another planet entertainmentanother planet entertainment
Om Records’ 30 Years of Deep House, Downtempo and Hip-Hop in SF
Castro Theatre Shows for 2026 Announced: Lucy Dacus, Santigold, Perfume Genius, More
Dirtybird DJs Return for a Free Show in San Francisco’s Embarcadero Plaza
Higher Rental Costs at Castro Theatre Put Small Film Festivals Under Strain
There’s Only One Castro Theatre. Why Change It Now?
Castro Theatre to Become Live Music and Events Venue After Renovation
You Can Get Vaccinated at the Thundercat Show This Weekend
California Reopens in June. When Can We See Live Music Again?
2020 Decimated the Concert Industry—And It Can’t Rebuild Without Government Help
Treasure Island Music Festival On Indefinite Hiatus
In 2018, Corporate Monotony Seized San Francisco Music Venues
Player sponsored by
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_13989291": {
"type": "attachments",
"id": "arts_13989291",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13989291",
"found": true
},
"title": "4D28B447-FAFD-4D42-BC1E-A36E5914E975_Credit_Dirk_Wyse",
"publishDate": 1778182180,
"status": "inherit",
"parent": 0,
"modified": 1778182408,
"caption": "DJ Mark Farina, left, DJing with Homero Espinosa. Farina's ‘Mushroom Jazz’ series remains a bedrock of the San Francisco electronic music label Om Records, which is celebrated Saturday at a giant block party in Embarcadero Plaza.",
"credit": "Dirk Wyse",
"altTag": "Two men in their 30s-40s stand at a DJ table, against a fuzzy background of horizontal green lighting",
"description": null,
"imgSizes": {
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/4D28B447-FAFD-4D42-BC1E-A36E5914E975_Credit_Dirk_Wyse-160x107.jpg",
"width": 160,
"height": 107,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/4D28B447-FAFD-4D42-BC1E-A36E5914E975_Credit_Dirk_Wyse-768x512.jpg",
"width": 768,
"height": 512,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/4D28B447-FAFD-4D42-BC1E-A36E5914E975_Credit_Dirk_Wyse-1536x1024.jpg",
"width": 1536,
"height": 1024,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/4D28B447-FAFD-4D42-BC1E-A36E5914E975_Credit_Dirk_Wyse-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/4D28B447-FAFD-4D42-BC1E-A36E5914E975_Credit_Dirk_Wyse-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"npr-cds-wide": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/4D28B447-FAFD-4D42-BC1E-A36E5914E975_Credit_Dirk_Wyse-1200x675.jpg",
"width": 1200,
"height": 675,
"mimeType": "image/jpeg"
},
"npr-cds-square": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/4D28B447-FAFD-4D42-BC1E-A36E5914E975_Credit_Dirk_Wyse-600x600.jpg",
"width": 600,
"height": 600,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/4D28B447-FAFD-4D42-BC1E-A36E5914E975_Credit_Dirk_Wyse.jpg",
"width": 2000,
"height": 1333
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13917427": {
"type": "attachments",
"id": "arts_13917427",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13917427",
"found": true
},
"parent": 13917362,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/08/Castro.MAIN_-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/08/Castro.MAIN_-160x107.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 107
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/08/Castro.MAIN_-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/08/Castro.MAIN_.jpg",
"width": 1920,
"height": 1280
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/08/Castro.MAIN_-1020x680.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 680
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/08/Castro.MAIN_-1536x1024.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 1024
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/08/Castro.MAIN_-800x533.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 533
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/08/Castro.MAIN_-768x512.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 512
}
},
"publishDate": 1660236056,
"modified": 1660236130,
"caption": "The interior of the Castro Theatre in San Francisco on Aug. 10, 2022.",
"description": null,
"title": "The interior of the Castro Theatre in San Francisco on Aug. 10, 2022.",
"credit": "Beth LaBerge/KQED",
"status": "inherit",
"altTag": null,
"isLoading": false,
"fetchFailed": false
},
"arts_13933091": {
"type": "attachments",
"id": "arts_13933091",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13933091",
"found": true
},
"parent": 13933038,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/08/The-Crowd-at-Outside-Lands-on-Saturday-Aug.-12-2023.-005-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/08/The-Crowd-at-Outside-Lands-on-Saturday-Aug.-12-2023.-005-160x107.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 107
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/08/The-Crowd-at-Outside-Lands-on-Saturday-Aug.-12-2023.-005-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/08/The-Crowd-at-Outside-Lands-on-Saturday-Aug.-12-2023.-005.jpg",
"width": 1920,
"height": 1280
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/08/The-Crowd-at-Outside-Lands-on-Saturday-Aug.-12-2023.-005-1020x680.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 680
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/08/The-Crowd-at-Outside-Lands-on-Saturday-Aug.-12-2023.-005-1536x1024.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 1024
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/08/The-Crowd-at-Outside-Lands-on-Saturday-Aug.-12-2023.-005-800x533.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 533
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/08/The-Crowd-at-Outside-Lands-on-Saturday-Aug.-12-2023.-005-768x512.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 512
}
},
"publishDate": 1691933236,
"modified": 1692034971,
"caption": "Festival attendees dance as Manila Grey perform on the Panhandle stage on Saturday, Aug. 12, 2023.\n",
"description": "Festival attendees dance as Manila Grey perform on the Panhandle stage on Saturday, Aug. 12, 2023.\n",
"title": "Festival attendees dance as Manila Grey perform on the Panhandle stage on Saturday, Aug. 12, 2023.",
"credit": "Estefany Gonzalez for KQED",
"status": "inherit",
"altTag": null,
"isLoading": false,
"fetchFailed": false
},
"arts_10822924": {
"type": "attachments",
"id": "arts_10822924",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "10822924",
"found": true
},
"parent": 10822840,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/Arab-Film-festival2-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/Arab-Film-festival2-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/Arab-Film-festival2.jpg",
"width": 800,
"height": 450
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/Arab-Film-festival2-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/Arab-Film-festival2-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/Arab-Film-festival2-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/Arab-Film-festival2-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/Arab-Film-festival2-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2015/07/Arab-Film-festival2-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1436225317,
"modified": 1691685499,
"caption": "The 2014 Arab Film Festival at San Francisco's Castro Theatre. For most smaller, independent film festivals, Another Planet Entertainment's proposed renovations mean their future at the theater is up in the air.",
"description": "During the 2014 Arab Film Festival at San Francisco's Castro Theatre (Courtesy of the Arab Film Festival) ",
"title": "Arab Film festival2",
"credit": "Courtesy of the Arab Film Festival",
"status": "inherit",
"altTag": "a shot of the interior of a movie theater, the screen shows that this is the 2014 Arab Film Festival at San Francisco's Castro Theatre",
"isLoading": false,
"fetchFailed": false
},
"arts_13917429": {
"type": "attachments",
"id": "arts_13917429",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13917429",
"found": true
},
"parent": 13917362,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/08/Castro.MAIN_.crop_-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/08/Castro.MAIN_.crop_-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/08/Castro.MAIN_.crop_-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/08/Castro.MAIN_.crop_.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/08/Castro.MAIN_.crop_-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/08/Castro.MAIN_.crop_-1536x864.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 864
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/08/Castro.MAIN_.crop_-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/08/Castro.MAIN_.crop_-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1660236265,
"modified": 1660236278,
"caption": null,
"description": null,
"title": "Castro.MAIN.crop",
"credit": "Beth LaBerge/KQED",
"status": "inherit",
"altTag": null,
"isLoading": false,
"fetchFailed": false
},
"arts_13887089": {
"type": "attachments",
"id": "arts_13887089",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13887089",
"found": true
},
"parent": 13887083,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/09/CastroTheatre.covid_-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/09/CastroTheatre.covid_-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/09/CastroTheatre.covid_-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/09/CastroTheatre.covid_.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/09/CastroTheatre.covid_-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/09/CastroTheatre.covid_-1536x864.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 864
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/09/CastroTheatre.covid_-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/09/CastroTheatre.covid_-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1601417047,
"modified": 1625171561,
"caption": "The Castro Theatre. ",
"description": "The Castro Theatre. ",
"title": "CastroTheatre.covid",
"credit": "Castro Theatre/Facebook",
"status": "inherit",
"altTag": "The Castro Theatre at night. The theatre has been closed since March due to coronavirus restrictions.",
"isLoading": false,
"fetchFailed": false
},
"arts_13888310": {
"type": "attachments",
"id": "arts_13888310",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13888310",
"found": true
},
"parent": 13888303,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/10/IMG_0116-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/10/IMG_0116-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/10/IMG_0116-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/10/IMG_0116.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/10/IMG_0116-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/10/IMG_0116-1536x864.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 864
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/10/IMG_0116-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/10/IMG_0116-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1603483338,
"modified": 1628201572,
"caption": "Thundercat performs at the Bayshore Drive-in in Burlingame on Oct. 22, 2020. ",
"description": "Thundercat performs at the Bayshore Drive-in in Burlingame on Oct. 22. ",
"title": "IMG_0116",
"credit": "Nastia Voynovskaya",
"status": "inherit",
"altTag": null,
"isLoading": false,
"fetchFailed": false
},
"arts_13852026": {
"type": "attachments",
"id": "arts_13852026",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13852026",
"found": true
},
"parent": 0,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/MG_1602-160x107.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 107
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/MG_1602-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/MG_1602.jpg",
"width": 800,
"height": 533
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/MG_1602-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/MG_1602-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/MG_1602-800x533.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 533
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/MG_1602-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/MG_1602-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/MG_1602-768x512.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 512
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/MG_1602-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1551654989,
"modified": 1617838258,
"caption": "Nicotine makes her California debut at The UC Theatre in Berkeley on night five of the the 2019 Noise Pop Music and Arts Festival.",
"description": "Nicotine makes her California debut with captivating spoken word at The UC Theater in Berkeley on night five of the the 2019 Noise Pop Music and Arts Festival.",
"title": "Nicotine makes her California debut with captivating spoken word at The UC Theater in Berkeley on night five of the the 2019 Noise Pop Music and Arts Festival.",
"credit": "Estefany Gonzalez ",
"status": "inherit",
"altTag": "Nicotine makes her California debut with captivating spoken word at The UC Theater in Berkeley on night five of the the 2019 Noise Pop Music and Arts Festival.",
"isLoading": false,
"fetchFailed": false
},
"arts_13852059": {
"type": "attachments",
"id": "arts_13852059",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13852059",
"found": true
},
"parent": 13852108,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/MG_2109-160x107.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 107
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/MG_2109-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/MG_2109.jpg",
"width": 800,
"height": 533
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/MG_2109-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/MG_2109-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/MG_2109-800x533.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 533
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/MG_2109-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/MG_2109-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/MG_2109-768x512.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 512
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/03/MG_2109-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1551659063,
"modified": 1607630102,
"caption": "Princess Nokia performs at the 2019 Noise Pop Music and Arts Festival.",
"description": "Princess Nokia gets up close and personal with her fans at The UC Theatre on the sixth night of the 2019 Noise Pop Music and Arts Festival.",
"title": "Princess Nokia gets up close and personal with her fans at The UC Theatre on the sixth night of the 2019 Noise Pop Music and Arts Festival.",
"credit": "Estefany Gonzalez ",
"status": "inherit",
"altTag": "Princess Nokia gets up close and personal with her fans at The UC Theatre on the sixth night of the 2019 Noise Pop Music and Arts Festival.",
"isLoading": false,
"fetchFailed": false
},
"arts_13843453": {
"type": "attachments",
"id": "arts_13843453",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13843453",
"found": true
},
"parent": 13843462,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/MG_0215-520x346.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 346
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/MG_0215-160x107.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 107
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/MG_0215-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/MG_0215-375x250.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 250
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/MG_0215.jpg",
"width": 800,
"height": 533
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/MG_0215-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/MG_0215-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/MG_0215-800x533.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 533
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/MG_0215-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/MG_0215-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/MG_0215-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/MG_0215-768x512.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 512
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/MG_0215-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/10/MG_0215-240x160.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 160
}
},
"publishDate": 1540413248,
"modified": 1565040235,
"caption": "Middle Harbor Shoreline Park was the venue for Treasure Island Music Festival in 2018.",
"description": "Middle Harbor Shoreline Park was the venue for Treasure Island Music Festival in 2018.",
"title": "Middle Harbor Shoreline Park was the venue for Treasure Island Music Festival in 2018.",
"credit": "Estefany Gonzalez/KQED",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13846954": {
"type": "attachments",
"id": "arts_13846954",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13846954",
"found": true
},
"parent": 13846754,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/12/JamieZ.dna_2-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/12/JamieZ.dna_2-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/12/JamieZ.dna_2-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/12/JamieZ.dna_2.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/12/JamieZ.dna_2-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/12/JamieZ.dna_2-1200x675.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 675
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/12/JamieZ.dna_2-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/12/JamieZ.dna_2-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/12/JamieZ.dna_2-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/12/JamieZ.dna_2-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/12/JamieZ.dna_2-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/12/JamieZ.dna_2-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/12/JamieZ.dna_2-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/12/JamieZ.dna_2-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/12/JamieZ.dna_2-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1544560104,
"modified": 1544560138,
"caption": "Jamie Zawinski, the owner of DNA Lounge, wrote a blog post about corporate promoters' expansion in San Francisco.",
"description": "Jamie Zawinski, the owner of DNA Lounge, wrote a blog post about corporate promoters' expansion in San Francisco.",
"title": "JamieZ.dna_2",
"credit": "Sam Lefebvre/KQED",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
}
},
"audioPlayerReducer": {
"postId": "stream_live",
"isPaused": true,
"isPlaying": false,
"pfsActive": false,
"pledgeModalIsOpen": true,
"playerDrawerIsOpen": false,
"liveAudioPlayStartedAt": 0,
"liveAudioPlayContext": ""
},
"authorsReducer": {
"byline_arts_13989281": {
"type": "authors",
"id": "byline_arts_13989281",
"meta": {
"override": true
},
"slug": "byline_arts_13989281",
"name": "Adrian Spinelli",
"isLoading": false
},
"gmeline": {
"type": "authors",
"id": "185",
"meta": {
"index": "authors_1716337520",
"id": "185",
"found": true
},
"name": "Gabe Meline",
"firstName": "Gabe",
"lastName": "Meline",
"slug": "gmeline",
"email": "gmeline@kqed.org",
"display_author_email": true,
"staff_mastheads": [
"arts"
],
"title": "Senior Editor, KQED Arts & Culture",
"bio": "Gabe Meline entered journalism at age 15 making photocopied zines, and has since earned awards from the Edward R. Murrow Awards, the Society for Professional Journalists, the Online Journalism Awards, the Association of Alternative Newsweeklies and the California Newspaper Publishers Association. Prior to KQED, he was the editor of the \u003cem>North Bay Bohemian\u003c/em> and a touring musician. He lives with his wife and daughter in his hometown of Santa Rosa, CA.",
"avatar": "https://secure.gravatar.com/avatar/5bebe57be0d8bc2dd318934feb47299e2d2d10cba28d09d8d7afb389a2ce2bdd?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "",
"roles": [
"editor"
]
},
{
"site": "arts",
"roles": [
"administrator"
]
},
{
"site": "artschool",
"roles": [
"editor"
]
},
{
"site": "news",
"roles": [
"author"
]
},
{
"site": "pop",
"roles": [
"editor"
]
},
{
"site": "bayareabites",
"roles": [
"editor"
]
},
{
"site": "food",
"roles": [
"editor"
]
},
{
"site": "forum",
"roles": [
"administrator"
]
},
{
"site": "liveblog",
"roles": [
"editor"
]
},
{
"site": "hiphop",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Gabe Meline | KQED",
"description": "Senior Editor, KQED Arts & Culture",
