn’t seem to have changed much over the years it’s the predictable reaction to a woman with a horn. Fineberg recently posted on Facebook about a random encounter at a hotel in Wisconsin where “a 77-year-old lawyer and university professor, upon hearing that I’m a sax player, said ‘That’s a big instrument for a little girl.’” The post elicited more than 250 comments, with women bassists, drummers, saxophonists, percussionists and trombonists all describing similarly witless comments.\u003c/p>\n\u003cp>Fineberg has no time for fogies of any age. She’s looking to carry her horn into all the best places, bringing JAZZphoria to “the Monterey Jazz Festival, San Jose, Healdsburg, SFJAZZ, Yoshi’s. What everybody wants.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Jean Fineberg & JAZZphoria perform at \u003ca href=\"https://secure.thefreight.org/11707/jean-feinberg-and-jazzphoria\" target=\"_blank\" rel=\"noopener noreferrer\">Freight & Salvage in Berkeley on Nov. 20\u003c/a> at 7 p.m.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13921584/jean-fineberg-jazzphoria-montclair-womens-big-band-jazz",
"authors": [
"86"
],
"categories": [
"arts_1",
"arts_69"
],
"tags": [
"arts_8355",
"arts_1341",
"arts_10278",
"arts_1420",
"arts_585"
],
"featImg": "arts_13921592",
"label": "arts"
},
"arts_13921576": {
"type": "posts",
"id": "arts_13921576",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13921576",
"score": null,
"sort": [
1668453500000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1668453500,
"format": "standard",
"title": "Rats Have Rhythm and Can Keep the Beat to Mozart, a New Study Shows",
"headTitle": "Rats Have Rhythm and Can Keep the Beat to Mozart, a New Study Shows | KQED",
"content": "\u003cp>Rhythm has long been thought to be a uniquely human trait, but researchers have found that rats possess the ability and can keep the beat to Mozart, \u003ca href=\"https://www.u-tokyo.ac.jp/focus/en/press/z0508_00262.html\">a new study shows\u003c/a>.\u003c/p>\n\u003cp>Scientists at the University of Tokyo found that rats’ beat synchronicity came from the time constant of their brains, not their bodies, which is similar across species. \u003c/p>\n\u003cp>“Rats displayed innate — that is, without any training or prior exposure to music — beat synchronization most distinctly within 120–140 bpm (beats per minute), to which humans also exhibit the clearest beat synchronization,” said University of Tokyo Associate Professor Hirokazu Takahashi. \u003c/p>\n\u003cp>Researchers equipped 20 rats with wireless accelerometers to measure their head movements. They were played one-minute excerpts of “Sonata for two pianos (K. 448)” by Mozart at four different speeds – 75%, 100%, 200% and 400% of the original speed.[aside postID='pop_18679'] \u003c/p>\n\u003cp>The study focused on responses to “K. 448” by Mozart. But the study also played four other musical pieces to human and animal participants: “Born This Way” by Lady Gaga, “Another One Bites the Dust” by Queen, “Beat It” by Michael Jackson and “Sugar” by Maroon 5.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Copyright 2022 \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/i>\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 213,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 8
},
"modified": 1705006163,
"excerpt": "Scientists at the University of Tokyo found that rats possess the ability to keep the beat to musical pieces from Mozart.",
"headData": {
"twImgId": "",
"twTitle": "",
"socialTitle": "Rats Have Rhythm and Can Keep the Beat to Mozart %%page%% %%sep%% KQED",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Scientists at the University of Tokyo found that rats possess the ability to keep the beat to musical pieces from Mozart.",
"title": "Rats Have Rhythm and Can Keep the Beat to Mozart | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Rats Have Rhythm and Can Keep the Beat to Mozart, a New Study Shows",
"datePublished": "2022-11-14T11:18:20-08:00",
"dateModified": "2024-01-11T12:49:23-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "rats-rhythm-mozart-maroon-5-new-study",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=1136422544&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprStoryDate": "Mon, 14 Nov 2022 03:37:26 -0500",
"excludeFromSiteSearch": "Include",
"nprLastModifiedDate": "Mon, 14 Nov 2022 06:38:31 -0500",
"featuredImageType": "standard",
"nprHtmlLink": "https://www.npr.org/2022/11/14/1136422544/rats-rhythm-mozart-study?ft=nprml&f=1136422544",
"nprImageAgency": "AP",
"nprStoryId": "1136422544",
"nprByline": "Ayana Archie",
"sticky": false,
"nprImageCredit": "Richard Drew",
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"nprRetrievedStory": "1",
"nprPubDate": "Mon, 14 Nov 2022 06:38:00 -0500",
"path": "/arts/13921576/rats-rhythm-mozart-maroon-5-new-study",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Rhythm has long been thought to be a uniquely human trait, but researchers have found that rats possess the ability and can keep the beat to Mozart, \u003ca href=\"https://www.u-tokyo.ac.jp/focus/en/press/z0508_00262.html\">a new study shows\u003c/a>.\u003c/p>\n\u003cp>Scientists at the University of Tokyo found that rats’ beat synchronicity came from the time constant of their brains, not their bodies, which is similar across species. \u003c/p>\n\u003cp>“Rats displayed innate — that is, without any training or prior exposure to music — beat synchronization most distinctly within 120–140 bpm (beats per minute), to which humans also exhibit the clearest beat synchronization,” said University of Tokyo Associate Professor Hirokazu Takahashi. \u003c/p>\n\u003cp>Researchers equipped 20 rats with wireless accelerometers to measure their head movements. They were played one-minute excerpts of “Sonata for two pianos (K. 448)” by Mozart at four different speeds – 75%, 100%, 200% and 400% of the original speed.\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "pop_18679",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp> \u003c/p>\n\u003cp>The study focused on responses to “K. 448” by Mozart. But the study also played four other musical pieces to human and animal participants: “Born This Way” by Lady Gaga, “Another One Bites the Dust” by Queen, “Beat It” by Michael Jackson and “Sugar” by Maroon 5.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Copyright 2022 \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13921576/rats-rhythm-mozart-maroon-5-new-study",
"authors": [
"byline_arts_13921576"
],
"categories": [
"arts_1",
"arts_69"
],
"tags": [
"arts_15393"
],
"featImg": "arts_13921578",
"label": "arts"
},
"arts_13921444": {
"type": "posts",
"id": "arts_13921444",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13921444",
"score": null,
"sort": [
1668021276000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1668021276,
"format": "standard",
"title": "‘Vogue’ Sues Drake and 21 Savage Over Fake Magazine Cover Promoting New Album",
"headTitle": "‘Vogue’ Sues Drake and 21 Savage Over Fake Magazine Cover Promoting New Album | KQED",
"content": "\u003cp>Condé Nast, the publisher of \u003cem>Vogue\u003c/em> magazine, has filed a lawsuit against rappers Drake and 21 Savage for using a fake \u003cem>Vogue\u003c/em> cover used to promote their new album, \u003cem>Her Loss\u003c/em>.\u003c/p>\n\u003cp>[aside postid='arts_13920908']In a \u003ca href=\"https://www.documentcloud.org/documents/23288867-drake-21-savage-vs-vogue-lawsuit?responsive=1&title=1\">30-page lawsuit\u003c/a> filed on Monday, Condé Nast argues that the “widespread promotional campaign” launched by the rappers for their latest album is “built entirely” on the use of \u003cem>Vogue’s\u003c/em> trademarks — giving the false premise that the two artists would be featured in an issue of the magazine.\u003c/p>\n\u003cp>Condé Nast is seeking at least $4 million in damages or triple the rappers’ profits from their album and its “counterfeit” magazine — whichever is higher.\u003c/p>\n\u003cp>It’s unclear if the artists directly profited from the fake magazines, other than through publicity, as the magazines were not for sale.\u003c/p>\n\u003cp>The publisher is also seeking a preliminary injunction and temporary restraining order to stop the rappers from continuing to publicize the fake magazine cover, as well as damages over trademark infringement.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“All of this is false. And none of it has been authorized by Condé Nast,” said Condé Nast in the lawsuit.\u003c/p>\n\u003cp>The lawsuit also alleges that the two rappers created counterfeit issues of \u003cem>Vogue\u003c/em> and distributed copies of it in “North America’s largest metropolitan areas” in addition to posters of the spoof cover. The counterfeit issue was also posted to social media for more than 135 million users who actively follow both Drake and 21 Savage, according to the suit.\u003c/p>\n\u003cp>In addition, the lawsuit alleges that the artists falsely thanked Anna Wintour — the editor-in-chief of \u003cem>Vogue —\u003c/em> on social media for the “love and support on this historical moment.”\u003c/p>\n\u003cp>[aside postid='pop_104969']The publisher said it was in communication with both Drake and 21 Savage leading up to the release of \u003cem>Her Loss, \u003c/em>but according to the lawsuit, the rappers’ “disregard for Condé Nast’s rights” left it no choice but to take legal action.\u003c/p>\n\u003cp>Representatives for both Drake and 21 Savage did not immediately respond to NPR’s request for comment on the lawsuit. NPR also reached out to attorneys representing Condé Nast for comment but did not immediately hear back.\u003c/p>\n\u003cp>The distribution of the counterfeit \u003cem>Vogue\u003c/em> cover is among several parodies the two rappers produced in support of their latest album. The two pretended to perform on NBC’s \u003ca href=\"https://www.youtube.com/watch?v=vZo3KgqU6oY\">\u003cem>Saturday Night Live\u003c/em>\u003c/a> and to have been interviewed on Howard Stern’s SiriusXM radio show. The duo also \u003ca href=\"https://www.npr.org/2022/11/03/1133784017/drake-21-savage-npr-tiny-desk\">pretended to perform on NPR Music’s Tiny Desk series\u003c/a>, where the rappers are seated in front of a backdrop of books and \u003cem>All Songs Considered\u003c/em> signage.\u003c/p>\n\u003cp>https://twitter.com/OVOSound/status/1587914638095589377\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In response to the spoof performance, an NPR spokesperson said: “If Drake and 21 Savage want to perform at the real Tiny Desk, we’d love to have them.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Vogue%27+sues+rappers+Drake+and+21+Savage+over+fake+magazine+cover+promoting+new+album&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 515,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 14
},
"modified": 1705006174,
"excerpt": "Condé Nast, the publisher of ‘Vogue,’ is seeking at least $4 million in damages over the rappers’ fake magazine cover.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Condé Nast, the publisher of ‘Vogue,’ is seeking at least $4 million in damages over the rappers’ fake magazine cover.",
"title": "‘Vogue’ Sues Drake and 21 Savage Over Fake Magazine Cover Promoting New Album | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "‘Vogue’ Sues Drake and 21 Savage Over Fake Magazine Cover Promoting New Album",
"datePublished": "2022-11-09T11:14:36-08:00",
"dateModified": "2024-01-11T12:49:34-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "vogue-sues-drake-and-21-savage-over-fake-magazine-cover-promoting-new-album",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=1135201548&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprStoryDate": "Wed, 09 Nov 2022 05:00:56 -0500",
"excludeFromSiteSearch": "Include",
"nprLastModifiedDate": "Wed, 09 Nov 2022 09:29:48 -0500",
"featuredImageType": "standard",
"nprHtmlLink": "https://www.npr.org/2022/11/09/1135201548/vogue-drake-21-savage-lawsuit-fake-cover?ft=nprml&f=1135201548",
"nprImageAgency": "Drake and 21 Savage/Screenshot by NPR",
"nprStoryId": "1135201548",
"nprByline": "Jonathan Franklin",
"sticky": false,
"showOnAuthorArchivePages": "No",
"nprRetrievedStory": "1",
"nprPubDate": "Wed, 09 Nov 2022 09:29:00 -0500",
"path": "/arts/13921444/vogue-sues-drake-and-21-savage-over-fake-magazine-cover-promoting-new-album",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Condé Nast, the publisher of \u003cem>Vogue\u003c/em> magazine, has filed a lawsuit against rappers Drake and 21 Savage for using a fake \u003cem>Vogue\u003c/em> cover used to promote their new album, \u003cem>Her Loss\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13920908",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>In a \u003ca href=\"https://www.documentcloud.org/documents/23288867-drake-21-savage-vs-vogue-lawsuit?responsive=1&title=1\">30-page lawsuit\u003c/a> filed on Monday, Condé Nast argues that the “widespread promotional campaign” launched by the rappers for their latest album is “built entirely” on the use of \u003cem>Vogue’s\u003c/em> trademarks — giving the false premise that the two artists would be featured in an issue of the magazine.\u003c/p>\n\u003cp>Condé Nast is seeking at least $4 million in damages or triple the rappers’ profits from their album and its “counterfeit” magazine — whichever is higher.\u003c/p>\n\u003cp>It’s unclear if the artists directly profited from the fake magazines, other than through publicity, as the magazines were not for sale.\u003c/p>\n\u003cp>The publisher is also seeking a preliminary injunction and temporary restraining order to stop the rappers from continuing to publicize the fake magazine cover, as well as damages over trademark infringement.\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>“All of this is false. And none of it has been authorized by Condé Nast,” said Condé Nast in the lawsuit.\u003c/p>\n\u003cp>The lawsuit also alleges that the two rappers created counterfeit issues of \u003cem>Vogue\u003c/em> and distributed copies of it in “North America’s largest metropolitan areas” in addition to posters of the spoof cover. The counterfeit issue was also posted to social media for more than 135 million users who actively follow both Drake and 21 Savage, according to the suit.\u003c/p>\n\u003cp>In addition, the lawsuit alleges that the artists falsely thanked Anna Wintour — the editor-in-chief of \u003cem>Vogue —\u003c/em> on social media for the “love and support on this historical moment.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "pop_104969",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>The publisher said it was in communication with both Drake and 21 Savage leading up to the release of \u003cem>Her Loss, \u003c/em>but according to the lawsuit, the rappers’ “disregard for Condé Nast’s rights” left it no choice but to take legal action.\u003c/p>\n\u003cp>Representatives for both Drake and 21 Savage did not immediately respond to NPR’s request for comment on the lawsuit. NPR also reached out to attorneys representing Condé Nast for comment but did not immediately hear back.\u003c/p>\n\u003cp>The distribution of the counterfeit \u003cem>Vogue\u003c/em> cover is among several parodies the two rappers produced in support of their latest album. The two pretended to perform on NBC’s \u003ca href=\"https://www.youtube.com/watch?v=vZo3KgqU6oY\">\u003cem>Saturday Night Live\u003c/em>\u003c/a> and to have been interviewed on Howard Stern’s SiriusXM radio show. The duo also \u003ca href=\"https://www.npr.org/2022/11/03/1133784017/drake-21-savage-npr-tiny-desk\">pretended to perform on NPR Music’s Tiny Desk series\u003c/a>, where the rappers are seated in front of a backdrop of books and \u003cem>All Songs Considered\u003c/em> signage.\u003c/p>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "singleTwitterStatus",