"ogImgSrc": "https://secure.gravatar.com/avatar/5bebe57be0d8bc2dd318934feb47299e2d2d10cba28d09d8d7afb389a2ce2bdd?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/5bebe57be0d8bc2dd318934feb47299e2d2d10cba28d09d8d7afb389a2ce2bdd?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/gmeline"
},
"slefebvre": {
"type": "authors",
"id": "11091",
"meta": {
"index": "authors_1716337520",
"id": "11091",
"found": true
},
"name": "Sam Lefebvre",
"firstName": "Sam",
"lastName": "Lefebvre",
"slug": "slefebvre",
"email": "sdlefebvre@gmail.com",
"display_author_email": false,
"staff_mastheads": [],
"title": "KQED Contributor",
"bio": "Sam Lefebvre is an award-winning reporter at KQED Arts. He has worked as an editor and columnist at the \u003cem>East Bay Express\u003c/em>, \u003cem>SF Weekly \u003c/em>and Impose Magazine, and his journalism and criticism has appeared in \u003cem>The New York Times\u003c/em>, the Guardian and Pitchfork.",
"avatar": "https://secure.gravatar.com/avatar/49d39b42930b77fb13784ddd9fa63fe780666b71bf289368509dba576b64e69b?s=600&d=blank&r=g",
"twitter": "Lefebvre_Sam",
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"subscriber"
]
},
{
"site": "news",
"roles": [
"author"
]
}
],
"headData": {
"title": "Sam Lefebvre | KQED",
"description": "KQED Contributor",
"ogImgSrc": "https://secure.gravatar.com/avatar/49d39b42930b77fb13784ddd9fa63fe780666b71bf289368509dba576b64e69b?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/49d39b42930b77fb13784ddd9fa63fe780666b71bf289368509dba576b64e69b?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/slefebvre"
},
"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"
},
"omayeda": {
"type": "authors",
"id": "11872",
"meta": {
"index": "authors_1716337520",
"id": "11872",
"found": true
},
"name": "Olivia Cruz Mayeda",
"firstName": "Olivia Cruz",
"lastName": "Mayeda",
"slug": "omayeda",
"email": "omayeda@kqed.org",
"display_author_email": false,
"staff_mastheads": [],
"title": "Reporter",
"bio": "Olivia Cruz Mayeda is a journalist covering style, culture and reparations in the Bay Area, a place that has been home to her family for over 100 years. Her writing has also appeared in the \u003cem>San Francisco Chronicle\u003c/em> and \u003cem>El Tecolote\u003c/em>.",
"avatar": "https://secure.gravatar.com/avatar/a8c0baa30219ce1071a9474f4c14141f?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"contributor"
]
}
],
"headData": {
"title": "Olivia Cruz Mayeda | KQED",
"description": "Reporter",
"ogImgSrc": "https://secure.gravatar.com/avatar/a8c0baa30219ce1071a9474f4c14141f?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/a8c0baa30219ce1071a9474f4c14141f?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/omayeda"
}
},
"pagesReducer": {
"arts_tag_another-planet-entertainment": {
"type": "terms",
"id": "arts_6192",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "6192",
"score": 10.406099
},
"featImg": null,
"name": "another planet entertainment",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "another planet entertainment Archives | KQED Arts",
"ogDescription": null
},
"ttid": 6204,
"slug": "another-planet-entertainment",
"isLoading": false,
"title": "another planet entertainment",
"pageMeta": {
"site": "arts",
"WpPageTemplate": "page-topic-editorial",
"currentPage": 1
},
"blocks": [
{
"blockName": "kqed/post-list",
"attrs": {
"layout": "cardArticle2",
"query": "posts/arts?tag=another-planet-entertainment",
"seeMore": false,
"paginated": true,
"page": 1
}
},
{
"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_13989281": {
"type": "posts",
"id": "arts_13989281",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13989281",
"score": null,
"sort": [
1778184896000
]
},
"guestAuthors": [],
"slug": "om-records-downtempo-deep-house-san-francisco-anniversary",
"title": "Om Records’ 30 Years of Deep House, Downtempo and Hip-Hop in SF",
"publishDate": 1778184896,
"format": "standard",
"headTitle": "Om Records’ 30 Years of Deep House, Downtempo and Hip-Hop in SF | KQED",
"labelTerm": {},
"content": "\u003cp>I moved to \u003ca href=\"https://www.kqed.org/arts/tag/san-francisco\">San Francisco\u003c/a> in the late 2000s, attracted by a certain romanticism, most of it due to the music and art born here in the city. \u003c/p>\n\u003cp>My early visits to the Bay would always include a stop at Amoeba Music, where I’d spend hours browsing the used CD racks for local \u003ca href=\"https://www.kqed.org/arts/tag/hip-hop\">hip-hop\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/tag/electronic-music\">electronic\u003c/a> releases. It was there that I fell into the seemingly endless treasure trove of Om Records, a small San Francisco house music label that first entered my consciousness at the turn of the millennium via DJ Mark Farina’s downtempo compilation series, \u003ci>Mushroom Jazz\u003c/i>. \u003c/p>\n\u003cp>Every visit yielded another batch of CDs. Comp mixes curated by artists like Kaskade, Groove Armada, and DJ Heather, as well as hip-hop albums like People Under the Stairs’ jazz & soul sample-soaked \u003ci>O.S.T. \u003c/i>and Ming + FS’s breakbeat-riddled \u003ci>Hell’s Kitchen. \u003c/i>There was the masterfully curated \u003ci>Om Lounge\u003c/i> downtempo series — a precursor to the “chill beats to relax to” playlist fodder of today — and an \u003ci>Om: Winter Sessions\u003c/i> deep house mix from a then little-known SF DJ named Justin Martin.\u003c/p>\n\u003cp>In other words, Om’s curation guided my curiosity. After a while, no matter which Om release I took a chance on, it was usually right up my alley. \u003c/p>\n\u003cfigure id=\"attachment_13989294\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Shiny-Objects-2photo-by-Krescent-Carasso.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13989294\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Shiny-Objects-2photo-by-Krescent-Carasso.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Shiny-Objects-2photo-by-Krescent-Carasso-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Shiny-Objects-2photo-by-Krescent-Carasso-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Shiny-Objects-2photo-by-Krescent-Carasso-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Shiny Objects, a.k.a. Om Records cofounder Chris Smith, performs at this weekend’s anniversary parties for the label. \u003ccite>(Krescent Carasso)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The music scene in the city was incredible when we started the label,” says Chris Smith, who co-founded Om Records in 1995. “There were solid club nights seven nights a week for house music, downtempo, acid jazz — and a vibrant hip-hop scene, too, that we commingled with, and that’s what inspired me. We were obviously super into house music, but we wanted to do something that really embodied all of these eclectic sounds.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>After moving to San Francisco in 1992, Smith spent days and months digging through downtempo and European electronic records at stores like BPM, Clear, Zebra and Tweakin. The latter, now home to Vinyl Dreams, is where he met Om co-founder Steve Gray (who moved back to England shortly after the label was founded.) \u003c/p>\n\u003cp>Smith met Farina at an 11am afterparty at DNA Lounge, where the \u003ci>Mushroom Jazz\u003c/i> auteur was dropping tracks that would later appear on \u003ci>Mushroom Jazz Vol. 1\u003c/i>. The jazz-, hip-hop- and soul-inflected downtempo series became a phenomenon — from college and club night afterparties to soundtracking buzzy restaurant dining rooms in LA and Miami — and still stands as Om’s most widely recognized output. \u003c/p>\n\u003cp>\u003ciframe style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=883256820/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" seamless>\u003ca href=\"https://markfarina.bandcamp.com/album/mushroom-jazz-vol-1\">Mushroom Jazz Vol. 1 by Various Artists\u003c/a>\u003c/iframe>\u003c/p>\n\u003cp>Now, three decades and 800+ releases later, Om is not only releasing a 30th anniversary compilation album on May 8th, it’s the focus of a \u003ca href=\"https://apeconcerts.com/events/om-records-260509/\">free Day Party on Embarcadero Plaza on Sat, May 9th\u003c/a>. Featuring label mainstays Farina, Colette, DJ Heather, J.Boogie and Shiny Objects (Smith’s production moniker), and produced by Another Planet Entertainment (APE) and SF Rec & Parks, it’s one of a growing number of free outdoor concerts meant to generate optimism for the future of San Francisco. \u003c/p>\n\u003cp>Strangely, Om is hardly a household name in the city these days. The majority of its young residents haven’t been here for a decade, let alone three. And while electronic music would go on to become a big-money industry, coinciding with corporate promoters’ takeover of major markets, Om declined to sign up for the big-room EDM revolution – even as some of the label’s early artists (Kaskade, Martin, Claude VonStroke) went on to help define it. \u003c/p>\n\u003cp>“There were so many trends that came along that were, in my view, so cheesy,” says Smith. “I have so much respect for what Kaskade did when he left Om, but it’s just not in my DNA; I don’t understand that part of things. Maybe there were opportunities that we may have missed. I’ve just been more programmed into liking underground music.” \u003c/p>\n\u003cfigure id=\"attachment_13989293\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/JBoogie_SternGrove_June2025-60.jpg\" alt=\"\" width=\"2000\" height=\"1334\" class=\"size-full wp-image-13989293\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/JBoogie_SternGrove_June2025-60.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/JBoogie_SternGrove_June2025-60-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/JBoogie_SternGrove_June2025-60-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/JBoogie_SternGrove_June2025-60-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Bay Area DJ J.Boogie, seen here at San Francisco’s Stern Grove, has been with Om Records since its inception. \u003ccite>(Kristina Nguyen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If Om has slowed its release calendar in the last decade, it’s because Smith also co-founded local nightclubs in Potrero’s The Great Northern and Downtown’s Monarch, as well as restaurants like The Pawn Shop (adjacent to Monarch) and Sonoma Pizza Co. in Forestville, where he lives with his family. The pizza place takes up most of his time; Om’s longtime GM, Gunnar Hissam, runs the label’s day-to-day operations. Turns out over 20 years of running a dance music label and working in nightlife will burn you out some.\u003c/p>\n\u003cp>But this weekend, it’s paying off. APE’s Bryan Duquette tells KQED that more than 6,000 people have RSVP’d for the Om Anniversary Day Party.\u003c/p>\n\u003cp>“We try to work with independent labels and artists that have ties to SF” for the parties APE has produced with the city, Duquette says. “This show in particular has a historical tie to us, because we were booking J.Boogie at gigs at the Elbo Room before APE even existed, when we were still known as Mystery Machine Productions.”\u003c/p>\n\u003cp>As the 30th anniversary concert gets underway (followed by \u003ca href=\"https://www.om-records.com/news/2026/3/19/sf-30-years-day-night-parties-announced\">a night show at Great Northern\u003c/a>), one has to wonder if the nostalgia of 800+ releases might be lost on many of the new wave of San Franciscans. It’s no secret that services like Spotify and Apple Music serve up formulaic playlists to listeners who rely solely on their algorithms for a semblance of “discovery.”\u003c/p>\n\u003cfigure id=\"attachment_13989297\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/unnamed-1.jpg\" alt=\"\" width=\"2000\" height=\"1648\" class=\"size-full wp-image-13989297\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/unnamed-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/unnamed-1-160x132.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/unnamed-1-768x633.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/unnamed-1-1536x1266.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Collette. \u003ccite>(Courtesy Om Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The streaming age hasn’t been particularly kind to Om. Smith laments that even though Om was an early beta test partner for iTunes (he remembers meeting Steve Jobs) and early download purchases were big for Om financially, label catalogs were largely left behind in the artist-centric streaming era.\u003c/p>\n\u003cp>“First it was Napster downloads, then the bottom fell off the CD market and nobody was buying vinyl anymore,” Smith recalls. “We weathered them all, but it was challenging.”\u003c/p>\n\u003cp>This weekend’s party, then, is affirmation of not just Om Records’ successes, but something that automation has yet to replicate: its good taste.\u003c/p>\n\u003cp>“We were in the shadows and took a back seat for a minute,” Smith says. “But we’ve never been a label that hops on a trend, like prog house or trance or whatever. We always stuck with what we love.” \u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Om Records’ 30th Anniversary Day Party takes place Saturday, May 9, from 1–5pm at Embarcadero Plaza in San Francisco. \u003ca href=\"https://apeconcerts.com/events/om-records-260509/\">More info here\u003c/a>. That night, from 9pm–3am, the party continues at the Great Northern (119 Utah St., San Francisco) with an evening headlined by Derrick Carter. \u003ca href=\"https://www.om-records.com/news/2026/3/19/sf-30-years-day-night-parties-announced\">Tickets and more info here\u003c/a>. \u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "The electronic label best known for ‘Mushroom Jazz’ celebrates at a giant anniversary block party this weekend.",
"status": "publish",
"parent": 0,
"modified": 1778192005,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": true,
"iframeSrcs": [
"https://bandcamp.com/EmbeddedPlayer/album=883256820/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/"
],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 22,
"wordCount": 1212
},
"headData": {
"title": "Om Records’ 30 Years of Deep House, Downtempo and Hip-Hop in SF | KQED",
"description": "The electronic label best known for ‘Mushroom Jazz’ celebrates at a giant anniversary block party this weekend.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Om Records’ 30 Years of Deep House, Downtempo and Hip-Hop in SF",
"datePublished": "2026-05-07T13:14:56-07:00",
"dateModified": "2026-05-07T15:13:25-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"primaryCategory": {
"termId": 1,
"slug": "arts",
"name": "Arts"
},
"source": "The Do List",
"sourceUrl": "https://www.kqed.org/thedolist",
"sticky": false,
"nprByline": "Adrian Spinelli",
"nprStoryId": "kqed-13989281",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"path": "/arts/13989281/om-records-downtempo-deep-house-san-francisco-anniversary",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I moved to \u003ca href=\"https://www.kqed.org/arts/tag/san-francisco\">San Francisco\u003c/a> in the late 2000s, attracted by a certain romanticism, most of it due to the music and art born here in the city. \u003c/p>\n\u003cp>My early visits to the Bay would always include a stop at Amoeba Music, where I’d spend hours browsing the used CD racks for local \u003ca href=\"https://www.kqed.org/arts/tag/hip-hop\">hip-hop\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/tag/electronic-music\">electronic\u003c/a> releases. It was there that I fell into the seemingly endless treasure trove of Om Records, a small San Francisco house music label that first entered my consciousness at the turn of the millennium via DJ Mark Farina’s downtempo compilation series, \u003ci>Mushroom Jazz\u003c/i>. \u003c/p>\n\u003cp>Every visit yielded another batch of CDs. Comp mixes curated by artists like Kaskade, Groove Armada, and DJ Heather, as well as hip-hop albums like People Under the Stairs’ jazz & soul sample-soaked \u003ci>O.S.T. \u003c/i>and Ming + FS’s breakbeat-riddled \u003ci>Hell’s Kitchen. \u003c/i>There was the masterfully curated \u003ci>Om Lounge\u003c/i> downtempo series — a precursor to the “chill beats to relax to” playlist fodder of today — and an \u003ci>Om: Winter Sessions\u003c/i> deep house mix from a then little-known SF DJ named Justin Martin.\u003c/p>\n\u003cp>In other words, Om’s curation guided my curiosity. After a while, no matter which Om release I took a chance on, it was usually right up my alley. \u003c/p>\n\u003cfigure id=\"attachment_13989294\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Shiny-Objects-2photo-by-Krescent-Carasso.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13989294\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Shiny-Objects-2photo-by-Krescent-Carasso.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Shiny-Objects-2photo-by-Krescent-Carasso-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Shiny-Objects-2photo-by-Krescent-Carasso-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/Shiny-Objects-2photo-by-Krescent-Carasso-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Shiny Objects, a.k.a. Om Records cofounder Chris Smith, performs at this weekend’s anniversary parties for the label. \u003ccite>(Krescent Carasso)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The music scene in the city was incredible when we started the label,” says Chris Smith, who co-founded Om Records in 1995. “There were solid club nights seven nights a week for house music, downtempo, acid jazz — and a vibrant hip-hop scene, too, that we commingled with, and that’s what inspired me. We were obviously super into house music, but we wanted to do something that really embodied all of these eclectic sounds.”\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>After moving to San Francisco in 1992, Smith spent days and months digging through downtempo and European electronic records at stores like BPM, Clear, Zebra and Tweakin. The latter, now home to Vinyl Dreams, is where he met Om co-founder Steve Gray (who moved back to England shortly after the label was founded.) \u003c/p>\n\u003cp>Smith met Farina at an 11am afterparty at DNA Lounge, where the \u003ci>Mushroom Jazz\u003c/i> auteur was dropping tracks that would later appear on \u003ci>Mushroom Jazz Vol. 1\u003c/i>. The jazz-, hip-hop- and soul-inflected downtempo series became a phenomenon — from college and club night afterparties to soundtracking buzzy restaurant dining rooms in LA and Miami — and still stands as Om’s most widely recognized output. \u003c/p>\n\u003cp>\u003ciframe style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=883256820/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" seamless>\u003ca href=\"https://markfarina.bandcamp.com/album/mushroom-jazz-vol-1\">Mushroom Jazz Vol. 1 by Various Artists\u003c/a>\u003c/iframe>\u003c/p>\n\u003cp>Now, three decades and 800+ releases later, Om is not only releasing a 30th anniversary compilation album on May 8th, it’s the focus of a \u003ca href=\"https://apeconcerts.com/events/om-records-260509/\">free Day Party on Embarcadero Plaza on Sat, May 9th\u003c/a>. Featuring label mainstays Farina, Colette, DJ Heather, J.Boogie and Shiny Objects (Smith’s production moniker), and produced by Another Planet Entertainment (APE) and SF Rec & Parks, it’s one of a growing number of free outdoor concerts meant to generate optimism for the future of San Francisco. \u003c/p>\n\u003cp>Strangely, Om is hardly a household name in the city these days. The majority of its young residents haven’t been here for a decade, let alone three. And while electronic music would go on to become a big-money industry, coinciding with corporate promoters’ takeover of major markets, Om declined to sign up for the big-room EDM revolution – even as some of the label’s early artists (Kaskade, Martin, Claude VonStroke) went on to help define it. \u003c/p>\n\u003cp>“There were so many trends that came along that were, in my view, so cheesy,” says Smith. “I have so much respect for what Kaskade did when he left Om, but it’s just not in my DNA; I don’t understand that part of things. Maybe there were opportunities that we may have missed. I’ve just been more programmed into liking underground music.” \u003c/p>\n\u003cfigure id=\"attachment_13989293\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/JBoogie_SternGrove_June2025-60.jpg\" alt=\"\" width=\"2000\" height=\"1334\" class=\"size-full wp-image-13989293\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/JBoogie_SternGrove_June2025-60.