"attributes": {
"named": {
"id": "1587914638095589377"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>\u003c/p>\n\u003cp>In response to the spoof performance, an NPR spokesperson said: “If Drake and 21 Savage want to perform at the real Tiny Desk, we’d love to have them.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Vogue%27+sues+rappers+Drake+and+21+Savage+over+fake+magazine+cover+promoting+new+album&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13921444/vogue-sues-drake-and-21-savage-over-fake-magazine-cover-promoting-new-album",
"authors": [
"byline_arts_13921444"
],
"categories": [
"arts_1",
"arts_69",
"arts_75"
],
"tags": [
"arts_6117",
"arts_6742",
"arts_4469"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13921445",
"label": "arts_137"
},
"arts_13921373": {
"type": "posts",
"id": "arts_13921373",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13921373",
"score": null,
"sort": [
1667859849000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 140
},
"blocks": [],
"publishDate": 1667859849,
"format": "standard",
"title": "Ensemble Mik Nawooj Remixes Classical Music at the Asian Art Museum",
"headTitle": "Ensemble Mik Nawooj Remixes Classical Music at the Asian Art Museum | KQED",
"content": "\u003cp>Hip-hop and classical music don’t cross paths too often, but when they do, their alchemy is powerful. The rising tension of a string section or a timpani’s thunderclap can lend a larger-than-life gravitas to a rapper’s storytelling about struggle and triumph. Just take \u003ca href=\"https://www.rollingstone.com/music/music-features/rick-ross-red-bull-orchestra-noir-1234624686/\">Rick Ross’ emotional performance with Orchestra Noir\u003c/a> in Atlanta this past weekend, or Nas’ landmark National Symphony Orchestra concert celebrating the \u003ca href=\"https://www.okayplayer.com/music/nas-pbs-illmatic-performance.html\">20th anniversary of \u003ci>Illmatic\u003c/i>\u003c/a>.\u003c/p>\n\u003cp>Here in the Bay Area, \u003ca href=\"https://www.ensemblemiknawooj.com/\">Ensemble Mik Nawooj\u003c/a> has been holding down the hip-hop and classical connection since 2010. Led by composer-pianist and artistic director JooWan Kim, executive director Christopher Nicholas and rapper Unity Lewis, the genre-bending orchestra has attracted an international following, most recently at the \u003ca href=\"https://youtu.be/l0rDIIIKWVM\" target=\"_blank\" rel=\"noopener noreferrer\">Fringe Festival in Edinburgh, Scotland\u003c/a> in August.\u003c/p>\n\u003cp>Ensemble Mik Nawooj’s sound bridges cultures and time periods, remixing Bach and Mozart with dexterous verses and contemporary drum beats. And in the dark time of the pandemic, the brooding, original compositions their 2021 album \u003ca href=\"https://miknawooj.bandcamp.com/album/death-become-life-2\">\u003ci>Death Become Life\u003c/i>\u003c/a> offered catharsis and hope, transmuting the pain of grief into a prayer.\u003c/p>\n\u003cp>After their time abroad in Scotland, \u003ca href=\"https://calendar.asianart.org/event/hip-hop-orchestra-experience-premiere-with-ensemble-mik-nawooj/\">Ensemble Mik Nawooj\u003c/a> returns for a hometown show in San Francisco this Thursday, Nov. 10, at the Asian Art Museum. The concert will feature rhymes from Lewis and Kirby Dominant; a dance accompaniment from \u003ca href=\"https://www.youtube.com/watch?v=x2rYCB-DszM\">turf dancer Yung Phil\u003c/a>; and a full string section, woodwinds, French horn and other instruments. Fans are invited to stroll the exhibition halls before the show, where a retrospective of \u003ca href=\"https://exhibitions.asianart.org/exhibitions/into-view-bernice-bing/\">San Francisco abstract painter Bernice Bing\u003c/a>’s work is currently on view. And on Nov. 19, the group has an East Bay concert at the \u003ca href=\"https://app.arts-people.com/index.php?actions=16&p=1\">Diablo Valley College Performing Arts Center\u003c/a> in Pleasant Hill.\u003c/p>\n\u003cp>https://youtu.be/B73lg1bcGE4\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Ensemble Mik Nawooj performs at the \u003ca href=\"https://calendar.asianart.org/event/hip-hop-orchestra-experience-premiere-with-ensemble-mik-nawooj/\">Asian Art Museum in San Francisco on Nov. 10 at 7 p.m.\u003c/a> and at the \u003ca href=\"https://www.dvc.edu/academics/departments/music/events.html#event=73570712;instance=20221119200000?popup=1\">DVC Performing Arts Center in Pleasant Hill on Nov. 19 at 8 p.m.\u003c/a>.\u003c/em>\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 335,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 8
},
"modified": 1705006177,
"excerpt": "The Bay Area’s premier hip-hop orchestra creates an alchemy that bridges cultures and traditions.",
"headData": {
"twImgId": "",
"twTitle": "Ensemble Mik Nawooj Remixes Classical Music at the Asian Art Museum",
"socialTitle": "Ensemble Mik Nawooj Brings its Remixes to the Asian Art Museum %%page%% %%sep%% KQED",
"ogTitle": "Ensemble Mik Nawooj Remixes Classical Music at the Asian Art Museum",
"ogImgId": "",
"twDescription": "",
"description": "The Bay Area’s premier hip-hop orchestra creates an alchemy that bridges cultures and traditions.",
"title": "Ensemble Mik Nawooj Brings its Remixes to the Asian Art Museum | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Ensemble Mik Nawooj Remixes Classical Music at the Asian Art Museum",
"datePublished": "2022-11-07T14:24:09-08:00",
"dateModified": "2024-01-11T12:49:37-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "ensemble-mik-nawooj-hip-hop-orchestra-classical-asian-art-museum",
"status": "publish",
"templateType": "standard",
"excludeFromSiteSearch": "Include",
"featuredImageType": "standard",
"sticky": false,