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/JBoogie_SternGrove_June2025-60-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/JBoogie_SternGrove_June2025-60-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/JBoogie_SternGrove_June2025-60-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Bay Area DJ J.Boogie, seen here at San Francisco’s Stern Grove, has been with Om Records since its inception. \u003ccite>(Kristina Nguyen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If Om has slowed its release calendar in the last decade, it’s because Smith also co-founded local nightclubs in Potrero’s The Great Northern and Downtown’s Monarch, as well as restaurants like The Pawn Shop (adjacent to Monarch) and Sonoma Pizza Co. in Forestville, where he lives with his family. The pizza place takes up most of his time; Om’s longtime GM, Gunnar Hissam, runs the label’s day-to-day operations. Turns out over 20 years of running a dance music label and working in nightlife will burn you out some.\u003c/p>\n\u003cp>But this weekend, it’s paying off. APE’s Bryan Duquette tells KQED that more than 6,000 people have RSVP’d for the Om Anniversary Day Party.\u003c/p>\n\u003cp>“We try to work with independent labels and artists that have ties to SF” for the parties APE has produced with the city, Duquette says. “This show in particular has a historical tie to us, because we were booking J.Boogie at gigs at the Elbo Room before APE even existed, when we were still known as Mystery Machine Productions.”\u003c/p>\n\u003cp>As the 30th anniversary concert gets underway (followed by \u003ca href=\"https://www.om-records.com/news/2026/3/19/sf-30-years-day-night-parties-announced\">a night show at Great Northern\u003c/a>), one has to wonder if the nostalgia of 800+ releases might be lost on many of the new wave of San Franciscans. It’s no secret that services like Spotify and Apple Music serve up formulaic playlists to listeners who rely solely on their algorithms for a semblance of “discovery.”\u003c/p>\n\u003cfigure id=\"attachment_13989297\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/unnamed-1.jpg\" alt=\"\" width=\"2000\" height=\"1648\" class=\"size-full wp-image-13989297\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/unnamed-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/unnamed-1-160x132.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/unnamed-1-768x633.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2026/05/unnamed-1-1536x1266.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Collette. \u003ccite>(Courtesy Om Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The streaming age hasn’t been particularly kind to Om. Smith laments that even though Om was an early beta test partner for iTunes (he remembers meeting Steve Jobs) and early download purchases were big for Om financially, label catalogs were largely left behind in the artist-centric streaming era.\u003c/p>\n\u003cp>“First it was Napster downloads, then the bottom fell off the CD market and nobody was buying vinyl anymore,” Smith recalls. “We weathered them all, but it was challenging.”\u003c/p>\n\u003cp>This weekend’s party, then, is affirmation of not just Om Records’ successes, but something that automation has yet to replicate: its good taste.\u003c/p>\n\u003cp>“We were in the shadows and took a back seat for a minute,” Smith says. “But we’ve never been a label that hops on a trend, like prog house or trance or whatever. We always stuck with what we love.” \u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Om Records’ 30th Anniversary Day Party takes place Saturday, May 9, from 1–5pm at Embarcadero Plaza in San Francisco. \u003ca href=\"https://apeconcerts.com/events/om-records-260509/\">More info here\u003c/a>. That night, from 9pm–3am, the party continues at the Great Northern (119 Utah St., San Francisco) with an evening headlined by Derrick Carter. \u003ca href=\"https://www.om-records.com/news/2026/3/19/sf-30-years-day-night-parties-announced\">Tickets and more info here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13989281/om-records-downtempo-deep-house-san-francisco-anniversary",
"authors": [
"byline_arts_13989281"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_69",
"arts_22313"
],
"tags": [
"arts_6192",
"arts_1501",
"arts_10278",
"arts_1146",
"arts_585"
],
"featImg": "arts_13989291",
"label": "source_arts_13989281"
},
"arts_13983358": {
"type": "posts",
"id": "arts_13983358",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13983358",
"score": null,
"sort": [
1762282409000
]
},
"guestAuthors": [],
"slug": "shows-at-castro-theatre-for-2026-announced-lucy-dacus-santigold-perfume-genius-more",
"title": "Castro Theatre Shows for 2026 Announced: Lucy Dacus, Santigold, Perfume Genius, More",
"publishDate": 1762282409,
"format": "standard",
"headTitle": "Castro Theatre Shows for 2026 Announced: Lucy Dacus, Santigold, Perfume Genius, More | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>The operators of the Castro Theatre have announced the concerts that will take place after the venue’s reopening next year. Artists booked to play the Castro in 2026 include Lucy Dacus, Perfume Genius, Santigold, the Breeders, Father John Misty, the Format and others.\u003c/p>\n\u003cp>The slate of shows follows a sold-out, 20-date residency by singer Sam Smith, running Feb. 10–March 14 at the Castro.\u003c/p>\n\u003cp>The Castro Theatre, which had shown primarily film for over a century as one of the region’s last remaining movie palaces, has undergone renovation and remodeling by its new operators Another Planet Entertainment. Controversially, the Bay Area-based live music promotion company replaced the Castro’s theater-style raked floor and seating with flat tiers, outfitted with sliding rows, to accommodate a multi-use format.\u003c/p>\n\u003cp>[aside postID='arts_13981911']Along with the announced schedule of live music, drag, comedy, game shows and community events, Another Planet promises “film screenings and more to be announced soon.” The Frameline Film Festival is scheduled to run June 17–27 at the Castro. \u003c/p>\n\u003cp>A schedule of shows at the Castro Theatre is below. Presale tickets to many of the shows go on sale Thursday, Nov. 6, using the presale code \u003cstrong>hotcookie\u003c/strong>, a reference to one of the locally owned businesses on the street. (Two others are reportedly in the process of being \u003ca href=\"https://abc7news.com/post/legacy-san-francisco-castro-small-businesses-asked-leave-make-room-another-planet-entertainment/16911703/\">evicted to make room for Another Planet\u003c/a>.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Tickets to all shows go on sale to the general public Friday, Nov. 7. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>March 18: Amber Mark\u003cbr>\nMarch 20: Alaska\u003cbr>\nMarch 21: 49th & Main\u003cbr>\nMarch 24: Father John Misty\u003cbr>\nMarch 25: Father John Misty\u003cbr>\nMarch 26: Perfume Genius\u003cbr>\nMarch 28: Tycho\u003cbr>\nMarch 31: Nick Lowe\u003cbr>\nApril 8: Gayme Show with Matt Rogers and Dave Mizzoni\u003cbr>\nApril 11: Alyssa Edwards\u003cbr>\nApril 14: On Cinema Live! with Tim Heidecker and Gregg Turkington\u003cbr>\nApril 16: The Format\u003cbr>\nApril 17: The Format\u003cbr>\nApril 18: Vandelux\u003cbr>\nApril 19: CMAT\u003cbr>\nApril 25: Alice Phoebe Lou\u003cbr>\nApril 26: Jessica Kirson\u003cbr>\nApril 28: MARO\u003cbr>\nApril 30: Jonathan Van Ness\u003cbr>\nMay 3: José González\u003cbr>\nMay 16: Santigold\u003cbr>\nMay 18: Lucy Dacus\u003cbr>\nMay 19: Lucy Dacus\u003cbr>\nAug. 22: The Breeders\u003c/p>\n\n",
"blocks": [],
"excerpt": "Jonathan Van Ness, the Breeders, Father John Misty and more are headed to the remodeled Castro Theatre.\r\n",
"status": "publish",
"parent": 0,
"modified": 1762286277,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 9,
"wordCount": 366
},
"headData": {
"title": "Castro Theatre Shows for 2026 Announced: Lucy Dacus, Santigold, Perfume Genius, More | KQED",
"description": "Jonathan Van Ness, the Breeders, Father John Misty and more are headed to the remodeled Castro Theatre.\r\n",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Castro Theatre Shows for 2026 Announced: Lucy Dacus, Santigold, Perfume Genius, More",
"datePublished": "2025-11-04T10:53:29-08:00",
"dateModified": "2025-11-04T11:57:57-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"primaryCategory": {
"termId": 1,
"slug": "arts",
"name": "Arts"
},
"sticky": false,
"nprStoryId": "kqed-13983358",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13983358/shows-at-castro-theatre-for-2026-announced-lucy-dacus-santigold-perfume-genius-more",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The operators of the Castro Theatre have announced the concerts that will take place after the venue’s reopening next year. Artists booked to play the Castro in 2026 include Lucy Dacus, Perfume Genius, Santigold, the Breeders, Father John Misty, the Format and others.\u003c/p>\n\u003cp>The slate of shows follows a sold-out, 20-date residency by singer Sam Smith, running Feb. 10–March 14 at the Castro.\u003c/p>\n\u003cp>The Castro Theatre, which had shown primarily film for over a century as one of the region’s last remaining movie palaces, has undergone renovation and remodeling by its new operators Another Planet Entertainment. Controversially, the Bay Area-based live music promotion company replaced the Castro’s theater-style raked floor and seating with flat tiers, outfitted with sliding rows, to accommodate a multi-use format.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13981911",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Along with the announced schedule of live music, drag, comedy, game shows and community events, Another Planet promises “film screenings and more to be announced soon.” The Frameline Film Festival is scheduled to run June 17–27 at the Castro. \u003c/p>\n\u003cp>A schedule of shows at the Castro Theatre is below. Presale tickets to many of the shows go on sale Thursday, Nov. 6, using the presale code \u003cstrong>hotcookie\u003c/strong>, a reference to one of the locally owned businesses on the street. (Two others are reportedly in the process of being \u003ca href=\"https://abc7news.com/post/legacy-san-francisco-castro-small-businesses-asked-leave-make-room-another-planet-entertainment/16911703/\">evicted to make room for Another Planet\u003c/a>.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Tickets to all shows go on sale to the general public Friday, Nov. 7. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>March 18: Amber Mark\u003cbr>\nMarch 20: Alaska\u003cbr>\nMarch 21: 49th & Main\u003cbr>\nMarch 24: Father John Misty\u003cbr>\nMarch 25: Father John Misty\u003cbr>\nMarch 26: Perfume Genius\u003cbr>\nMarch 28: Tycho\u003cbr>\nMarch 31: Nick Lowe\u003cbr>\nApril 8: Gayme Show with Matt Rogers and Dave Mizzoni\u003cbr>\nApril 11: Alyssa Edwards\u003cbr>\nApril 14: On Cinema Live! with Tim Heidecker and Gregg Turkington\u003cbr>\nApril 16: The Format\u003cbr>\nApril 17: The Format\u003cbr>\nApril 18: Vandelux\u003cbr>\nApril 19: CMAT\u003cbr>\nApril 25: Alice Phoebe Lou\u003cbr>\nApril 26: Jessica Kirson\u003cbr>\nApril 28: MARO\u003cbr>\nApril 30: Jonathan Van Ness\u003cbr>\nMay 3: José González\u003cbr>\nMay 16: Santigold\u003cbr>\nMay 18: Lucy Dacus\u003cbr>\nMay 19: Lucy Dacus\u003cbr>\nAug. 22: The Breeders\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13983358/shows-at-castro-theatre-for-2026-announced-lucy-dacus-santigold-perfume-genius-more",
"authors": [
"185"
],
"categories": [
"arts_1",
"arts_968",
"arts_69",
"arts_235"
],
"tags": [
"arts_6192",
"arts_6476",
"arts_22586",
"arts_10278",
"arts_5544",
"arts_1146"
],
"featImg": "arts_13917427",
"label": "arts"
},
"arts_13975649": {
"type": "posts",
"id": "arts_13975649",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13975649",
"score": null,
"sort": [
1746214595000
]
},
"guestAuthors": [],
"slug": "dirtybird-djs-free-show-san-francisco-embarcadero-plaza-back-to-baysics",
"title": "Dirtybird DJs Return for a Free Show in San Francisco’s Embarcadero Plaza",
"publishDate": 1746214595,
"format": "aside",
"headTitle": "Dirtybird DJs Return for a Free Show in San Francisco’s Embarcadero Plaza | KQED",
"labelTerm": {},
"content": "\u003cfigure id=\"attachment_13933091\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933091\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/The-Crowd-at-Outside-Lands-on-Saturday-Aug.-12-2023.-005.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/The-Crowd-at-Outside-Lands-on-Saturday-Aug.-12-2023.-005.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/The-Crowd-at-Outside-Lands-on-Saturday-Aug.-12-2023.-005-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/The-Crowd-at-Outside-Lands-on-Saturday-Aug.-12-2023.-005-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/The-Crowd-at-Outside-Lands-on-Saturday-Aug.-12-2023.-005-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/The-Crowd-at-Outside-Lands-on-Saturday-Aug.-12-2023.-005-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/The-Crowd-at-Outside-Lands-on-Saturday-Aug.-12-2023.-005-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Dancers at Outside Lands in 2023. Another Planet Entertainment, the festival’s producer, is teaming up with the city to throw a free dance party with Dirtybird Records at Embarcadero Plaza on June 14. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A year after drawing thousands to the Embarcadero in San Francisco, homegrown electronic music label \u003ca href=\"https://www.kqed.org/arts/13874615/how-sfs-dirtybird-grew-from-outsider-party-to-beloved-house-music-label\">Dirtybird\u003c/a> will throw the second-annual free Back to Baysics dance party at Embarcadero Plaza on June 14.\u003c/p>\n\u003cp>The influential San Francisco label’s \u003ca href=\"https://www.kqed.org/arts/13874615/how-sfs-dirtybird-grew-from-outsider-party-to-beloved-house-music-label\">D.I.Y. beginnings trace back to 2005\u003c/a>, when it emerged as a champion of funky, bass-heavy dance music with an outsider appeal. Dirtybird has since been acquired by San Francisco-based, globe-spanning label EMPIRE in 2022, and has thrown numerous high-profile events with a who’s-who of electronic music. (The Dirtybird Campout, coming to Mendocino in July, features major artists like Jungle, Aluna and Justin Martin.)\u003c/p>\n\u003cp>Last summer, Back to Baysics packed the plaza with electronic music lovers of all ages who came to see Belgian DJ Sacha Robotti and local acts Deron Delgado and Moody Jones. The DJ lineup for this year’s party has yet to be announced.\u003c/p>\n\u003cp>[aside postID='arts_13874615']Back to Baysics is part of a free concert series from Another Planet Entertainment (the producers of Outside Lands), the Recreation and Parks Department and Mayor Daniel Lurie’s office. “Our arts and culture are helping to drive San Francisco’s comeback, and this is a perfect example of that energy,” said Lurie in a statement.\u003c/p>\n\u003cp>The concert series was born from Another Planet’s agreement with the city to produce free concerts in exchange for hosting ticketed shows in Golden Gate Park after Outside Lands. More free concerts will be announced this summer at Union Square and Civic Center, and again in 2027.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Lurie sees \u003ca href=\"https://www.kqed.org/arts/13972568/san-francisco-music-week-industry-summit\">live music as key to downtown’s recovery\u003c/a>. Building on his predecessor London Breed’s success, he proposed legislation to create five more “\u003ca href=\"https://www.kqed.org/news/11974216/could-outdoor-drinking-revitalize-californias-economy\">entertainment zones\u003c/a>” that allow bars to sell alcohol to-go during specific hours, including block parties and special events. Lurie also supports \u003ca href=\"https://www.kqed.org/news/12027526/lurie-banks-on-more-bars-revive-san-franciscos-struggling-downtown\">state legislation to create more liquor licenses\u003c/a> to reduce red tape for new bars and restaurants.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Back to Baysics takes place at Embarcadero Plaza on June 14, 1–5 p.m. \u003ca href=\"https://apeconcerts.com/events/dirtybird-250614/\">Free RSVP here\u003c/a>. \u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "The dance party is part of a series of free concerts at Embarcadero Plaza, Union Square and Civic Center. ",
"status": "publish",
"parent": 0,
"modified": 1746215293,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 9,
"wordCount": 396
},
"headData": {
"title": "Dirtybird DJs Return for a Free Show in San Francisco’s Embarcadero Plaza | KQED",
"description": "The dance party is part of a series of free concerts at Embarcadero Plaza, Union Square and Civic Center. ",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Dirtybird DJs Return for a Free Show in San Francisco’s Embarcadero Plaza",
"datePublished": "2025-05-02T12:36:35-07:00",
"dateModified": "2025-05-02T12:48:13-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"source": "The Do List",
"sourceUrl": "https://www.kqed.org/thedolist",
"sticky": false,
"nprStoryId": "kqed-13975649",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13975649/dirtybird-djs-free-show-san-francisco-embarcadero-plaza-back-to-baysics",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13933091\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933091\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/The-Crowd-at-Outside-Lands-on-Saturday-Aug.-12-2023.-005.jpg\" alt=\"\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/The-Crowd-at-Outside-Lands-on-Saturday-Aug.-12-2023.-005.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/The-Crowd-at-Outside-Lands-on-Saturday-Aug.-12-2023.-005-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/The-Crowd-at-Outside-Lands-on-Saturday-Aug.-12-2023.-005-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/The-Crowd-at-Outside-Lands-on-Saturday-Aug.-12-2023.-005-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/The-Crowd-at-Outside-Lands-on-Saturday-Aug.-12-2023.-005-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/The-Crowd-at-Outside-Lands-on-Saturday-Aug.-12-2023.-005-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Dancers at Outside Lands in 2023. Another Planet Entertainment, the festival’s producer, is teaming up with the city to throw a free dance party with Dirtybird Records at Embarcadero Plaza on June 14. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A year after drawing thousands to the Embarcadero in San Francisco, homegrown electronic music label \u003ca href=\"https://www.kqed.org/arts/13874615/how-sfs-dirtybird-grew-from-outsider-party-to-beloved-house-music-label\">Dirtybird\u003c/a> will throw the second-annual free Back to Baysics dance party at Embarcadero Plaza on June 14.\u003c/p>\n\u003cp>The influential San Francisco label’s \u003ca href=\"https://www.kqed.org/arts/13874615/how-sfs-dirtybird-grew-from-outsider-party-to-beloved-house-music-label\">D.I.Y. beginnings trace back to 2005\u003c/a>, when it emerged as a champion of funky, bass-heavy dance music with an outsider appeal. Dirtybird has since been acquired by San Francisco-based, globe-spanning label EMPIRE in 2022, and has thrown numerous high-profile events with a who’s-who of electronic music. (The Dirtybird Campout, coming to Mendocino in July, features major artists like Jungle, Aluna and Justin Martin.)\u003c/p>\n\u003cp>Last summer, Back to Baysics packed the plaza with electronic music lovers of all ages who came to see Belgian DJ Sacha Robotti and local acts Deron Delgado and Moody Jones. The DJ lineup for this year’s party has yet to be announced.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13874615",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Back to Baysics is part of a free concert series from Another Planet Entertainment (the producers of Outside Lands), the Recreation and Parks Department and Mayor Daniel Lurie’s office. “Our arts and culture are helping to drive San Francisco’s comeback, and this is a perfect example of that energy,” said Lurie in a statement.\u003c/p>\n\u003cp>The concert series was born from Another Planet’s agreement with the city to produce free concerts in exchange for hosting ticketed shows in Golden Gate Park after Outside Lands. More free concerts will be announced this summer at Union Square and Civic Center, and again in 2027.\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>Lurie sees \u003ca href=\"https://www.kqed.org/arts/13972568/san-francisco-music-week-industry-summit\">live music as key to downtown’s recovery\u003c/a>. Building on his predecessor London Breed’s success, he proposed legislation to create five more “\u003ca href=\"https://www.kqed.org/news/11974216/could-outdoor-drinking-revitalize-californias-economy\">entertainment zones\u003c/a>” that allow bars to sell alcohol to-go during specific hours, including block parties and special events. Lurie also supports \u003ca href=\"https://www.kqed.org/news/12027526/lurie-banks-on-more-bars-revive-san-franciscos-struggling-downtown\">state legislation to create more liquor licenses\u003c/a> to reduce red tape for new bars and restaurants.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Back to Baysics takes place at Embarcadero Plaza on June 14, 1–5 p.m. \u003ca href=\"https://apeconcerts.com/events/dirtybird-250614/\">Free RSVP here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13975649/dirtybird-djs-free-show-san-francisco-embarcadero-plaza-back-to-baysics",