"path": "/arts/13921373/ensemble-mik-nawooj-hip-hop-orchestra-classical-asian-art-museum",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Hip-hop and classical music don’t cross paths too often, but when they do, their alchemy is powerful. The rising tension of a string section or a timpani’s thunderclap can lend a larger-than-life gravitas to a rapper’s storytelling about struggle and triumph. Just take \u003ca href=\"https://www.rollingstone.com/music/music-features/rick-ross-red-bull-orchestra-noir-1234624686/\">Rick Ross’ emotional performance with Orchestra Noir\u003c/a> in Atlanta this past weekend, or Nas’ landmark National Symphony Orchestra concert celebrating the \u003ca href=\"https://www.okayplayer.com/music/nas-pbs-illmatic-performance.html\">20th anniversary of \u003ci>Illmatic\u003c/i>\u003c/a>.\u003c/p>\n\u003cp>Here in the Bay Area, \u003ca href=\"https://www.ensemblemiknawooj.com/\">Ensemble Mik Nawooj\u003c/a> has been holding down the hip-hop and classical connection since 2010. Led by composer-pianist and artistic director JooWan Kim, executive director Christopher Nicholas and rapper Unity Lewis, the genre-bending orchestra has attracted an international following, most recently at the \u003ca href=\"https://youtu.be/l0rDIIIKWVM\" target=\"_blank\" rel=\"noopener noreferrer\">Fringe Festival in Edinburgh, Scotland\u003c/a> in August.\u003c/p>\n\u003cp>Ensemble Mik Nawooj’s sound bridges cultures and time periods, remixing Bach and Mozart with dexterous verses and contemporary drum beats. And in the dark time of the pandemic, the brooding, original compositions their 2021 album \u003ca href=\"https://miknawooj.bandcamp.com/album/death-become-life-2\">\u003ci>Death Become Life\u003c/i>\u003c/a> offered catharsis and hope, transmuting the pain of grief into a prayer.\u003c/p>\n\u003cp>After their time abroad in Scotland, \u003ca href=\"https://calendar.asianart.org/event/hip-hop-orchestra-experience-premiere-with-ensemble-mik-nawooj/\">Ensemble Mik Nawooj\u003c/a> returns for a hometown show in San Francisco this Thursday, Nov. 10, at the Asian Art Museum. The concert will feature rhymes from Lewis and Kirby Dominant; a dance accompaniment from \u003ca href=\"https://www.youtube.com/watch?v=x2rYCB-DszM\">turf dancer Yung Phil\u003c/a>; and a full string section, woodwinds, French horn and other instruments. Fans are invited to stroll the exhibition halls before the show, where a retrospective of \u003ca href=\"https://exhibitions.asianart.org/exhibitions/into-view-bernice-bing/\">San Francisco abstract painter Bernice Bing\u003c/a>’s work is currently on view. And on Nov. 19, the group has an East Bay concert at the \u003ca href=\"https://app.arts-people.com/index.php?actions=16&p=1\">Diablo Valley College Performing Arts Center\u003c/a> in Pleasant Hill.\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/B73lg1bcGE4'\n title='//www.youtube.com/embed/B73lg1bcGE4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Ensemble Mik Nawooj performs at the \u003ca href=\"https://calendar.asianart.org/event/hip-hop-orchestra-experience-premiere-with-ensemble-mik-nawooj/\">Asian Art Museum in San Francisco on Nov. 10 at 7 p.m.\u003c/a> and at the \u003ca href=\"https://www.dvc.edu/academics/departments/music/events.html#event=73570712;instance=20221119200000?popup=1\">DVC Performing Arts Center in Pleasant Hill on Nov. 19 at 8 p.m.\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13921373/ensemble-mik-nawooj-hip-hop-orchestra-classical-asian-art-museum",
"authors": [
"11387"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_69"
],
"tags": [
"arts_1312",
"arts_10278",
"arts_831",
"arts_1420",
"arts_585"
],
"featImg": "arts_13921381",
"label": "arts_140"
},
"arts_13921311": {
"type": "posts",
"id": "arts_13921311",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13921311",
"score": null,
"sort": [
1667584152000
]
},
"guestAuthors": [],
"slug": "jackie-gage-kevin-goldberg-green",
"title": "Pissed Off About Climate Change? ‘Green’ Is a Jazzy Rallying Cry",
"publishDate": 1667584152,
"format": "standard",
"headTitle": "Pissed Off About Climate Change? ‘Green’ Is a Jazzy Rallying Cry | KQED",
"labelTerm": {},
"content": "\u003cp>\u003cem>Welcome to \u003ca href=\"http://kqed.org/passtheaux\">Pass the Aux\u003c/a>, where KQED Arts & Culture brings you our favorite new tracks by Bay Area artists.\u003c/em>\u003c/p>\n\u003cp>When jazz musicians \u003ca href=\"https://jackiegage.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Jackie Gage\u003c/a> and \u003ca href=\"https://www.kevin-goldberg.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Kevin Goldberg\u003c/a> wrote “Green,” they weren’t sure they would release it. But whenever they played the track live, they found their fans singing along by the end, even though they’d never heard it before. Maybe listeners were captivated by the steady strum of Goldberg’s tango-style guitar, or the intriguing way Gage sings “Tell me what you mean by green,” as if challenging the listener.\u003c/p>\n\u003cp>Or maybe their audiences were just as pissed off about climate change and corporate greed as Gage and Goldberg were.\u003c/p>\n\u003cp>“It felt like there was a community where I didn’t feel like we were alone in this anger,” says Gage. “[I realized] like, ‘OK, music is powerful, and this is another way that people can kind of discover the power they have in themselves, too.’”\u003c/p>\n\u003cp>https://youtu.be/SwWO7-1hYWY\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Gage, an \u003ca href=\"https://www.kqed.org/arts/13910742/jc-smith-jackie-gage-san-jose-musicians-russia-war-ukraine\" target=\"_blank\" rel=\"noopener noreferrer\">internationally touring singer\u003c/a>, began writing the lyrics for “Green” earlier this year after witnessing the devastation of yet another California wildfire season, flooding in her family’s home state of Louisiana and a deadly hurricane in Florida. Meanwhile, as Americans continue to struggle with high gas prices, \u003ca href=\"https://www.pbs.org/newshour/show/oil-companies-post-massive-profits-as-consumers-feel-squeeze-from-high-gas-prices\" target=\"_blank\" rel=\"noopener noreferrer\">oil companies posted record profits\u003c/a> in the most recent quarter.\u003c/p>\n\u003cp>“It doesn’t make sense. It feels very predatory,” Gage says.\u003c/p>\n\u003cp>A sense of sadness drifted in after the indignation. “I think that I’ve experienced, at least in these last few years, a huge amount of grief,” says Goldberg. “Now our kids might not get the chance to experience this amazing redwood forest that we have in California because, you know, who knows what the future of the climate holds these next five, ten years?”\u003c/p>\n\u003cp>In the new music video for “Green,” out today, Gage, Goldberg and accordion player Imanuel Junaedy perform in Bay Area landmarks, contrasting oases of nature with the impacts of industrialization. Shots of the stunning Pacific coast cut to the trio playing in polluted areas like the former Mare Island military base and West Oakland underpasses.\u003c/p>\n\u003cp>With the e\u003ca href=\"https://www.kqed.org/voterguide\" target=\"_blank\" rel=\"noopener noreferrer\">lection approaching on Nov. 8\u003c/a>, Gage and Goldberg decided it was the perfect time to put climate on people’s minds.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I think for me it just feels it feels like an opportunity to make a little bit of a difference,” says Goldberg. “I think a lot of times it’s really easy to get to a feeling of powerlessness around climate change and around these forces that are spinning so wildly out of control.”\u003c/p>\n\n",
"blocks": [],
"excerpt": "Jackie Gage and Kevin Goldberg’s unexpected protest song reminds us to harness our collective power.",
"status": "publish",
"parent": 0,
"modified": 1729111676,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 12,
"wordCount": 467
},
"headData": {
"title": "Pissed Off About Climate Change? ‘Green’ Is a Jazzy Rallying Cry | KQED",
"description": "Jackie Gage and Kevin Goldberg’s unexpected protest song reminds us to harness our collective power.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Pissed Off About Climate Change? ‘Green’ Is a Jazzy Rallying Cry",
"datePublished": "2022-11-04T10:49:12-07:00",
"dateModified": "2024-10-16T13:47:56-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"source": "Pass the Aux",
"sourceUrl": "https://www.kqed.org/passtheaux",
"sticky": false,