"authors": [
"11387"
],
"categories": [
"arts_1",
"arts_69",
"arts_22313"
],
"tags": [
"arts_6192",
"arts_1501",
"arts_2457",
"arts_10278"
],
"featImg": "arts_13933091",
"label": "source_arts_13975649"
},
"arts_13932865": {
"type": "posts",
"id": "arts_13932865",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13932865",
"score": null,
"sort": [
1691713578000
]
},
"guestAuthors": [],
"slug": "castro-theatre-film-festivals-rental-costs",
"title": "Higher Rental Costs at Castro Theatre Put Small Film Festivals Under Strain",
"publishDate": 1691713578,
"format": "standard",
"headTitle": "Higher Rental Costs at Castro Theatre Put Small Film Festivals Under Strain | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>\u003cem>This report contains a clarification.\u003c/em>\u003c/p>\n\u003cp>The \u003ca href=\"https://www.kqed.org/arts/13917362/castro-theatre-seating-renovation-town-hall\">Castro Theatre\u003c/a> was where Joe Talbot got his very first film job. He was 19, had just dropped out of high school and was hired by \u003ca href=\"https://www.noircity.com/\">Noir City film festival\u003c/a> founder Eddie Muller to make a documentary about the festival’s history at the Castro.\u003c/p>\n\u003cp>Almost 10 years later, Talbot returned to the Castro Theatre — this time in a double-breasted gray suit and Giants cap — for the premiere of his 2019 film \u003ca href=\"https://www.kqed.org/pop/112325/the-last-black-man-in-san-francisco-is-about-who-belongs-in-the-city\" target=\"_blank\" rel=\"noopener\">\u003cem>The Last Black Man in San Francisco\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>[aside postid='arts_13917362']For Talbot, the most memorable part of the theater, which was a formative part of his childhood and his film education, is its velvety red seats.\u003c/p>\n\u003cp>But in June, the \u003ca href=\"https://www.kqed.org/news/11952358/sf-supes-ok-effort-renovate-castro-theater\" target=\"_blank\" rel=\"noopener\">San Francisco Board of Supervisors approved a controversial renovation plan\u003c/a> by the theater’s new management, the live music promoter Another Planet Entertainment (APE), to replace the Castro Theatre’s seating and raked floor with multi-level flat tiers suited for standing-room concerts. While APE has said the Castro Theatre will still show film, it will do so far less frequently, and moviegoers will have to sit on temporary chairs.\u003c/p>\n\u003cfigure id=\"attachment_10622105\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2015/05/JoeJimmie.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10622105\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2015/05/JoeJimmie-800x450.jpg\" alt=\"a white man in a suit and a Black man in a green jacket sit on a sidewalk looking at the camera\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/JoeJimmie.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/JoeJimmie-400x225.jpg 400w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Joe Talbot and Jimmie Fails on the set of ‘The Last Black Man in San Francisco.’ \u003ccite>(Courtesy of 'The Last Black Man in San Francisco')\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What’s more, higher rental costs under the new management — and fewer seats for which to sell tickets — have put some local film festivals, like the one Talbot made his first paid film about, in jeopardy.\u003c/p>\n\u003cp>“I’m not a fan of it — it’s a big loss,” Talbot said. “It’s a bummer to have people occupying such a wonderful space that don’t appreciate its history or understand its importance.”\u003c/p>\n\u003ch2>‘Like a temple’\u003c/h2>\n\u003cp>Eddie Muller, the founder of the Noir City film festival who gave Talbot the job, has abandoned hope of a future at the Castro Theatre altogether.\u003c/p>\n\u003cp>“Taking out the seats reduces capacity, forces us to upcharge on tickets and makes it inhospitable for film festivals,” Muller said. “They’re changing the whole basic operational strategy of the venue.”\u003c/p>\n\u003cp>For those small festivals that have wanted to stay at the Castro, “now all the accouterments of film festivals are added costs, like hiring someone to operate the projectors, which used to be built in.”\u003c/p>\n\u003cp>Asked if festivals were being asked to shoulder additional costs for a projector and house manager, APE spokesperson David Perry said, “Yes, that is true.”\u003c/p>\n\u003cfigure id=\"attachment_13932962\" class=\"wp-caption aligncenter\" style=\"max-width: 480px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/ddieMuller.Castro.jpg\" alt=\"\" width=\"480\" height=\"321\" class=\"size-full wp-image-13932962\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/ddieMuller.Castro.jpg 480w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/ddieMuller.Castro-160x107.jpg 160w\" sizes=\"auto, (max-width: 480px) 100vw, 480px\">\u003cfigcaption class=\"wp-caption-text\">Eddie Muller introduces a film at the Noir City film festival at the Castro Theatre. Having called San Francisco home since 2003, it moved to Oakland’s Grand Lake Theatre in 2022 after new management took over the Castro Theatre. \u003ccite>(Noir City )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>During the latest installment of her film festival, \u003ca href=\"http://www.cinemaitaliasf.com/\">Cinema Italia\u003c/a>, Amelia Antonucci looked up at the illuminated grand ceiling of the Castro Theatre as she stood at the mezzanine and thought to herself, “this is magical.”\u003c/p>\n\u003cp>“The Castro is like a temple for classic Italian movies,” Antonucci said of its breathtaking and eccentric mishmash of Art Deco, Renaissance and Spanish architecture. “It’s the only place in San Francisco that has this kind of magic.”\u003c/p>\n\u003cp>For the past 10 years, Antonucci has organized the annual and sometimes biannual celebration of Italian film with the help of the Italian Consulate. But the 2022 festival might have been her last.\u003c/p>\n\u003cp>“Now only the festivals that can afford new costs, like Frameline, will continue,” she said.\u003c/p>\n\u003cfigure id=\"attachment_13932964\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-57540368.jpg\" alt=\"(L-R) Actors Robin Williams, Virginia Madsen and Lily Tomlin arrive at the Castro theater for the closing night of the 2006 San Francisco International Film Festival (now known as SFFILM). \" width=\"1024\" height=\"683\" class=\"size-full wp-image-13932964\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-57540368.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-57540368-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-57540368-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-57540368-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-57540368-768x512.jpg 768w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">(L-R) Actors Robin Williams, Virginia Madsen and Lily Tomlin arrive at the Castro theater for the closing night of the 2006 San Francisco International Film Festival (now known as SFFILM). \u003ccite>(David Paul Morris/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When Antonucci hosted her latest festival — her first under the theater’s new management — there were unexpected extra costs, she says, in addition to existing ones like venue rental fees and film licensing fees. Rather than allow her to use only volunteers as she had in the past, Antonucci said, APE required her to pay additional fees for their staff.\u003c/p>\n\u003cp>“APE said the price was the same, but that wasn’t true,” she said.\u003c/p>\n\u003cfigure id=\"attachment_13917446\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/015_kqed_castrotheatreinterior_08102022.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917446\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/015_kqed_castrotheatreinterior_08102022-800x533.jpg\" alt=\"red seats in a beloved movie palace\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/015_kqed_castrotheatreinterior_08102022-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/015_kqed_castrotheatreinterior_08102022-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/015_kqed_castrotheatreinterior_08102022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/015_kqed_castrotheatreinterior_08102022-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/015_kqed_castrotheatreinterior_08102022-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/015_kqed_castrotheatreinterior_08102022.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The interior of the Castro Theatre in San Francisco on Aug. 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Perry said that APE’s higher rental fees and expenses for the Castro are “totally in line” with other similarly sized venues, adding that, due to “artificially low” rent and fees, the Castro Theatre had not broken even for 10 years. \u003c/p>\n\u003cp>But as the physical space of the Castro Theatre changes to accommodate concerts and performances, festivals like Cinema Italia are under even more strain to meet costs.\u003c/p>\n\u003cp>With the reducing seating and increased rental fees, “I’m worried what that will mean for festivals like mine,” Antonucci said.\u003c/p>\n\u003ch2>An unsure future for some festivals\u003c/h2>\n\u003cp>The outlook is indeed brighter for Frameline. A festival representative told KQED in an email that the festival “will be at the venue for the entirety of APE’s 20-year lease.”\u003c/p>\n\u003cp>But for others, the future is still unclear. Even the smallest film festivals involve many moving parts and funding sources that have to be coordinated months — if not a year — in advance.\u003c/p>\n\u003cp>Berlin & Beyond Festival Director Sophoan Sorn told KQED in an email that the Castro Theatre was “unavailable” for his 2023 festival and that he has had no communication with APE about the 2024 festival. A representative for CAAMFest declined to comment, but added that the festival hasn’t had recent communication with APE.\u003c/p>\n\u003cp>The Jewish Film Festival declined to comment, while 3rd i, the Arab Film Festival and the Silent Film Festival could not be reached for comment.\u003c/p>\n\u003cfigure id=\"attachment_13932948\" class=\"wp-caption aligncenter\" style=\"max-width: 683px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-1388628758.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13932948\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-1388628758.jpg\" alt=\"The Castro Theatre marquee reads 'SFFILM festival welcome back to the movies'\" width=\"683\" height=\"1024\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1388628758.jpg 683w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1388628758-160x240.jpg 160w\" sizes=\"auto, (max-width: 683px) 100vw, 683px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Castro Theatre, was the venue for the 65th annual SFFILM Festival in 2022, but in 2023, following APE’s acquisition, the festival moved to other theaters. SFFILM Executive Director Anne Lai said the 2024 festival will be elsewhere due to renovations. \u003ccite>(Miikka Skaffari/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>SFFILM Executive Director Anne Lai told KQED in an email that the Castro won’t be available for SFFILM’s 2024 festival, presumably because of renovation.\u003c/p>\n\u003cp>“What we are more eager to learn from them is what the rental costs and booking availability will be post-renovation so that we can accurately plan and budget,” she wrote.\u003c/p>\n\u003cp>[aside postid='arts_13929572']In a December \u003ca href=\"https://sffilm.org/a-letter-from-sffilm-executive-director-anne-lai/\" target=\"_blank\" rel=\"noopener\">statement\u003c/a>, Lai had expressed concerns about increased cost but also about accessibility and the theater’s importance in San Francisco’s queer history and culture.\u003c/p>\n\u003cp>Muller is skeptical about how APE will preserve the queer roots and community of the Castro Theatre. But he’s optimistic about Noir City’s new home across the Bay at Oakland’s Grand Lake Theatre, despite having to raise ticket prices to make up for the theater’s smaller capacity. The greater loss is a cultural and community one, Muller says.\u003c/p>\n\u003cp>“I honestly don’t feel sorry for myself — I feel sorry for the city,” he said. “The Castro was the last single-screen movie palace in San Francisco, and by changing it into a concert venue, you’re saying that San Francisco is giving up on movies.”\u003c/p>\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=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Aug. 27: The story has been updated to more accurately reflect the additional expenses of renting the Castro for Cinema Italia.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
"blocks": [],
"excerpt": "Additional fees under new management mean smaller film festivals are having to find a new home.",
"status": "publish",
"parent": 0,
"modified": 1743394996,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 33,
"wordCount": 1285
},
"headData": {
"title": "Higher Rental Costs at Castro Theatre Put Small Film Festivals Under Strain | KQED",
"description": "Additional fees under new management mean smaller film festivals are having to find a new home.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Higher Rental Costs at Castro Theatre Put Small Film Festivals Under Strain",
"datePublished": "2023-08-10T17:26:18-07:00",
"dateModified": "2025-03-30T21:23:16-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"WpOldSlug": "higher-rental-costs-at-castro-theatre-put-small-film-festivals-under-strain",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13932865/castro-theatre-film-festivals-rental-costs",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This report contains a clarification.\u003c/em>\u003c/p>\n\u003cp>The \u003ca href=\"https://www.kqed.org/arts/13917362/castro-theatre-seating-renovation-town-hall\">Castro Theatre\u003c/a> was where Joe Talbot got his very first film job. He was 19, had just dropped out of high school and was hired by \u003ca href=\"https://www.noircity.com/\">Noir City film festival\u003c/a> founder Eddie Muller to make a documentary about the festival’s history at the Castro.\u003c/p>\n\u003cp>Almost 10 years later, Talbot returned to the Castro Theatre — this time in a double-breasted gray suit and Giants cap — for the premiere of his 2019 film \u003ca href=\"https://www.kqed.org/pop/112325/the-last-black-man-in-san-francisco-is-about-who-belongs-in-the-city\" target=\"_blank\" rel=\"noopener\">\u003cem>The Last Black Man in San Francisco\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13917362",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>For Talbot, the most memorable part of the theater, which was a formative part of his childhood and his film education, is its velvety red seats.\u003c/p>\n\u003cp>But in June, the \u003ca href=\"https://www.kqed.org/news/11952358/sf-supes-ok-effort-renovate-castro-theater\" target=\"_blank\" rel=\"noopener\">San Francisco Board of Supervisors approved a controversial renovation plan\u003c/a> by the theater’s new management, the live music promoter Another Planet Entertainment (APE), to replace the Castro Theatre’s seating and raked floor with multi-level flat tiers suited for standing-room concerts. While APE has said the Castro Theatre will still show film, it will do so far less frequently, and moviegoers will have to sit on temporary chairs.\u003c/p>\n\u003cfigure id=\"attachment_10622105\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2015/05/JoeJimmie.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10622105\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2015/05/JoeJimmie-800x450.jpg\" alt=\"a white man in a suit and a Black man in a green jacket sit on a sidewalk looking at the camera\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/JoeJimmie.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/JoeJimmie-400x225.jpg 400w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Joe Talbot and Jimmie Fails on the set of ‘The Last Black Man in San Francisco.’ \u003ccite>(Courtesy of 'The Last Black Man in San Francisco')\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What’s more, higher rental costs under the new management — and fewer seats for which to sell tickets — have put some local film festivals, like the one Talbot made his first paid film about, in jeopardy.\u003c/p>\n\u003cp>“I’m not a fan of it — it’s a big loss,” Talbot said. “It’s a bummer to have people occupying such a wonderful space that don’t appreciate its history or understand its importance.”\u003c/p>\n\u003ch2>‘Like a temple’\u003c/h2>\n\u003cp>Eddie Muller, the founder of the Noir City film festival who gave Talbot the job, has abandoned hope of a future at the Castro Theatre altogether.\u003c/p>\n\u003cp>“Taking out the seats reduces capacity, forces us to upcharge on tickets and makes it inhospitable for film festivals,” Muller said. “They’re changing the whole basic operational strategy of the venue.”\u003c/p>\n\u003cp>For those small festivals that have wanted to stay at the Castro, “now all the accouterments of film festivals are added costs, like hiring someone to operate the projectors, which used to be built in.”\u003c/p>\n\u003cp>Asked if festivals were being asked to shoulder additional costs for a projector and house manager, APE spokesperson David Perry said, “Yes, that is true.”\u003c/p>\n\u003cfigure id=\"attachment_13932962\" class=\"wp-caption aligncenter\" style=\"max-width: 480px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/ddieMuller.Castro.jpg\" alt=\"\" width=\"480\" height=\"321\" class=\"size-full wp-image-13932962\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/ddieMuller.Castro.jpg 480w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/ddieMuller.Castro-160x107.jpg 160w\" sizes=\"auto, (max-width: 480px) 100vw, 480px\">\u003cfigcaption class=\"wp-caption-text\">Eddie Muller introduces a film at the Noir City film festival at the Castro Theatre. Having called San Francisco home since 2003, it moved to Oakland’s Grand Lake Theatre in 2022 after new management took over the Castro Theatre. \u003ccite>(Noir City )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>During the latest installment of her film festival, \u003ca href=\"http://www.cinemaitaliasf.com/\">Cinema Italia\u003c/a>, Amelia Antonucci looked up at the illuminated grand ceiling of the Castro Theatre as she stood at the mezzanine and thought to herself, “this is magical.”\u003c/p>\n\u003cp>“The Castro is like a temple for classic Italian movies,” Antonucci said of its breathtaking and eccentric mishmash of Art Deco, Renaissance and Spanish architecture. “It’s the only place in San Francisco that has this kind of magic.”\u003c/p>\n\u003cp>For the past 10 years, Antonucci has organized the annual and sometimes biannual celebration of Italian film with the help of the Italian Consulate. But the 2022 festival might have been her last.\u003c/p>\n\u003cp>“Now only the festivals that can afford new costs, like Frameline, will continue,” she said.\u003c/p>\n\u003cfigure id=\"attachment_13932964\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-57540368.jpg\" alt=\"(L-R) Actors Robin Williams, Virginia Madsen and Lily Tomlin arrive at the Castro theater for the closing night of the 2006 San Francisco International Film Festival (now known as SFFILM). \" width=\"1024\" height=\"683\" class=\"size-full wp-image-13932964\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-57540368.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-57540368-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-57540368-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-57540368-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-57540368-768x512.jpg 768w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">(L-R) Actors Robin Williams, Virginia Madsen and Lily Tomlin arrive at the Castro theater for the closing night of the 2006 San Francisco International Film Festival (now known as SFFILM). \u003ccite>(David Paul Morris/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When Antonucci hosted her latest festival — her first under the theater’s new management — there were unexpected extra costs, she says, in addition to existing ones like venue rental fees and film licensing fees. Rather than allow her to use only volunteers as she had in the past, Antonucci said, APE required her to pay additional fees for their staff.\u003c/p>\n\u003cp>“APE said the price was the same, but that wasn’t true,” she said.\u003c/p>\n\u003cfigure id=\"attachment_13917446\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/015_kqed_castrotheatreinterior_08102022.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917446\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/015_kqed_castrotheatreinterior_08102022-800x533.jpg\" alt=\"red seats in a beloved movie palace\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/015_kqed_castrotheatreinterior_08102022-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/015_kqed_castrotheatreinterior_08102022-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/015_kqed_castrotheatreinterior_08102022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/015_kqed_castrotheatreinterior_08102022-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/015_kqed_castrotheatreinterior_08102022-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/015_kqed_castrotheatreinterior_08102022.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The interior of the Castro Theatre in San Francisco on Aug. 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Perry said that APE’s higher rental fees and expenses for the Castro are “totally in line” with other similarly sized venues, adding that, due to “artificially low” rent and fees, the Castro Theatre had not broken even for 10 years. \u003c/p>\n\u003cp>But as the physical space of the Castro Theatre changes to accommodate concerts and performances, festivals like Cinema Italia are under even more strain to meet costs.\u003c/p>\n\u003cp>With the reducing seating and increased rental fees, “I’m worried what that will mean for festivals like mine,” Antonucci said.\u003c/p>\n\u003ch2>An unsure future for some festivals\u003c/h2>\n\u003cp>The outlook is indeed brighter for Frameline. A festival representative told KQED in an email that the festival “will be at the venue for the entirety of APE’s 20-year lease.”\u003c/p>\n\u003cp>But for others, the future is still unclear. Even the smallest film festivals involve many moving parts and funding sources that have to be coordinated months — if not a year — in advance.\u003c/p>\n\u003cp>Berlin & Beyond Festival Director Sophoan Sorn told KQED in an email that the Castro Theatre was “unavailable” for his 2023 festival and that he has had no communication with APE about the 2024 festival. A representative for CAAMFest declined to comment, but added that the festival hasn’t had recent communication with APE.\u003c/p>\n\u003cp>The Jewish Film Festival declined to comment, while 3rd i, the Arab Film Festival and the Silent Film Festival could not be reached for comment.\u003c/p>\n\u003cfigure id=\"attachment_13932948\" class=\"wp-caption aligncenter\" style=\"max-width: 683px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-1388628758.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13932948\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-1388628758.jpg\" alt=\"The Castro Theatre marquee reads 'SFFILM festival welcome back to the movies'\" width=\"683\" height=\"1024\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1388628758.jpg 683w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1388628758-160x240.jpg 160w\" sizes=\"auto, (max-width: 683px) 100vw, 683px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Castro Theatre, was the venue for the 65th annual SFFILM Festival in 2022, but in 2023, following APE’s acquisition, the festival moved to other theaters. SFFILM Executive Director Anne Lai said the 2024 festival will be elsewhere due to renovations. \u003ccite>(Miikka Skaffari/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>SFFILM Executive Director Anne Lai told KQED in an email that the Castro won’t be available for SFFILM’s 2024 festival, presumably because of renovation.\u003c/p>\n\u003cp>“What we are more eager to learn from them is what the rental costs and booking availability will be post-renovation so that we can accurately plan and budget,” she wrote.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13929572",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>In a December \u003ca href=\"https://sffilm.org/a-letter-from-sffilm-executive-director-anne-lai/\" target=\"_blank\" rel=\"noopener\">statement\u003c/a>, Lai had expressed concerns about increased cost but also about accessibility and the theater’s importance in San Francisco’s queer history and culture.\u003c/p>\n\u003cp>Muller is skeptical about how APE will preserve the queer roots and community of the Castro Theatre. But he’s optimistic about Noir City’s new home across the Bay at Oakland’s Grand Lake Theatre, despite having to raise ticket prices to make up for the theater’s smaller capacity. The greater loss is a cultural and community one, Muller says.\u003c/p>\n\u003cp>“I honestly don’t feel sorry for myself — I feel sorry for the city,” he said. “The Castro was the last single-screen movie palace in San Francisco, and by changing it into a concert venue, you’re saying that San Francisco is giving up on movies.”\u003c/p>\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=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Aug. 27: The story has been updated to more accurately reflect the additional expenses of renting the Castro for Cinema Italia.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13932865/castro-theatre-film-festivals-rental-costs",
"authors": [
"11872"
],
"categories": [
"arts_1",
"arts_74",
"arts_235"
],
"tags": [
"arts_6192",
"arts_6476",
"arts_10342",
"arts_977",
"arts_1201",
"arts_7666",
"arts_22117",
"arts_5305",
"arts_3772"
],
"featImg": "arts_10822924",
"label": "arts"
},
"arts_13917362": {
"type": "posts",
"id": "arts_13917362",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13917362",
"score": null,
"sort": [
1660238904000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1660238904,
"format": "aside",
"title": "There’s Only One Castro Theatre. Why Change It Now?",
"headTitle": "There’s Only One Castro Theatre. Why Change It Now? | KQED",
"content": "\u003cfigure id=\"attachment_13917427\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917427\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Castro.MAIN_-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.MAIN_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.MAIN_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.MAIN_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.MAIN_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.MAIN_-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.MAIN_.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The interior of the Castro Theatre in San Francisco on Aug. 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em; float: left; line-height: 0.733em; padding: 0.05em 0.1em 0 0; font-family: times, serif, georgia;\">F\u003c/span>irst things first: Everybody loves the Castro Theatre.\u003c/p>\n\u003cp>That much should be evident during a town hall this Thursday, Aug. 11, hosted by \u003ca href=\"https://www.kqed.org/arts/13908311/castro-theatre-to-become-live-music-and-events-venue-after-renovation\" target=\"_blank\" rel=\"noopener noreferrer\">the theater’s new operators\u003c/a>, the live-music promoters \u003ca href=\"https://apeconcerts.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Another Planet Entertainment\u003c/a>. But love for the Castro Theatre may be where consensus ends on Thursday.\u003c/p>\n\u003cp>Another Planet Entertainment (APE) is proposing a restoration and renovation of the 100-year-old theater, which includes the ceiling, marquee, proscenium, dressing rooms, bathrooms, ADA compliance and more—upgrades widely welcomed. One part of APE’s proposal, however, has inspired over 5,000 opponents to sign \u003ca href=\"https://www.change.org/p/save-the-castro-theatre\" rel=\"noopener noreferrer\" target=\"_blank\">a petition\u003c/a> launched by the nonprofit Castro Theatre Conservancy, which names famous film directors like Martin Scorsese, Steven Spielberg and Francis Ford Coppola among its supporters.\u003c/p>\n\u003cul>\n\u003cli>\u003cstrong>\u003ca href=\"#castrotheatre\">Want to share your thoughts on the Castro Theatre with KQED?\u003c/a>\u003c/strong>\u003c/li>\n\u003c/ul>\n\u003cp>The controversy comes down to the raked theater floor and the Castro’s traditional orchestra-style theater seating, which APE has proposed replacing with removable seats on multi-level, flat platforms more conducive to standing-room concerts. (\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Plans-429-Castro-Street.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">The plans submitted\u003c/a> to San Francisco’s planning department \u003ca href=\"https://meyersound.com/wp-content/uploads/2016/12/fox_theater_7.jpg\" target=\"_blank\" rel=\"noopener noreferrer\">look similar to the Fox Theater in Oakland\u003c/a>, which APE helped restore and now operates.)\u003c/p>\n\u003cfigure id=\"attachment_13917433\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13917433\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Castro.seating.jpg\" alt=\"\" width=\"800\" height=\"554\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.seating.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.seating-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.seating-768x532.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Detail of plans for the Castro Theatre submitted to the Planning Department, showing concession/bar areas in the back of the theater and multi-level tiers, which would be equipped for removable seating. The building’s new operators call the plans “very, very preliminary.” \u003ccite>(San Francisco Planning Department)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Why in the world would anyone change a historic theater that everyone loves? In short, APE’s answer is that the Castro needs some TLC, which APE can offer, but only if it’s allowed to present more than just film, including live music. And in order to present live music in a profitable, sustainable way, APE believes it needs to install a multi-level floor, or else audiences won’t come and it won’t make enough money to keep the doors open.\u003c/p>\n\u003cp>If you’re wondering why a bunch of seats stir such passion, you can get an earful of answers on Thursday night, sitting in those very seats where a century of San Francisco moviegoers have gazed up at a flickering screen and had life-changing experiences. As APE sees it, they’re preserving a crown jewel of the neighborhood, and paving a way to keep it open for another 100 years. But to so many who love it, the Castro is church, and altering its seating would be like ripping out the pews at Grace Cathedral.\u003c/p>\n\u003cfigure id=\"attachment_13917424\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917424\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Castro.Seatsfromavobe-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Seatsfromavobe-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Seatsfromavobe-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Seatsfromavobe-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Seatsfromavobe-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Seatsfromavobe-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Seatsfromavobe.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The seats and carpet on the orchestra level of the Castro Theatre in San Francisco on Aug. 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em; float: left; line-height: 0.733em; padding: 0.05em 0.1em 0 0; font-family: times, serif, georgia;\">P\u003c/span>eter Pastreich is among the film congregation. “If they are able to flatten the floors and remove all of those seats, the building will no longer be suitable for film,” Pastreich says. “They’ll make it great for rock concerts and other events, and virtually unusable for all kinds of other things, particularly film.”\u003c/p>\n\u003cp>Pastreich is the executive director of the nonprofit \u003ca href=\"https://www.savethecastrotheatre.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Castro Theatre Conservancy\u003c/a>, formed in June, which opposes APE’s floor plans. He admits that it’s virtually impossible in the modern day to keep a large, single-screen movie theater running on movies alone, at least with a for-profit model. In 2020, he says, members of his group approached the owners of the theater—Bay Properties, Inc., run by the Nasser family, whose ancestors built the theater in 1922—with a proposal to operate the Castro as a nonprofit, similar to the Roxie Theater in San Francisco or Film Forum in New York City.\u003c/p>\n\u003cp>[aside postID='arts_13908311']“Instead, they made a deal with APE. Which isn’t really a problem, until APE converts the theater,” Pastreich says, noting that while APE plans to present film at the Castro, it operates no other venues that regularly show film.\u003c/p>\n\u003cp>“I’ve heard Gregg Perloff from Another Planet say, ‘The public will tell us what they want to see, and we will respond to that.’ Well, what that means, I fear, is if they can sell 1,400 tickets to Metallica, and only 300 tickets to a showing of \u003cem>Casablanca\u003c/em>, of course they’re going to bring in Metallica and not \u003cem>Casablanca\u003c/em>.”\u003c/p>\n\u003cfigure id=\"attachment_13917446\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917446\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/015_kqed_castrotheatreinterior_08102022-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/015_kqed_castrotheatreinterior_08102022-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/015_kqed_castrotheatreinterior_08102022-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/015_kqed_castrotheatreinterior_08102022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/015_kqed_castrotheatreinterior_08102022-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/015_kqed_castrotheatreinterior_08102022-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/015_kqed_castrotheatreinterior_08102022.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The interior of the Castro Theatre in San Francisco on Aug. 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Conservancy is asking District 8 Supervisor Rafael Mandelman to amend his enhanced landmark designation for the theater, which preserves “the full historical, architectural, aesthetic and cultural interest and value of the Castro Theatre,” to specifically include preservation of the orchestra-style seating. (Mandelman did not reply to a request for comment.) They are joined by the Castro LGBTQ+ Cultural District, which warns against “the intangible assets that are in danger of being lost if film repertory programming is ended at the theater.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>They’re not alone in their worries, as evidenced by the \u003ca href=\"https://www.instagram.com/p/CY69fTPrI4G/\" target=\"_blank\" rel=\"noopener noreferrer\">online comments\u003c/a> on the announcement of the Castro’s new management. And the Conservancy boasts the support of legendary film directors including Martin Scorcese, Francis Ford Coppola, Joel Coen, Paul Thomas Anderson, Steven Spielberg, Barry Jenkins, Guillermo del Toro, Terry Zwigoff, and John Waters, as well as San Francisco figures like Art Agnos, Jello Biafra, Cleve Jones, Sister Roma and Rebecca Solnit.\u003c/p>\n\u003cp>As for Thursday’s town hall hosted by APE, Pastreich is dismayed at the lack of a livestreaming option, as well as the format. His group has been given just five minutes to present, he says. “And the Q&A is handled by [former Supervisor] Bevan Dufty, who’s on the APE payroll, so he can recognize or not recognize whomever he wishes.”\u003c/p>\n\u003cp>Still, he’s hoping for a minor miracle: that film fans will voice such overwhelming opposition that APE will change their plans. “And realize,” he says, “that they’ve miscalculated.”\u003c/p>\n\u003cfigure id=\"attachment_13917426\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917426\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Castro.Projector-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Projector-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Projector-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Projector-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Projector-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Projector-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Projector.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A Century projector at the Castro Theatre in San Francisco on Aug. 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em; float: left; line-height: 0.733em; padding: 0.05em 0.1em 0 0; font-family: times, serif, georgia;\">O\u003c/span>n the phone, David Perry is adamant: “Film is, has been and always will be part of the Castro Theatre experience,” he says.\u003c/p>\n\u003cp>The owner of a public relations firm, Perry, like former Supervisor Dufty, was hired by APE this year specifically to manage controversy about the Castro Theatre. Like many, he recalls fondly his first visit to the theatre, in 1986. But in 2022, he says, “single-screen theaters around the country are on life support. That’s the reality in which we live.” A 1,400 seat theater, he says, needs to diversify its offerings to be sustainable.\u003c/p>\n\u003cp>Perry insists that the floor plans submitted to the city “are very, very much preliminary plans,” subject to input from sightline specialists, architects, and the film community. He denies the charge made by the Castro Theatre Conservancy that smaller film festivals and LGBTQ+ organizations will be “priced out” of using the Castro as a community resource, and clarifies that APE will keep the Castro’s rare 70mm projector that visiting filmmakers like Paul Thomas Anderson have utilized in the past.\u003c/p>\n\u003cfigure id=\"attachment_13917425\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917425\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Castro.Proscenium-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Proscenium-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Proscenium-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Proscenium-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Proscenium-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Proscenium-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Proscenium.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The original 1922 proscenium of the Castro Theatre in San Francisco on Aug. 10, 2022, which Another Planet plans to restore. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Perry takes issue with the criticism that APE is a giant, corporate promoter that’s out of step with the independent, community-focused history and spirit of the theater. (The company puts on the Outside Lands music festival every year, which \u003ca href=\"https://news.pollstar.com/2019/08/27/by-the-numbers-outside-lands-grosses-highest-yet-29-6-million/\" target=\"_blank\" rel=\"noopener noreferrer\">in 2019 grossed $29.6 million\u003c/a>.) Perry describes APE as a “small, local business” that “understands the Castro.”\u003c/p>\n\u003cp>Like the Paramount in Oakland or the Orpheum in Los Angeles, the Castro could theoretically host concerts, comedy, events and film with the theatre seating intact, as it’s already done for years. Asked why APE couldn’t simply keep the current seats—and consider removing the first five to eight rows for concerts—Perry defers to APE’s experience, and their “good sense of what it takes to program a multi-use venue.”