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"path": "/arts/13921311/jackie-gage-kevin-goldberg-green",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Welcome to \u003ca href=\"http://kqed.org/passtheaux\">Pass the Aux\u003c/a>, where KQED Arts & Culture brings you our favorite new tracks by Bay Area artists.\u003c/em>\u003c/p>\n\u003cp>When jazz musicians \u003ca href=\"https://jackiegage.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Jackie Gage\u003c/a> and \u003ca href=\"https://www.kevin-goldberg.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Kevin Goldberg\u003c/a> wrote “Green,” they weren’t sure they would release it. But whenever they played the track live, they found their fans singing along by the end, even though they’d never heard it before. Maybe listeners were captivated by the steady strum of Goldberg’s tango-style guitar, or the intriguing way Gage sings “Tell me what you mean by green,” as if challenging the listener.\u003c/p>\n\u003cp>Or maybe their audiences were just as pissed off about climate change and corporate greed as Gage and Goldberg were.\u003c/p>\n\u003cp>“It felt like there was a community where I didn’t feel like we were alone in this anger,” says Gage. “[I realized] like, ‘OK, music is powerful, and this is another way that people can kind of discover the power they have in themselves, too.’”\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/SwWO7-1hYWY'\n title='//www.youtube.com/embed/SwWO7-1hYWY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\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>Gage, an \u003ca href=\"https://www.kqed.org/arts/13910742/jc-smith-jackie-gage-san-jose-musicians-russia-war-ukraine\" target=\"_blank\" rel=\"noopener noreferrer\">internationally touring singer\u003c/a>, began writing the lyrics for “Green” earlier this year after witnessing the devastation of yet another California wildfire season, flooding in her family’s home state of Louisiana and a deadly hurricane in Florida. Meanwhile, as Americans continue to struggle with high gas prices, \u003ca href=\"https://www.pbs.org/newshour/show/oil-companies-post-massive-profits-as-consumers-feel-squeeze-from-high-gas-prices\" target=\"_blank\" rel=\"noopener noreferrer\">oil companies posted record profits\u003c/a> in the most recent quarter.\u003c/p>\n\u003cp>“It doesn’t make sense. It feels very predatory,” Gage says.\u003c/p>\n\u003cp>A sense of sadness drifted in after the indignation. “I think that I’ve experienced, at least in these last few years, a huge amount of grief,” says Goldberg. “Now our kids might not get the chance to experience this amazing redwood forest that we have in California because, you know, who knows what the future of the climate holds these next five, ten years?”\u003c/p>\n\u003cp>In the new music video for “Green,” out today, Gage, Goldberg and accordion player Imanuel Junaedy perform in Bay Area landmarks, contrasting oases of nature with the impacts of industrialization. Shots of the stunning Pacific coast cut to the trio playing in polluted areas like the former Mare Island military base and West Oakland underpasses.\u003c/p>\n\u003cp>With the e\u003ca href=\"https://www.kqed.org/voterguide\" target=\"_blank\" rel=\"noopener noreferrer\">lection approaching on Nov. 8\u003c/a>, Gage and Goldberg decided it was the perfect time to put climate on people’s minds.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I think for me it just feels it feels like an opportunity to make a little bit of a difference,” says Goldberg. “I think a lot of times it’s really easy to get to a feeling of powerlessness around climate change and around these forces that are spinning so wildly out of control.”\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13921311/jackie-gage-kevin-goldberg-green",
"authors": [
"11387"
],
"categories": [
"arts_1",
"arts_22351",
"arts_69"
],
"tags": [
"arts_8355",
"arts_1407",
"arts_10278",
"arts_13240"
],
"featImg": "arts_13921315",
"label": "source_arts_13921311"
},
"arts_13921254": {
"type": "posts",
"id": "arts_13921254",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13921254",
"score": null,
"sort": [
1667559615000
]
},
"guestAuthors": [],
"slug": "introducing-tales-of-the-town-by-hella-black-podcast",
"title": "Introducing 'Tales of The Town' by Hella Black Podcast",
"publishDate": 1667559615,
"format": "standard",
"headTitle": "Introducing ‘Tales of The Town’ by Hella Black Podcast | KQED",
"labelTerm": {
"term": 8720,
"site": "arts"
},
"content": "\u003cp dir=\"ltr\">Today we’re passing the mic to a group that’s doing some substantive work, both in the community and in the media.\u003c/p>\n\u003cp dir=\"ltr\">The \u003ca href=\"https://www.hellablackpod.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Hella Black Podcast\u003c/a>, hosted by \u003ca href=\"https://www.instagram.com/delency_/\" target=\"_blank\" rel=\"noopener noreferrer\">Delency Parham\u003c/a> and \u003ca href=\"https://www.instagram.com/abbas_muntaqim/\" target=\"_blank\" rel=\"noopener noreferrer\">Abbas Muntaqim\u003c/a>, is a show focused on movements toward Black liberation.\u003c/p>\n\u003cp dir=\"ltr\">Right now the Hella Black Podcast is running a unique series called \u003ca href=\"https://podcasts.apple.com/us/podcast/introducing-tales-of-the-town-a-podcast-about-black-oakland/id1235932328?i=1000579592977\" target=\"_blank\" rel=\"noopener noreferrer\">Tales Of The Town.\u003c/a> It’s produced by \u003ca href=\"https://www.kqed.org/arts/13915669/filmmaker-maya-cueva-focuses-on-reproductive-rights-and-immigration\" target=\"_blank\" rel=\"noopener noreferrer\">former Rightnowish guest\u003c/a> and award winning filmmaker,\u003ca href=\"https://www.instagram.com/maya.cueva_/\" target=\"_blank\" rel=\"noopener noreferrer\"> Maya Cueva\u003c/a>.\u003c/p>\n\u003cp dir=\"ltr\">Over the course of 12 weeks, Tales of The Town is looking back at historical movements for Black liberation in Oakland, and diving into current efforts as well. On top of that, they’re making sure to note the arts and culture that has, and continues to fuel movements.\u003c/p>\n\u003cp dir=\"ltr\">The show features conversations with the hosts’ family members and former members of the Black Panther Party. There’s input from historians and culture keepers and there’s interviews with jazz scholars and R&B singers.\u003c/p>\n\u003cp dir=\"ltr\">In addition to the Tales of The Town series, the group is publishing a photo book, a short film and \u003ca href=\"https://open.spotify.com/artist/1ZgPUEWXZparNifIcZgsKT\" target=\"_blank\" rel=\"noopener noreferrer\">an album\u003c/a> full of original music from some big names in the Bay Area’s hip-hop and R&B circles. The album, podcast, and all of the companion pieces are an extension of the work of the \u003ca href=\"https://www.peoplesprograms.com/\">Peoples Program\u003ci>s\u003c/i>\u003c/a>, an organization co-founded by Hella Black Podcast hosts, Delency and Abbas.\u003c/p>\n\u003cp>Peoples Programs works with unhoused folks, providing food through grocery giveaways. They also have a community garden at UC Berkeley, which is maintained by \u003ca href=\"https://www.kqed.org/arts/13908905/rightnowish-big-love-ab-banks\" target=\"_blank\" rel=\"noopener noreferrer\">Former Rightnowish guest AB Banks. \u003c/a>The group has a mobile medical clinic, as well as a program that assists with bail and legal-support for incarcerated Black protesters.\u003c/p>\n\u003cp>So this week, we’re featuring episode number four from the Tales of The Town series. This episode dives into the history of West Oakland’s 7th Street, once a main thoroughfare for Black artists– home to jazz clubs and show venues where folks like Aretha Franklin would perform.\u003c/p>\n\u003cp>That is, until eminent domain brought about BART train tracks and a freeway that ran right through the community, ultimately causing many businesses to close. A blow to the neighborhood that still lingers to this day.\u003c/p>\n\u003cp>Abbas and Delency talk about that and more on this episode.\u003c/p>\n\u003ch5 id=\"embed-code\" class=\"inconsolata\">\n\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC6488238937&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003cbr>\n\u003c/h5>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