\u003c/p>\n\u003cp>APE also has a good sense of what it takes to compete in the live music market. Their two direct rivals, Live Nation and Goldenvoice, operate multiple theaters and ballrooms in San Francisco: the Warfield (capacity 2,300), the Masonic Auditorium (3,481), the Fillmore (1,300), and the Regency Ballroom (1,400). APE, on the other hand, operates the small Independent (500) and the large Bill Graham Civic Auditorium (8,500), with no mid-sized options in between.\u003c/p>\n\u003cfigure id=\"attachment_13917434\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917434\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Castro.Marquee-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Marquee-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Marquee-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Marquee-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Marquee-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Marquee-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Marquee.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Another Planet Entertainment plans restorations of both the marquee and neon “blade” of the Castro Theatre in San Francisco’s Castro District, pictured here on July 28, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So, in San Francisco, APE needs a venue like the Castro to stay competitive. Which explains why, as APE CEO Gregg Perloff told KQED in January, APE approached the Nassers during the pandemic with a proposal to operate the theater.\u003c/p>\n\u003cp>“They were looking for the right stewardship for the theater,” Perloff said. “This is their baby. And we need to respect the tremendous work they’ve done in making the theater a part of the community.”\u003c/p>\n\u003cp>The Castro has become such a part of the community, in fact, that generations of moviegoers feel a strong sense of ownership over the theater. Part of what’s happening now is the shock that they are not the owners; the Nassers are, and they’re entitled to do what they want with it.\u003c/p>\n\u003cp>But the way the Castro Theatre has become such a community asset is primarily through film. As Sister Roma of the Sisters of Perpetual Indulgence asks, “Do we really need another concrete concert hall when glamorous film houses are disappearing around the country?”\u003c/p>\n\u003cp>In other words: while there are already plenty of music venues in San Francisco, there’s only one Castro Theatre.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" 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>\u003cem>A \u003ca href=\"https://www.castrotheatre.com/community-meeting/\" target=\"_blank\" rel=\"noopener noreferrer\">Town Hall on the future of the Castro Theatre\u003c/a> takes place at 6pm on Thursday, Aug. 11, at the Castro Theatre in San Francisco. Questions and comments for the Q&A must be submitted at the event via an online portal. \u003ca href=\"https://www.castrotheatre.com/community-meeting/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003ch2>\u003ca id=\"castrotheatre\">\u003c/a>Share your thoughts\u003c/h2>\n\u003cp>However the future may look for the Castro Theatre, a live-music promoter taking over its operations marks an end of an era for this iconic space. And ahead of these potential changes, here at KQED we want to take a moment to highlight your memories of the venue.\u003c/p>\n\u003cp>Tell us using the box below: \u003cstrong>What was your favorite movie you saw at the Castro Theatre? The most memorable night you had? The best (or worst) date you went on?\u003c/strong>\u003c/p>\n\u003cp>Share your thoughts, and we’d love to feature your words here on KQED.org and on our social media channels.\u003c/p>\n\u003cp>[hearken id=”9857″ src=”https://modules.wearehearken.com/kqed/embed/9857.js”]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1898,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": true,
"iframeSrcs": [],
"paragraphCount": 33
},
"modified": 1705006510,
"excerpt": "A concert promoter’s plan to remove the theater’s current seating is the subject of a town hall Thursday night. ",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "A concert promoter’s plan to remove the theater’s current seating is the subject of a town hall Thursday night. ",
"title": "There’s Only One Castro Theatre. Why Change It Now? | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "There’s Only One Castro Theatre. Why Change It Now?",
"datePublished": "2022-08-11T10:28:24-07:00",
"dateModified": "2024-01-11T12:55:10-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "castro-theatre-seating-renovation-town-hall",
"status": "publish",
"templateType": "standard",
"excludeFromSiteSearch": "Include",
"featuredImageType": "standard",
"sticky": false,
"WpOldSlug": "theres-only-one-castro-theatre-why-change-it-now",
"path": "/arts/13917362/castro-theatre-seating-renovation-town-hall",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13917427\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917427\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Castro.MAIN_-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.MAIN_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.MAIN_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.MAIN_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.MAIN_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.MAIN_-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.MAIN_.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The interior of the Castro Theatre in San Francisco on Aug. 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em; float: left; line-height: 0.733em; padding: 0.05em 0.1em 0 0; font-family: times, serif, georgia;\">F\u003c/span>irst things first: Everybody loves the Castro Theatre.\u003c/p>\n\u003cp>That much should be evident during a town hall this Thursday, Aug. 11, hosted by \u003ca href=\"https://www.kqed.org/arts/13908311/castro-theatre-to-become-live-music-and-events-venue-after-renovation\" target=\"_blank\" rel=\"noopener noreferrer\">the theater’s new operators\u003c/a>, the live-music promoters \u003ca href=\"https://apeconcerts.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Another Planet Entertainment\u003c/a>. But love for the Castro Theatre may be where consensus ends on Thursday.\u003c/p>\n\u003cp>Another Planet Entertainment (APE) is proposing a restoration and renovation of the 100-year-old theater, which includes the ceiling, marquee, proscenium, dressing rooms, bathrooms, ADA compliance and more—upgrades widely welcomed. One part of APE’s proposal, however, has inspired over 5,000 opponents to sign \u003ca href=\"https://www.change.org/p/save-the-castro-theatre\" rel=\"noopener noreferrer\" target=\"_blank\">a petition\u003c/a> launched by the nonprofit Castro Theatre Conservancy, which names famous film directors like Martin Scorsese, Steven Spielberg and Francis Ford Coppola among its supporters.\u003c/p>\n\u003cul>\n\u003cli>\u003cstrong>\u003ca href=\"#castrotheatre\">Want to share your thoughts on the Castro Theatre with KQED?\u003c/a>\u003c/strong>\u003c/li>\n\u003c/ul>\n\u003cp>The controversy comes down to the raked theater floor and the Castro’s traditional orchestra-style theater seating, which APE has proposed replacing with removable seats on multi-level, flat platforms more conducive to standing-room concerts. (\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Plans-429-Castro-Street.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">The plans submitted\u003c/a> to San Francisco’s planning department \u003ca href=\"https://meyersound.com/wp-content/uploads/2016/12/fox_theater_7.jpg\" target=\"_blank\" rel=\"noopener noreferrer\">look similar to the Fox Theater in Oakland\u003c/a>, which APE helped restore and now operates.)\u003c/p>\n\u003cfigure id=\"attachment_13917433\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13917433\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Castro.seating.jpg\" alt=\"\" width=\"800\" height=\"554\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.seating.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.seating-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.seating-768x532.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Detail of plans for the Castro Theatre submitted to the Planning Department, showing concession/bar areas in the back of the theater and multi-level tiers, which would be equipped for removable seating. The building’s new operators call the plans “very, very preliminary.” \u003ccite>(San Francisco Planning Department)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Why in the world would anyone change a historic theater that everyone loves? In short, APE’s answer is that the Castro needs some TLC, which APE can offer, but only if it’s allowed to present more than just film, including live music. And in order to present live music in a profitable, sustainable way, APE believes it needs to install a multi-level floor, or else audiences won’t come and it won’t make enough money to keep the doors open.\u003c/p>\n\u003cp>If you’re wondering why a bunch of seats stir such passion, you can get an earful of answers on Thursday night, sitting in those very seats where a century of San Francisco moviegoers have gazed up at a flickering screen and had life-changing experiences. As APE sees it, they’re preserving a crown jewel of the neighborhood, and paving a way to keep it open for another 100 years. But to so many who love it, the Castro is church, and altering its seating would be like ripping out the pews at Grace Cathedral.\u003c/p>\n\u003cfigure id=\"attachment_13917424\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917424\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Castro.Seatsfromavobe-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Seatsfromavobe-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Seatsfromavobe-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Seatsfromavobe-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Seatsfromavobe-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Seatsfromavobe-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Seatsfromavobe.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The seats and carpet on the orchestra level of the Castro Theatre in San Francisco on Aug. 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em; float: left; line-height: 0.733em; padding: 0.05em 0.1em 0 0; font-family: times, serif, georgia;\">P\u003c/span>eter Pastreich is among the film congregation. “If they are able to flatten the floors and remove all of those seats, the building will no longer be suitable for film,” Pastreich says. “They’ll make it great for rock concerts and other events, and virtually unusable for all kinds of other things, particularly film.”\u003c/p>\n\u003cp>Pastreich is the executive director of the nonprofit \u003ca href=\"https://www.savethecastrotheatre.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Castro Theatre Conservancy\u003c/a>, formed in June, which opposes APE’s floor plans. He admits that it’s virtually impossible in the modern day to keep a large, single-screen movie theater running on movies alone, at least with a for-profit model. In 2020, he says, members of his group approached the owners of the theater—Bay Properties, Inc., run by the Nasser family, whose ancestors built the theater in 1922—with a proposal to operate the Castro as a nonprofit, similar to the Roxie Theater in San Francisco or Film Forum in New York City.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13908311",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>“Instead, they made a deal with APE. Which isn’t really a problem, until APE converts the theater,” Pastreich says, noting that while APE plans to present film at the Castro, it operates no other venues that regularly show film.\u003c/p>\n\u003cp>“I’ve heard Gregg Perloff from Another Planet say, ‘The public will tell us what they want to see, and we will respond to that.’ Well, what that means, I fear, is if they can sell 1,400 tickets to Metallica, and only 300 tickets to a showing of \u003cem>Casablanca\u003c/em>, of course they’re going to bring in Metallica and not \u003cem>Casablanca\u003c/em>.”\u003c/p>\n\u003cfigure id=\"attachment_13917446\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917446\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/015_kqed_castrotheatreinterior_08102022-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/015_kqed_castrotheatreinterior_08102022-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/015_kqed_castrotheatreinterior_08102022-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/015_kqed_castrotheatreinterior_08102022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/015_kqed_castrotheatreinterior_08102022-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/015_kqed_castrotheatreinterior_08102022-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/015_kqed_castrotheatreinterior_08102022.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The interior of the Castro Theatre in San Francisco on Aug. 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Conservancy is asking District 8 Supervisor Rafael Mandelman to amend his enhanced landmark designation for the theater, which preserves “the full historical, architectural, aesthetic and cultural interest and value of the Castro Theatre,” to specifically include preservation of the orchestra-style seating. (Mandelman did not reply to a request for comment.) They are joined by the Castro LGBTQ+ Cultural District, which warns against “the intangible assets that are in danger of being lost if film repertory programming is ended at the theater.”\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>They’re not alone in their worries, as evidenced by the \u003ca href=\"https://www.instagram.com/p/CY69fTPrI4G/\" target=\"_blank\" rel=\"noopener noreferrer\">online comments\u003c/a> on the announcement of the Castro’s new management. And the Conservancy boasts the support of legendary film directors including Martin Scorcese, Francis Ford Coppola, Joel Coen, Paul Thomas Anderson, Steven Spielberg, Barry Jenkins, Guillermo del Toro, Terry Zwigoff, and John Waters, as well as San Francisco figures like Art Agnos, Jello Biafra, Cleve Jones, Sister Roma and Rebecca Solnit.\u003c/p>\n\u003cp>As for Thursday’s town hall hosted by APE, Pastreich is dismayed at the lack of a livestreaming option, as well as the format. His group has been given just five minutes to present, he says. “And the Q&A is handled by [former Supervisor] Bevan Dufty, who’s on the APE payroll, so he can recognize or not recognize whomever he wishes.”\u003c/p>\n\u003cp>Still, he’s hoping for a minor miracle: that film fans will voice such overwhelming opposition that APE will change their plans. “And realize,” he says, “that they’ve miscalculated.”\u003c/p>\n\u003cfigure id=\"attachment_13917426\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917426\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Castro.Projector-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Projector-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Projector-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Projector-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Projector-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Projector-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Projector.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A Century projector at the Castro Theatre in San Francisco on Aug. 10, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em; float: left; line-height: 0.733em; padding: 0.05em 0.1em 0 0; font-family: times, serif, georgia;\">O\u003c/span>n the phone, David Perry is adamant: “Film is, has been and always will be part of the Castro Theatre experience,” he says.\u003c/p>\n\u003cp>The owner of a public relations firm, Perry, like former Supervisor Dufty, was hired by APE this year specifically to manage controversy about the Castro Theatre. Like many, he recalls fondly his first visit to the theatre, in 1986. But in 2022, he says, “single-screen theaters around the country are on life support. That’s the reality in which we live.” A 1,400 seat theater, he says, needs to diversify its offerings to be sustainable.\u003c/p>\n\u003cp>Perry insists that the floor plans submitted to the city “are very, very much preliminary plans,” subject to input from sightline specialists, architects, and the film community. He denies the charge made by the Castro Theatre Conservancy that smaller film festivals and LGBTQ+ organizations will be “priced out” of using the Castro as a community resource, and clarifies that APE will keep the Castro’s rare 70mm projector that visiting filmmakers like Paul Thomas Anderson have utilized in the past.\u003c/p>\n\u003cfigure id=\"attachment_13917425\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917425\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Castro.Proscenium-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Proscenium-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Proscenium-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Proscenium-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Proscenium-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Proscenium-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Proscenium.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The original 1922 proscenium of the Castro Theatre in San Francisco on Aug. 10, 2022, which Another Planet plans to restore. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Perry takes issue with the criticism that APE is a giant, corporate promoter that’s out of step with the independent, community-focused history and spirit of the theater. (The company puts on the Outside Lands music festival every year, which \u003ca href=\"https://news.pollstar.com/2019/08/27/by-the-numbers-outside-lands-grosses-highest-yet-29-6-million/\" target=\"_blank\" rel=\"noopener noreferrer\">in 2019 grossed $29.6 million\u003c/a>.) Perry describes APE as a “small, local business” that “understands the Castro.”\u003c/p>\n\u003cp>Like the Paramount in Oakland or the Orpheum in Los Angeles, the Castro could theoretically host concerts, comedy, events and film with the theatre seating intact, as it’s already done for years. Asked why APE couldn’t simply keep the current seats—and consider removing the first five to eight rows for concerts—Perry defers to APE’s experience, and their “good sense of what it takes to program a multi-use venue.”\u003c/p>\n\u003cp>APE also has a good sense of what it takes to compete in the live music market. Their two direct rivals, Live Nation and Goldenvoice, operate multiple theaters and ballrooms in San Francisco: the Warfield (capacity 2,300), the Masonic Auditorium (3,481), the Fillmore (1,300), and the Regency Ballroom (1,400). APE, on the other hand, operates the small Independent (500) and the large Bill Graham Civic Auditorium (8,500), with no mid-sized options in between.\u003c/p>\n\u003cfigure id=\"attachment_13917434\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917434\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Castro.Marquee-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Marquee-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Marquee-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Marquee-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Marquee-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Marquee-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Castro.Marquee.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Another Planet Entertainment plans restorations of both the marquee and neon “blade” of the Castro Theatre in San Francisco’s Castro District, pictured here on July 28, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So, in San Francisco, APE needs a venue like the Castro to stay competitive. Which explains why, as APE CEO Gregg Perloff told KQED in January, APE approached the Nassers during the pandemic with a proposal to operate the theater.\u003c/p>\n\u003cp>“They were looking for the right stewardship for the theater,” Perloff said. “This is their baby. And we need to respect the tremendous work they’ve done in making the theater a part of the community.”\u003c/p>\n\u003cp>The Castro has become such a part of the community, in fact, that generations of moviegoers feel a strong sense of ownership over the theater. Part of what’s happening now is the shock that they are not the owners; the Nassers are, and they’re entitled to do what they want with it.\u003c/p>\n\u003cp>But the way the Castro Theatre has become such a community asset is primarily through film. As Sister Roma of the Sisters of Perpetual Indulgence asks, “Do we really need another concrete concert hall when glamorous film houses are disappearing around the country?”\u003c/p>\n\u003cp>In other words: while there are already plenty of music venues in San Francisco, there’s only one Castro Theatre.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" 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>\u003cem>A \u003ca href=\"https://www.castrotheatre.com/community-meeting/\" target=\"_blank\" rel=\"noopener noreferrer\">Town Hall on the future of the Castro Theatre\u003c/a> takes place at 6pm on Thursday, Aug. 11, at the Castro Theatre in San Francisco. Questions and comments for the Q&A must be submitted at the event via an online portal. \u003ca href=\"https://www.castrotheatre.com/community-meeting/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003ch2>\u003ca id=\"castrotheatre\">\u003c/a>Share your thoughts\u003c/h2>\n\u003cp>However the future may look for the Castro Theatre, a live-music promoter taking over its operations marks an end of an era for this iconic space. And ahead of these potential changes, here at KQED we want to take a moment to highlight your memories of the venue.\u003c/p>\n\u003cp>Tell us using the box below: \u003cstrong>What was your favorite movie you saw at the Castro Theatre? The most memorable night you had? The best (or worst) date you went on?\u003c/strong>\u003c/p>\n\u003cp>Share your thoughts, and we’d love to feature your words here on KQED.org and on our social media channels.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "hearken",