"blocks": [],
"excerpt": null,
"status": "publish",
"parent": 0,
"modified": 1726759227,
"stats": {
"hasAudio": true,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 8,
"wordCount": 441
},
"headData": {
"title": "Introducing 'Tales of The Town' by Hella Black Podcast | KQED",
"description": "Today we’re passing the mic to a group that’s doing some substantive work, both in the community and in the media. The Hella Black Podcast, hosted by Delency Parham and Abbas Muntaqim, is a show focused on movements toward Black liberation. Right now the Hella Black Podcast is running a unique series called Tales Of The Town. It’s produced by former Rightnowish guest and award winning filmmaker, Maya Cueva. Over the course of 12 weeks, Tales of The Town is looking back at historical movements for Black liberation in Oakland, and diving into current efforts as well. On top of",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Introducing 'Tales of The Town' by Hella Black Podcast",
"datePublished": "2022-11-04T04:00:15-07:00",
"dateModified": "2024-09-19T08:20:27-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"audioUrl": "https://www.podtrac.com/pts/redirect.mp3/traffic.megaphone.fm/KQINC6488238937.mp3?updated=1667527200",
"sticky": false,
"excludeFromSiteSearch": "Include",
"path": "/arts/13921254/introducing-tales-of-the-town-by-hella-black-podcast",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp dir=\"ltr\">Today we’re passing the mic to a group that’s doing some substantive work, both in the community and in the media.\u003c/p>\n\u003cp dir=\"ltr\">The \u003ca href=\"https://www.hellablackpod.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Hella Black Podcast\u003c/a>, hosted by \u003ca href=\"https://www.instagram.com/delency_/\" target=\"_blank\" rel=\"noopener noreferrer\">Delency Parham\u003c/a> and \u003ca href=\"https://www.instagram.com/abbas_muntaqim/\" target=\"_blank\" rel=\"noopener noreferrer\">Abbas Muntaqim\u003c/a>, is a show focused on movements toward Black liberation.\u003c/p>\n\u003cp dir=\"ltr\">Right now the Hella Black Podcast is running a unique series called \u003ca href=\"https://podcasts.apple.com/us/podcast/introducing-tales-of-the-town-a-podcast-about-black-oakland/id1235932328?i=1000579592977\" target=\"_blank\" rel=\"noopener noreferrer\">Tales Of The Town.\u003c/a> It’s produced by \u003ca href=\"https://www.kqed.org/arts/13915669/filmmaker-maya-cueva-focuses-on-reproductive-rights-and-immigration\" target=\"_blank\" rel=\"noopener noreferrer\">former Rightnowish guest\u003c/a> and award winning filmmaker,\u003ca href=\"https://www.instagram.com/maya.cueva_/\" target=\"_blank\" rel=\"noopener noreferrer\"> Maya Cueva\u003c/a>.\u003c/p>\n\u003cp dir=\"ltr\">Over the course of 12 weeks, Tales of The Town is looking back at historical movements for Black liberation in Oakland, and diving into current efforts as well. On top of that, they’re making sure to note the arts and culture that has, and continues to fuel movements.\u003c/p>\n\u003cp dir=\"ltr\">The show features conversations with the hosts’ family members and former members of the Black Panther Party. There’s input from historians and culture keepers and there’s interviews with jazz scholars and R&B singers.\u003c/p>\n\u003cp dir=\"ltr\">In addition to the Tales of The Town series, the group is publishing a photo book, a short film and \u003ca href=\"https://open.spotify.com/artist/1ZgPUEWXZparNifIcZgsKT\" target=\"_blank\" rel=\"noopener noreferrer\">an album\u003c/a> full of original music from some big names in the Bay Area’s hip-hop and R&B circles. The album, podcast, and all of the companion pieces are an extension of the work of the \u003ca href=\"https://www.peoplesprograms.com/\">Peoples Program\u003ci>s\u003c/i>\u003c/a>, an organization co-founded by Hella Black Podcast hosts, Delency and Abbas.\u003c/p>\n\u003cp>Peoples Programs works with unhoused folks, providing food through grocery giveaways. They also have a community garden at UC Berkeley, which is maintained by \u003ca href=\"https://www.kqed.org/arts/13908905/rightnowish-big-love-ab-banks\" target=\"_blank\" rel=\"noopener noreferrer\">Former Rightnowish guest AB Banks. \u003c/a>The group has a mobile medical clinic, as well as a program that assists with bail and legal-support for incarcerated Black protesters.\u003c/p>\n\u003cp>So this week, we’re featuring episode number four from the Tales of The Town series. This episode dives into the history of West Oakland’s 7th Street, once a main thoroughfare for Black artists– home to jazz clubs and show venues where folks like Aretha Franklin would perform.\u003c/p>\n\u003cp>That is, until eminent domain brought about BART train tracks and a freeway that ran right through the community, ultimately causing many businesses to close. A blow to the neighborhood that still lingers to this day.\u003c/p>\n\u003cp>Abbas and Delency talk about that and more on this episode.\u003c/p>\n\u003ch5 id=\"embed-code\" class=\"inconsolata\">\n\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC6488238937&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003cbr>\n\u003c/h5>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13921254/introducing-tales-of-the-town-by-hella-black-podcast",
"authors": [
"11491"
],
"programs": [
"arts_8720"
],
"categories": [
"arts_1",
"arts_69",
"arts_21759"
],
"tags": [
"arts_4097",
"arts_1143"
],
"featImg": "arts_13921256",
"label": "arts_8720"
}
},
"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": 984,
"size": 12
},
"vitalsOnly": false,
"totalRequested": 12,
"isLoading": false,
"isLoadingMore": true,
"total": {
"value": 4899,
"relation": "eq"
},
"items": [
"arts_13921900",
"arts_13921890",
"arts_13921863",
"arts_13921777",
"arts_13921657",
"arts_13921642",
"arts_13921584",
"arts_13921576",
"arts_13921444",
"arts_13921373",
"arts_13921311",
"arts_13921254"
],
"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_13921900": {
"type": "terms",
"id": "source_arts_13921900",
"meta": {
"override": true
},
"name": "One Beautiful Thing From 2022",
"link": "https://ww2.kqed.org/arts/tag/one-beautiful-thing",
"isLoading": false
},
"source_arts_13921863": {
"type": "terms",
"id": "source_arts_13921863",
"meta": {
"override": true
},
"name": "Pass the Aux",
"link": "https://www.kqed.org/passtheaux",
"isLoading": false
},
"source_arts_13921311": {
"type": "terms",
"id": "source_arts_13921311",
"meta": {
"override": true
},
"name": "Pass the Aux",
"link": "https://www.kqed.org/passtheaux",
"isLoading": false
},
"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_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_5665": {
"type": "terms",
"id": "arts_5665",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "5665",