"attributes": {
"named": {
"id": "”9857″",
"src": "”https://modules.wearehearken.com/kqed/embed/9857.js”",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\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\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13917362/castro-theatre-seating-renovation-town-hall",
"authors": [
"185"
],
"categories": [
"arts_1",
"arts_74",
"arts_235"
],
"tags": [
"arts_10589",
"arts_6192",
"arts_3547",
"arts_6476",
"arts_10342",
"arts_10278",
"arts_977",
"arts_5544",
"arts_3465"
],
"featImg": "arts_13917429",
"label": "arts"
},
"arts_13908311": {
"type": "posts",
"id": "arts_13908311",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13908311",
"score": null,
"sort": [
1642614409000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1642614409,
"format": "standard",
"title": "Castro Theatre to Become Live Music and Events Venue After Renovation",
"headTitle": "Castro Theatre to Become Live Music and Events Venue After Renovation | KQED",
"content": "\u003cp>The Castro Theatre, a 100-year-old jewel of the film community in San Francisco, is set to become a live music and events venue after a year-long makeover. The renovated theater will broaden its programming to include “comedy, music, film, community and private events and more,” according to \u003ca href=\"https://apeconcerts.com/venues/castro-theatre/\" rel=\"noopener noreferrer\" target=\"_blank\">a statement\u003c/a> by the new operators.\u003c/p>\n\u003cp>The theater will be managed by Another Planet Entertainment, the Bay Area-based live music promoter which co-produces the Outside Lands music festival and operates the Bill Graham Civic Auditorium, the Greek Theatre, the Fox Theatre, the Independent and other music venues. Another Planet does not operate any movie theaters, or venues with regular film programming.\u003c/p>\n\u003cp>Currently it is unclear exactly how much film will be shown at the renovated Castro Theatre. Speaking with KQED on Wednesday, Another Planet CEO Gregg Perloff repeatedly said it was too soon to tell.\u003c/p>\n\u003cp>“I know this isn’t a great answer for you, but we’ve just started,” Perloff said, in response to questions about film programming. “This is really our first week talking to people. And we plan on talking to a lot of people in the community. And of course all the people who have rented the theater—find out what it is they’re all about and what they plan on doing. So I can’t give you definitive answers right now.”\u003c/p>\n\u003cp>As of Wednesday, Another Planet had not been been in touch with any independent film bookers who would book a regular daily schedule of films, Perloff said. \u003c/p>\n\u003cfigure id=\"attachment_13908354\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/01/Castro.Street-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13908354\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Castro.Street-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Castro.Street-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Castro.Street-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Castro.Street-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Castro.Street-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Castro.Street.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Castro Theatre has been a central fixture of San Francisco’s Castro District since 1922. \u003ccite>(Tobias Kleinlercher / Wikipedia)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“You don’t want to change the historic nature of the theatre,” said Perloff. “We absolutely want to do film. We absolutely want to honor the LGBTQ community. And so, what they’ve historically done, we want to do a lot of that. We also want to add to it by doing other things. What those other things are? Could be a lecture. Could be comedy. Could be music. We plan to try anything.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For the past decade, the Castro Theatre had been booked by Keith Arnold, whose experience working with Berkeley’s Fine Arts Cinema and the Sundance Film Festival informed the Castro’s repertory programming, which included movies both new and old on a daily basis. The Castro Theatre has also long been home to several film festivals like Frameline, the San Francisco Silent Film Festival, and the San Francisco Jewish Film Festival, among others.\u003c/p>\n\u003cp>Existing contracts with the Castro are being honored before renovation begins, Perloff said. Frameline’s executive director James Woolley said, in an email to KQED: “We are pleased to confirm that the Frameline46 San Francisco International LGBTQ+ Film Festival will proceed at the Castro Theatre, June 16-26, 2022.”\u003c/p>\n\u003cp>SFFILM, the San Francisco International Film Festival, is still scheduled to run April 21–May 1 this year, as well. (The Noir City film festival had planned to move to the Grand Lake Theatre in Oakland this month before postponing due to the spread of the omicron variant.) \u003c/p>\n\u003cp>Construction on the theater will begin later this year.\u003c/p>\n\u003cfigure id=\"attachment_13827376\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/03/SFIFFLogo_COVER-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13827376\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SFIFFLogo_COVER-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SFIFFLogo_COVER-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SFIFFLogo_COVER-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SFIFFLogo_COVER-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SFIFFLogo_COVER.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SFIFFLogo_COVER-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SFIFFLogo_COVER-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SFIFFLogo_COVER-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SFIFFLogo_COVER-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SFIFFLogo_COVER-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A packed house at the Castro Theatre. \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The Castro Theatre is a wonderful building that we will upgrade for more use in the future,” said Perloff in a \u003ca href=\"https://apeconcerts.com/venues/castro-theatre/\" rel=\"noopener noreferrer\" target=\"_blank\">statement\u003c/a> Wednesday morning. “We want to activate and re-energize the building, making improvements to the customer and artist experience, including dressing room upgrades, restoring the marquee and blade and expanding food and beverage service.” \u003c/p>\n\u003cp>Additional upgrades would include a new sound system, sound, lighting, production, and heating and air conditioning system. An expanded backstage and lobby and a renovated marquee are planned, along with a restoration of the theater’s iconic neon sign. \u003c/p>\n\u003cp>Chris Nasser Padian, the vice president of Bay Properties Inc., which owns the Castro Theatre, called Another Planet “an ideal partner” for the Castro, “as they have a rich history with the City and in rehabilitating historic venues.”\u003c/p>\n\u003cp>Perloff said that Another Planet approached the Nasser family to make a deal for the building, and that, to his knowledge, no other promoters were in contention for management of the theater. \u003c/p>\n\u003cp>https://www.instagram.com/p/CY69fTPrI4G/\u003c/p>\n\u003cp>Today’s news answers a long-standing question on the lips of moviegoers over the past year and a half.\u003c/p>\n\u003cp>During the pandemic, while other independent movie theaters like the Roxie Theatre, the Balboa Theatre and the New Parkway Theatre cautiously re-opened, the Castro Theatre sat conspicuously dark, hosting occasional one-off concerts and events.\u003c/p>\n\u003cp>Most recently, the theatre hosted the world premiere for \u003cem>The Matrix Resurrections\u003c/em> and a special screening of \u003cem>West Side Story\u003c/em> with Rita Moreno in attendance.\u003c/p>\n\u003cp>A fundraising campaign for a new organ at the Castro Theatre, to be played by beloved fixture David Hegarty, had \u003ca href=\"https://hoodline.com/2021/01/castro-theatre-s-massive-new-hybrid-organ-may-get-installed-in-time-for-cinemas-to-reopen/\" rel=\"noopener noreferrer\" target=\"_blank\">recently raised\u003c/a> over $800,000 in donations. Perloff said that while there are no renovation plans for the stage that would make it impossible to install the organ, Another Planet has yet to get specifications for it.\u003c/p>\n\u003cp>“We got kind of thrown a curveball by this idea of a new organ,” Perloff said, adding that Another Planet has been in touch with Hegarty and the nonprofit CODA. “This is the kind of thing we’re dealing with in working out our construction plans: what does the organ need? So we’re certainly working or planning on working with CODA.”\u003c/p>\n\u003cp>Asked about moviegoers who think of the Castro Theatre as a family member, and are worried that they’re losing it forever, Perloff emphasized the upcoming restoration.\u003c/p>\n\u003cp>“They’re not losing it,” Perloff said of the Castro. “This is a labor of love for us. We make our money doing big shows like Outside Lands. What we’re doing is: this is a diamond, and we’re polishing the diamond. That’s how you should look at it.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>A grand reopening for the theater is scheduled for 2023. \u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1048,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 24
},
"modified": 1705007298,
"excerpt": "Concerts, comedy and live events are coming to a renovated Castro Theatre next year. ",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Concerts, comedy and live events are coming to a renovated Castro Theatre next year. ",
"title": "Castro Theatre to Become Live Music and Events Venue After Renovation | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Castro Theatre to Become Live Music and Events Venue After Renovation",
"datePublished": "2022-01-19T09:46:49-08:00",
"dateModified": "2024-01-11T13:08:18-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "castro-theatre-to-become-live-music-and-events-venue-after-renovation",
"status": "publish",
"templateType": "standard",
"excludeFromSiteSearch": "Include",
"featuredImageType": "standard",
"sticky": false,
"path": "/arts/13908311/castro-theatre-to-become-live-music-and-events-venue-after-renovation",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Castro Theatre, a 100-year-old jewel of the film community in San Francisco, is set to become a live music and events venue after a year-long makeover. The renovated theater will broaden its programming to include “comedy, music, film, community and private events and more,” according to \u003ca href=\"https://apeconcerts.com/venues/castro-theatre/\" rel=\"noopener noreferrer\" target=\"_blank\">a statement\u003c/a> by the new operators.\u003c/p>\n\u003cp>The theater will be managed by Another Planet Entertainment, the Bay Area-based live music promoter which co-produces the Outside Lands music festival and operates the Bill Graham Civic Auditorium, the Greek Theatre, the Fox Theatre, the Independent and other music venues. Another Planet does not operate any movie theaters, or venues with regular film programming.\u003c/p>\n\u003cp>Currently it is unclear exactly how much film will be shown at the renovated Castro Theatre. Speaking with KQED on Wednesday, Another Planet CEO Gregg Perloff repeatedly said it was too soon to tell.\u003c/p>\n\u003cp>“I know this isn’t a great answer for you, but we’ve just started,” Perloff said, in response to questions about film programming. “This is really our first week talking to people. And we plan on talking to a lot of people in the community. And of course all the people who have rented the theater—find out what it is they’re all about and what they plan on doing. So I can’t give you definitive answers right now.”\u003c/p>\n\u003cp>As of Wednesday, Another Planet had not been been in touch with any independent film bookers who would book a regular daily schedule of films, Perloff said. \u003c/p>\n\u003cfigure id=\"attachment_13908354\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/01/Castro.Street-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13908354\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Castro.Street-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Castro.Street-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Castro.Street-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Castro.Street-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Castro.Street-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/Castro.Street.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Castro Theatre has been a central fixture of San Francisco’s Castro District since 1922. \u003ccite>(Tobias Kleinlercher / Wikipedia)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“You don’t want to change the historic nature of the theatre,” said Perloff. “We absolutely want to do film. We absolutely want to honor the LGBTQ community. And so, what they’ve historically done, we want to do a lot of that. We also want to add to it by doing other things. What those other things are? Could be a lecture. Could be comedy. Could be music. We plan to try anything.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For the past decade, the Castro Theatre had been booked by Keith Arnold, whose experience working with Berkeley’s Fine Arts Cinema and the Sundance Film Festival informed the Castro’s repertory programming, which included movies both new and old on a daily basis. The Castro Theatre has also long been home to several film festivals like Frameline, the San Francisco Silent Film Festival, and the San Francisco Jewish Film Festival, among others.\u003c/p>\n\u003cp>Existing contracts with the Castro are being honored before renovation begins, Perloff said. Frameline’s executive director James Woolley said, in an email to KQED: “We are pleased to confirm that the Frameline46 San Francisco International LGBTQ+ Film Festival will proceed at the Castro Theatre, June 16-26, 2022.”\u003c/p>\n\u003cp>SFFILM, the San Francisco International Film Festival, is still scheduled to run April 21–May 1 this year, as well. (The Noir City film festival had planned to move to the Grand Lake Theatre in Oakland this month before postponing due to the spread of the omicron variant.) \u003c/p>\n\u003cp>Construction on the theater will begin later this year.\u003c/p>\n\u003cfigure id=\"attachment_13827376\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/03/SFIFFLogo_COVER-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13827376\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SFIFFLogo_COVER-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SFIFFLogo_COVER-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SFIFFLogo_COVER-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SFIFFLogo_COVER-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SFIFFLogo_COVER.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SFIFFLogo_COVER-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SFIFFLogo_COVER-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SFIFFLogo_COVER-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SFIFFLogo_COVER-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SFIFFLogo_COVER-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A packed house at the Castro Theatre. \u003ccite>(Courtesy of SFFILM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The Castro Theatre is a wonderful building that we will upgrade for more use in the future,” said Perloff in a \u003ca href=\"https://apeconcerts.com/venues/castro-theatre/\" rel=\"noopener noreferrer\" target=\"_blank\">statement\u003c/a> Wednesday morning. “We want to activate and re-energize the building, making improvements to the customer and artist experience, including dressing room upgrades, restoring the marquee and blade and expanding food and beverage service.” \u003c/p>\n\u003cp>Additional upgrades would include a new sound system, sound, lighting, production, and heating and air conditioning system. An expanded backstage and lobby and a renovated marquee are planned, along with a restoration of the theater’s iconic neon sign. \u003c/p>\n\u003cp>Chris Nasser Padian, the vice president of Bay Properties Inc., which owns the Castro Theatre, called Another Planet “an ideal partner” for the Castro, “as they have a rich history with the City and in rehabilitating historic venues.”\u003c/p>\n\u003cp>Perloff said that Another Planet approached the Nasser family to make a deal for the building, and that, to his knowledge, no other promoters were in contention for management of the theater. \u003c/p>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "instagramLink",
"attributes": {
"named": {
"instagramUrl": "https://www.instagram.com/p/CY69fTPrI4G/"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Today’s news answers a long-standing question on the lips of moviegoers over the past year and a half.\u003c/p>\n\u003cp>During the pandemic, while other independent movie theaters like the Roxie Theatre, the Balboa Theatre and the New Parkway Theatre cautiously re-opened, the Castro Theatre sat conspicuously dark, hosting occasional one-off concerts and events.\u003c/p>\n\u003cp>Most recently, the theatre hosted the world premiere for \u003cem>The Matrix Resurrections\u003c/em> and a special screening of \u003cem>West Side Story\u003c/em> with Rita Moreno in attendance.\u003c/p>\n\u003cp>A fundraising campaign for a new organ at the Castro Theatre, to be played by beloved fixture David Hegarty, had \u003ca href=\"https://hoodline.com/2021/01/castro-theatre-s-massive-new-hybrid-organ-may-get-installed-in-time-for-cinemas-to-reopen/\" rel=\"noopener noreferrer\" target=\"_blank\">recently raised\u003c/a> over $800,000 in donations. Perloff said that while there are no renovation plans for the stage that would make it impossible to install the organ, Another Planet has yet to get specifications for it.\u003c/p>\n\u003cp>“We got kind of thrown a curveball by this idea of a new organ,” Perloff said, adding that Another Planet has been in touch with Hegarty and the nonprofit CODA. “This is the kind of thing we’re dealing with in working out our construction plans: what does the organ need? So we’re certainly working or planning on working with CODA.”\u003c/p>\n\u003cp>Asked about moviegoers who think of the Castro Theatre as a family member, and are worried that they’re losing it forever, Perloff emphasized the upcoming restoration.\u003c/p>\n\u003cp>“They’re not losing it,” Perloff said of the Castro. “This is a labor of love for us. We make our money doing big shows like Outside Lands. What we’re doing is: this is a diamond, and we’re polishing the diamond. That’s how you should look at it.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>A grand reopening for the theater is scheduled for 2023. \u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13908311/castro-theatre-to-become-live-music-and-events-venue-after-renovation",