"found": true
},
"relationships": {},
"featImg": null,
"name": "beastie boys",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "beastie boys Archives | KQED Arts",
"ogDescription": null
},
"ttid": 5677,
"slug": "beastie-boys",
"isLoading": false,
"link": "/arts/tag/beastie-boys"
},
"arts_10342": {
"type": "terms",
"id": "arts_10342",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "10342",
"found": true
},
"relationships": {},
"featImg": null,
"name": "editorspick",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "editorspick Archives | KQED Arts",
"ogDescription": null
},
"ttid": 10354,
"slug": "editorspick",
"isLoading": false,
"link": "/arts/tag/editorspick"
},
"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_12735": {
"type": "terms",
"id": "arts_12735",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "12735",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Gen Z",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Gen Z Archives | KQED Arts",
"ogDescription": null
},
"ttid": 12747,
"slug": "gen-z",
"isLoading": false,
"link": "/arts/tag/gen-z"
},
"arts_19127": {
"type": "terms",
"id": "arts_19127",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "19127",
"found": true
},
"relationships": {},
"name": "One Beautiful Thing",
"slug": "one-beautiful-thing",
"taxonomy": "tag",
"description": null,
"featImg": null,
"headData": {
"title": "One Beautiful Thing | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 19139,
"isLoading": false,
"link": "/arts/tag/one-beautiful-thing"
},
"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_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_13090": {
"type": "terms",
"id": "arts_13090",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "13090",
"found": true
},
"relationships": {},
"featImg": null,
"name": "New York City",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "New York City Archives | KQED Arts",
"ogDescription": null
},
"ttid": 13102,
"slug": "new-york-city",
"isLoading": false,
"link": "/arts/tag/new-york-city"
},
"arts_763": {
"type": "terms",
"id": "arts_763",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "763",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Opera",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Opera Archives | KQED Arts",
"ogDescription": null
},
"ttid": 781,
"slug": "opera",
"isLoading": false,
"link": "/arts/tag/opera"
},
"arts_3316": {
"type": "terms",
"id": "arts_3316",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3316",
"found": true
},
"relationships": {},
"featImg": null,
"name": "SF Opera",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "SF Opera Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3328,
"slug": "sf-opera",
"isLoading": false,
"link": "/arts/tag/sf-opera"
},
"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_13240": {
"type": "terms",
"id": "arts_13240",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "13240",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Pass the Aux",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"socialTitle": "Bay Area Beats: Discover New Music with KQED's Pass the Aux",
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": "Discover rising stars, genre-bending gems, and local legends recommended by our music experts. Tune in, crank it up, and find your next musical obsession.",
"metaRobotsNoIndex": "index",
"title": "Bay Area Beats: Discover New Music with KQED's Pass the Aux",
"ogDescription": null
},
"ttid": 13252,
"slug": "pass-the-aux",
"isLoading": false,
"link": "/arts/tag/pass-the-aux"
},
"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_19106": {
"type": "terms",
"id": "arts_19106",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "19106",
"found": true
},
"relationships": {},
"featImg": null,
"name": "eras",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "eras Archives | KQED Arts",
"ogDescription": null
},
"ttid": 19118,
"slug": "eras",
"isLoading": false,
"link": "/arts/tag/eras"
},
"arts_3219": {
"type": "terms",
"id": "arts_3219",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3219",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Live Nation",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Live Nation Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3231,
"slug": "live-nation",
"isLoading": false,
"link": "/arts/tag/live-nation"
},
"arts_3026": {
"type": "terms",
"id": "arts_3026",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3026",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Taylor Swift",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Taylor Swift Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3038,
"slug": "taylor-swift",
"isLoading": false,
"link": "/arts/tag/taylor-swift"
},
"arts_4802": {
"type": "terms",
"id": "arts_4802",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "4802",
"found": true
},
"relationships": {},
"featImg": null,
"name": "ticketmaster",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "ticketmaster Archives | KQED Arts",
"ogDescription": null
},
"ttid": 4814,
"slug": "ticketmaster",
"isLoading": false,
"link": "/arts/tag/ticketmaster"
},
"arts_10778": {
"type": "terms",
"id": "arts_10778",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "10778",
"found": true
},
"relationships": {},
"featImg": null,
"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": 10790,
"slug": "his-is-a-good-time-to-start-a-garden-heres-how",
"isLoading": false,
"link": "/arts/affiliate/his-is-a-good-time-to-start-a-garden-heres-how"
},
"arts_17110": {
"type": "terms",
"id": "arts_17110",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "17110",
"found": true
},
"relationships": {},
"featImg": null,
"name": "female musicians",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "female musicians Archives | KQED Arts",
"ogDescription": null
},
"ttid": 17122,
"slug": "female-musicians",
"isLoading": false,
"link": "/arts/tag/female-musicians"
},
"arts_2415": {
"type": "terms",
"id": "arts_2415",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2415",
"found": true
},
"relationships": {},
"featImg": null,
"name": "folk music",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "folk music Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2427,
"slug": "folk-music",
"isLoading": false,
"link": "/arts/tag/folk-music"
},
"arts_21788": {
"type": "terms",
"id": "arts_21788",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21788",
"found": true
},
"relationships": {},
"featImg": null,
"name": "indie rock",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "indie rock Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21800,
"slug": "indie-rock",
"isLoading": false,
"link": "/arts/tag/indie-rock"
},
"arts_1720": {
"type": "terms",
"id": "arts_1720",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1720",
"found": true
},
"relationships": {},
"featImg": null,
"name": "local music",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "local music Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1732,
"slug": "local-music",
"isLoading": false,
"link": "/arts/tag/local-music"
},
"arts_1686": {
"type": "terms",
"id": "arts_1686",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1686",
"found": true
},
"relationships": {},
"featImg": null,
"name": "beyonce",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "beyonce Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1698,
"slug": "beyonce",
"isLoading": false,
"link": "/arts/tag/beyonce"
},
"arts_977": {
"type": "terms",
"id": "arts_977",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "977",
"found": true
},
"relationships": {},
"name": "Film",
"slug": "film",
"taxonomy": "tag",
"description": null,
"featImg": null,
"headData": {
"title": "Film Archives | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 995,
"isLoading": false,
"link": "/arts/tag/film"
},
"arts_1685": {
"type": "terms",
"id": "arts_1685",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1685",
"found": true
},
"relationships": {},
"featImg": null,
"name": "grammys",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "grammys Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1697,
"slug": "grammys",
"isLoading": false,
"link": "/arts/tag/grammys"
},
"arts_9669": {
"type": "terms",
"id": "arts_9669",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "9669",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Harry Styles",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Harry Styles Archives | KQED Arts",
"ogDescription": null
},
"ttid": 9681,
"slug": "harry-styles",
"isLoading": false,
"link": "/arts/tag/harry-styles"
},
"arts_3070": {
"type": "terms",
"id": "arts_3070",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3070",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Jay Z",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Jay Z Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3082,
"slug": "jay-z",
"isLoading": false,
"link": "/arts/tag/jay-z"
},
"arts_1774": {
"type": "terms",
"id": "arts_1774",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1774",
"found": true
},
"relationships": {},
"featImg": null,
"name": "kendrick lamar",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "kendrick lamar Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1786,
"slug": "kendrick-lamar",
"isLoading": false,
"link": "/arts/tag/kendrick-lamar"
},
"arts_19073": {
"type": "terms",
"id": "arts_19073",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "19073",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Mary J Blige",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Mary J Blige Archives | KQED Arts",
"ogDescription": null
},
"ttid": 19085,
"slug": "mary-j-blige",
"isLoading": false,
"link": "/arts/tag/mary-j-blige"
},
"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_8355": {
"type": "terms",
"id": "arts_8355",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "8355",
"found": true
},
"relationships": {},
"featImg": null,
"name": "bay area jazz",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "bay area jazz Archives | KQED Arts",
"ogDescription": null
},
"ttid": 8367,
"slug": "bay-area-jazz",
"isLoading": false,
"link": "/arts/tag/bay-area-jazz"
},
"arts_1341": {
"type": "terms",
"id": "arts_1341",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1341",
"found": true
},
"relationships": {},
"featImg": null,
"name": "David Bowie",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "David Bowie Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1353,
"slug": "david-bowie",
"isLoading": false,
"link": "/arts/tag/david-bowie"
},
"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_15393": {
"type": "terms",
"id": "arts_15393",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "15393",
"found": true
},
"relationships": {},
"featImg": null,
"name": "classical",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "classical Archives | KQED Arts",
"ogDescription": null
},
"ttid": 15405,
"slug": "classical",
"isLoading": false,
"link": "/arts/tag/classical"
},
"arts_6117": {
"type": "terms",
"id": "arts_6117",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "6117",
"found": true
},
"relationships": {},
"featImg": null,
"name": "drake",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "drake Archives | KQED Arts",
"ogDescription": null
},
"ttid": 6129,
"slug": "drake",
"isLoading": false,
"link": "/arts/tag/drake"
},
"arts_6742": {
"type": "terms",
"id": "arts_6742",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "6742",
"found": true
},
"relationships": {},
"featImg": null,
"name": "lawsuit",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "lawsuit Archives | KQED Arts",
"ogDescription": null
},
"ttid": 6754,
"slug": "lawsuit",
"isLoading": false,
"link": "/arts/tag/lawsuit"
},
"arts_4469": {
"type": "terms",
"id": "arts_4469",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "4469",
"found": true
},
"relationships": {},
"featImg": null,
"name": "vogue",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "vogue Archives | KQED Arts",
"ogDescription": null
},
"ttid": 4481,
"slug": "vogue",
"isLoading": false,
"link": "/arts/tag/vogue"
},
"arts_1312": {
"type": "terms",
"id": "arts_1312",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1312",
"found": true
},
"relationships": {},
"featImg": null,
"name": "classical music",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"socialTitle": "From Symphony Hall to Hidden Gems: Bay Area's Classical Music Stories",
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": "Immerse yourself in the Bay Area's rich classical music world! KQED brings you news, educational resources, and event listings.",
"metaRobotsNoIndex": "index",
"title": "From Symphony Hall to Hidden Gems: Bay Area's Classical Music Stories",
"ogDescription": null
},
"ttid": 1324,
"slug": "classical-music",
"isLoading": false,
"link": "/arts/tag/classical-music"
},
"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_22351": {
"type": "terms",
"id": "arts_22351",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "22351",
"found": true
},
"relationships": {},
"name": "Climate",
"slug": "climate",
"taxonomy": "category",
"description": null,
"featImg": null,
"headData": {
"title": "Climate | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 22363,
"isLoading": false,
"link": "/arts/category/climate"
},
"arts_1407": {
"type": "terms",
"id": "arts_1407",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1407",
"found": true
},
"relationships": {},
"featImg": null,
"name": "climate change",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "climate change Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1419,
"slug": "climate-change",
"isLoading": false,
"link": "/arts/tag/climate-change"
},
"arts_8720": {
"type": "terms",
"id": "arts_8720",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "8720",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Rightnowish",
"description": null,
"taxonomy": "program",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Rightnowish Archives | KQED Arts",
"ogDescription": null
},
"ttid": 8732,
"slug": "rightnowish",
"isLoading": false,
"link": "/arts/program/rightnowish"
},
"arts_21759": {
"type": "terms",
"id": "arts_21759",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21759",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Podcast",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Podcast Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21771,
"slug": "podcast",
"isLoading": false,
"link": "/arts/category/podcast"
},
"arts_4097": {
"type": "terms",
"id": "arts_4097",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "4097",
"found": true
},
"relationships": {},
"featImg": null,
"name": "black history",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "black history Archives | KQED Arts",
"ogDescription": null
},
"ttid": 4109,
"slug": "black-history",
"isLoading": false,
"link": "/arts/tag/black-history"
},
"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"
}
},
"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
}
}