"authors": [
"185"
],
"categories": [
"arts_1",
"arts_74",
"arts_69",
"arts_235"
],
"tags": [
"arts_6192",
"arts_3547",
"arts_3670",
"arts_6476",
"arts_10342",
"arts_10278",
"arts_5544",
"arts_1146"
],
"featImg": "arts_13887089",
"label": "arts"
},
"arts_13900770": {
"type": "posts",
"id": "arts_13900770",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13900770",
"score": null,
"sort": [
1628202750000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1628202750,
"format": "standard",
"title": "You Can Get Vaccinated at the Thundercat Show This Weekend",
"headTitle": "You Can Get Vaccinated at the Thundercat Show This Weekend | KQED",
"content": "\u003cp>To close the vaccination gap, some public health experts say it’s better to meet communities where they are instead of shaming people hesitant to get the shot. Well, San Francisco’s \u003ca href=\"https://www.sterngrove.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Stern Grove Festival\u003c/a> appears to have taken that advice to heart.\u003c/p>\n\u003cp>At this Sunday’s edition of the free concert series, attendees can get their jab of the Pfizer or Johnson & Johnson vaccine as they groove to jazz and soul stylings of Thundercat, Cassowary and DJ Shortcut.\u003c/p>\n\u003cp>The festival is pulling this medical intervention off with help from Kaiser Permanente, and concert-goers who get vaccinated at the Aug. 8 show will get first dibs on RSVPs for the Aug. 29 festival finale with Too $hort and Tower of Power. Those who make the Aug. 29 concert can get their second Pfizer dose there as well. Reservations for the Thundercat show are already full, and signups for \u003ca href=\"https://www.sterngrove.org/concert-10\" target=\"_blank\" rel=\"noopener noreferrer\">Too $hort and Tower of Power\u003c/a> open to the public on the 17th.\u003c/p>\n\u003cp>Stern Grove’s announcement comes as an increasing number of Bay Area concert venues begin requiring proof of vaccination for entry. \u003ca href=\"https://www.kqed.org/arts/13900368/more-california-music-venues-require-vaccinations-negative-covid-tests-for-entry\" target=\"_blank\" rel=\"noopener noreferrer\">KQED reported last week\u003c/a> that Rickshaw Stop, Oasis, F8, The Independent, Bill Graham Civic Auditorium and Eli’s Mile High Club ask for vaccination cards at the door. And several other clubs, festivals and arts institutions have since followed suit. [aside postid='arts_13900368']\u003c/p>\n\u003cp>Another Planet Entertainment, the company that puts on Outside Lands, now requires \u003ca href=\"https://apeconcerts.com/health-safety/\" target=\"_blank\" rel=\"noopener noreferrer\">proof of vaccination\u003c/a> at all of their venues, which include Oakland’s Fox Theater and Berkeley’s Greek Theatre in addition to the Independent and Bill Graham. (APE also accepts a negative COVID-19 test from within 48 hours of the show.) Wine Country music festival BottleRock, which will bring Stevie Nicks, Megan Thee Stallion and Foo Fighters to Napa on Labor Day weekend, is also asking for \u003ca href=\"https://www.bottlerocknapavalley.com/health-safety/\" target=\"_blank\" rel=\"noopener noreferrer\">patrons to have at least one vaccine dose or a negative COVID test\u003c/a> with a 72-hour window.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Starting Aug. 6, proof of vaccination or a negative COVID test will also be required to see the \u003ca href=\"https://www.sfsymphony.org/About-SFS/Press-Room/Press-Releases/DSH-Health-Safety-Updates-Aug-2021\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Symphony\u003c/a>. The \u003ca href=\"https://sfopera.com/on-stage/faqs/#:~:text=Based%20on%20the%20latest%20medical,Wilsey%20Center%20for%20Opera.\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Opera\u003c/a> is accepting fully vaccinated patrons only—a negative COVID test will not suffice to see Puccini’s \u003cem>Tosca\u003c/em> when the season opens on Aug. 21.\u003c/p>\n\u003cp>Though vaccine cards and negative tests are not required to enter Stern Grove, executive director Bob Fiedler said in a statement that “vaccinations are the best intervention in the battle against COVID-19.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Overall, Stern Grove Festival is proud to be one of the first major outdoor events back in the Bay Area,” he added, “and we will continue to do our part to help ensure the safety of all involved as well as for our fellow San Franciscans.”\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 471,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 10
},
"modified": 1705008013,
"excerpt": "Stern Grove Festival is bringing a vaccine site to its Aug. 8 and Aug. 29 shows. And Another Planet Entertainment, SF Symphony and SF Opera are now requiring vaccines for entry.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Stern Grove Festival is bringing a vaccine site to its Aug. 8 and Aug. 29 shows. And Another Planet Entertainment, SF Symphony and SF Opera are now requiring vaccines for entry.",
"title": "You Can Get Vaccinated at the Thundercat Show This Weekend | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "You Can Get Vaccinated at the Thundercat Show This Weekend",
"datePublished": "2021-08-05T15:32:30-07:00",
"dateModified": "2024-01-11T13:20:13-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "you-can-get-vaccinated-at-the-thundercat-show-this-weekend",
"status": "publish",
"templateType": "standard",
"featuredImageType": "standard",
"sticky": false,
"path": "/arts/13900770/you-can-get-vaccinated-at-the-thundercat-show-this-weekend",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>To close the vaccination gap, some public health experts say it’s better to meet communities where they are instead of shaming people hesitant to get the shot. Well, San Francisco’s \u003ca href=\"https://www.sterngrove.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Stern Grove Festival\u003c/a> appears to have taken that advice to heart.\u003c/p>\n\u003cp>At this Sunday’s edition of the free concert series, attendees can get their jab of the Pfizer or Johnson & Johnson vaccine as they groove to jazz and soul stylings of Thundercat, Cassowary and DJ Shortcut.\u003c/p>\n\u003cp>The festival is pulling this medical intervention off with help from Kaiser Permanente, and concert-goers who get vaccinated at the Aug. 8 show will get first dibs on RSVPs for the Aug. 29 festival finale with Too $hort and Tower of Power. Those who make the Aug. 29 concert can get their second Pfizer dose there as well. Reservations for the Thundercat show are already full, and signups for \u003ca href=\"https://www.sterngrove.org/concert-10\" target=\"_blank\" rel=\"noopener noreferrer\">Too $hort and Tower of Power\u003c/a> open to the public on the 17th.\u003c/p>\n\u003cp>Stern Grove’s announcement comes as an increasing number of Bay Area concert venues begin requiring proof of vaccination for entry. \u003ca href=\"https://www.kqed.org/arts/13900368/more-california-music-venues-require-vaccinations-negative-covid-tests-for-entry\" target=\"_blank\" rel=\"noopener noreferrer\">KQED reported last week\u003c/a> that Rickshaw Stop, Oasis, F8, The Independent, Bill Graham Civic Auditorium and Eli’s Mile High Club ask for vaccination cards at the door. And several other clubs, festivals and arts institutions have since followed suit. \u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13900368",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Another Planet Entertainment, the company that puts on Outside Lands, now requires \u003ca href=\"https://apeconcerts.com/health-safety/\" target=\"_blank\" rel=\"noopener noreferrer\">proof of vaccination\u003c/a> at all of their venues, which include Oakland’s Fox Theater and Berkeley’s Greek Theatre in addition to the Independent and Bill Graham. (APE also accepts a negative COVID-19 test from within 48 hours of the show.) Wine Country music festival BottleRock, which will bring Stevie Nicks, Megan Thee Stallion and Foo Fighters to Napa on Labor Day weekend, is also asking for \u003ca href=\"https://www.bottlerocknapavalley.com/health-safety/\" target=\"_blank\" rel=\"noopener noreferrer\">patrons to have at least one vaccine dose or a negative COVID test\u003c/a> with a 72-hour window.\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>Starting Aug. 6, proof of vaccination or a negative COVID test will also be required to see the \u003ca href=\"https://www.sfsymphony.org/About-SFS/Press-Room/Press-Releases/DSH-Health-Safety-Updates-Aug-2021\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Symphony\u003c/a>. The \u003ca href=\"https://sfopera.com/on-stage/faqs/#:~:text=Based%20on%20the%20latest%20medical,Wilsey%20Center%20for%20Opera.\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Opera\u003c/a> is accepting fully vaccinated patrons only—a negative COVID test will not suffice to see Puccini’s \u003cem>Tosca\u003c/em> when the season opens on Aug. 21.\u003c/p>\n\u003cp>Though vaccine cards and negative tests are not required to enter Stern Grove, executive director Bob Fiedler said in a statement that “vaccinations are the best intervention in the battle against COVID-19.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Overall, Stern Grove Festival is proud to be one of the first major outdoor events back in the Bay Area,” he added, “and we will continue to do our part to help ensure the safety of all involved as well as for our fellow San Franciscans.”\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13900770/you-can-get-vaccinated-at-the-thundercat-show-this-weekend",
"authors": [
"11387"
],
"categories": [
"arts_1"
],
"tags": [
"arts_6192",
"arts_1853",
"arts_10278",
"arts_1071",
"arts_1367",
"arts_1788"
],
"featImg": "arts_13888310",
"label": "arts"
},
"arts_13895321": {
"type": "posts",
"id": "arts_13895321",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13895321",
"score": null,
"sort": [
1617838730000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1617838730,
"format": "standard",
"title": "California Reopens in June. When Can We See Live Music Again?",
"headTitle": "California Reopens in June. When Can We See Live Music Again? | KQED",
"content": "\u003cp>Governor Gavin Newsom announced yesterday that California would fully open its economy on June 15, provided there’s enough vaccine supply and COVID-19 hospitalizations remain low. Counties will abandon the color-coded tier system that allows certain businesses to operate at limited capacity, and instead will adopt a \u003ca href=\"https://www.cdph.ca.gov/Programs/CID/DCDC/Pages/COVID-19/beyond_memo.aspx\" target=\"_blank\" rel=\"noopener noreferrer\">statewide reopening model\u003c/a>.\u003c/p>\n\u003cp>Theoretically, that means clubs, concert halls and ballrooms can invite guests at full capacity in two months—and put musicians, stage crews and venue staff back to work. (The new state guidelines stipulate that masks will still be mandatory, and conventions with over 5,000 attendees will require proof of vaccination or a negative COVID test.) [aside postid='news_11867934']\u003c/p>\n\u003cp>If all goes according to plan, \u003ca href=\"https://www.sterngrove.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Stern Grove Festival\u003c/a>, the free, outdoor live music series that takes place on weekends in San Francisco every summer, is planning to do just that. Executive director Bob Fiedler tells KQED he’s hopeful the festival can relaunch on June 20 with some COVID safety modifications.\u003c/p>\n\u003cp>Instead of allowing guests to come and go freely, there will be a fenced perimeter around the Stern Grove meadow and designated entry points. Reservations will be required, social distancing will be enforced and capacity will be down to about 3,000 from 10,000 in previous years. Pending approval from the San Francisco Department of Public Health, Stern Grove plans to announce its lineup and dates in about a month.\u003c/p>\n\u003cp>“As far as a bigger music festival, there’s a chance we’re going to be one of first ones back and we’re excited for that,” says Fiedler. “Music heals and it’s medicine, and the Bay Area and people in general can use that right now.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The \u003ca href=\"https://www.sfsymphony.org/About-SFS\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Symphony\u003c/a> may also see an earlier return to live performances than anticipated. CEO Mark Hanson tells KQED that the orchestra will likely give several outdoor concerts in June, July and August, and that program details will be released in the coming month or two. Indoor performances may resume in the fall. “O\u003cspan class=\"s1\">ur planning continues now with an increased sense of confidence and belief that this will actually happen,” he says, adding that digital programming will continue on the orchestra’s streaming service, \u003ca href=\"https://www.sfsymphonyplus.org/?npclid=CjwKCAjw07qDBhBxEiwA6pPbHmNgUj3r3vHeGVNbjrnN6x9uJ8B-mzK0cDBqYoscy_vTAvopOqYuaxoCFgoQAvD_BwE&utm_source=google&utm_medium=cpc&utm_term=sf%20symphony%20plus&utm_campaign=Brand+-+SFS%2B&gclid=CjwKCAjw07qDBhBxEiwA6pPbHmNgUj3r3vHeGVNbjrnN6x9uJ8B-mzK0cDBqYoscy_vTAvopOqYuaxoCFgoQAvD_BwE\" target=\"_blank\" rel=\"noopener noreferrer\">SFSymphony+\u003c/a>. \u003c/span>\u003c/p>\n\u003cp>For many indoor music venue owners, getting back to business may be a slower process. “The idea of reopening that soon is as scary as closing was a year ago,” says Lynn Schwarz, co-owner and talent buyer at \u003ca href=\"http://www.bottomofthehill.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Bottom of the Hill\u003c/a>, an intimate, dive-y San Francisco rock club with a capacity of 250 people.\u003c/p>\n\u003cfigure id=\"attachment_13852010\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13852010\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/03/MG_0601-800x533.jpg\" alt=\"Super Unison's Meghan O'Neil belts out powerful post-punk vocals on night two of the 2019 Noise Pop Music and Arts Festival at Bottom of the Hill.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/MG_0601.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/MG_0601-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/MG_0601-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Super Unison’s Meghan O’Neil belts out powerful post-punk vocals on night two of the 2019 Noise Pop Music and Arts Festival at Bottom of the Hill. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Schwarz and her partners need capital to reopen. They’re applying to the \u003ca href=\"https://www.sba.gov/funding-programs/loans/covid-19-relief-options/shuttered-venue-operators-grant\" target=\"_blank\" rel=\"noopener noreferrer\">Shuttered Venue Operators Grant\u003c/a> from the federal government, which would help take care of some of the bills and debt. They also need another Payroll Protection Program loan to rehire their staff and give them enough hours. That’s in addition to a litany of logistical tasks, like making sure appliances and sound equipment still work after a year of disuse, installing plastic barriers and better ventilation and switching from a cash-only to a touchless payment system. [aside postid='arts_13894097']\u003c/p>\n\u003cp>“We will be [financially] vulnerable for the whole of next year,” says Schwarz, adding that many of her venue owner peers have expressed similar concerns.\u003c/p>\n\u003cp>Schwarz has booked a handful of concerts for August with bands like Surfer Blood and King Buffalo, and is in the process of finalizing a few other dates before announcing an official grand reopening. “It’s going to be a mad dash to get the best local bands on the bill,” she says, adding that out-of-town acts may be slow to organize national tours.\u003c/p>\n\u003cp>Venues that book primarily touring acts may take even longer to get off the ground. “When we—our community, meaning music venues, promoters, artists, agents and managers—all feel that it makes sense to start up the tours and to tour the country, then it starts to become real and viable,” says David Mayeri, CEO of \u003ca href=\"https://theuctheatre.org/\" target=\"_blank\" rel=\"noopener noreferrer\">The UC Theatre\u003c/a>, adding that concerts will likely resume in his 1,400-capacity Berkeley ballroom in September, possibly August. “A lot can happen between now and June 15 that will be positive; some things can happen that will be setbacks. We don’t know what to predict.”\u003c/p>\n\u003cp>Mayeri is an organizer with \u003ca href=\"https://nivacalifornia.org/\" target=\"_blank\" rel=\"noopener noreferrer\">NIVA California\u003c/a>, the regional branch of the National Independent Venue Association that came together to advocate for the concert industry during the pandemic. NIVA California sees the governor’s announcement as a step in the right direction, and is also advocating for more financial support at the state level.\u003c/p>\n\u003cfigure id=\"attachment_13863765\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863765\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/08/MG_7198-1-800x533.jpg\" alt=\"Toro y Moi performs at Outside Lands music festival in San Francisco, Aug. 11, 2019.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_7198-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_7198-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_7198-1-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Toro y Moi performs at Outside Lands music festival in San Francisco, Aug. 11, 2019. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A big argument for state funding is that the arts are an economic engine; NIVA California estimates that independent venues generated $13 billion for the state economy in 2019. “We are still hoping for financial support from the state of California so venues can once again be economic drivers and contribute to the cultural fabric of our communities,” Sarah Fink Dempsey, spokesperson for \u003ca href=\"http://apeconcerts.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Another Planet Entertainment\u003c/a>, another NIVA member, tells KQED in an email.\u003c/p>\n\u003cp>Another Planet has already announced the return of its big festival, \u003ca href=\"https://www.sfoutsidelands.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Outside Lands\u003c/a>, in October. Fink Dempsey says that the company is hopeful that its venues—which include Oakland’s Fox Theater and San Francisco’s Bill Graham Civic Auditorium and The Independent—will be back in business in August. “Obviously this is all still unfolding and is a dynamic situation, and [we] will only do so when it is deemed safe,” she adds. [aside postid='arts_13894172']\u003c/p>\n\u003cp>\u003ca href=\"https://www.sfjazz.org/\" target=\"_blank\" rel=\"noopener noreferrer\">SFJAZZ\u003c/a>, which is a nonprofit like The UC Theatre, may not host live shows until January 2022, says founder and executive artistic director Randall Kline. “It’s all fluid right now. If this were a linear, straight, directed path, it’d be easy to do,” he says. “But this virus in particular is unpredictable and we’re not sure where it’s all going to go. The variables are still huge in this—what is safe and how people are going to be able to gather.”\u003c/p>\n\u003cp>SFJAZZ books its programming a year out, and Kline predicts a challenge may be securing the big-name, touring artists who are already reeling from having numerous tours canceled over the last year. Those performers may wait until things stabilize. “We’re looking at artists in our backyard,“ says Kline, adding that numerous venues will be competing to book high-caliber Bay Area and California acts. “We’re going to be a little more regional for a little bit.”\u003c/p>\n\u003cfigure id=\"attachment_13895353\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13895353\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/Taj-Mahal-Quartet-at-the-SFJAZZ-Center-in-San-Francisco-CA-on-March-1-2020-credit-Bill-Evans-800x533.jpg\" alt=\"A jazz quartet performs onstage in a modern theater with purple lighting.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Taj-Mahal-Quartet-at-the-SFJAZZ-Center-in-San-Francisco-CA-on-March-1-2020-credit-Bill-Evans-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Taj-Mahal-Quartet-at-the-SFJAZZ-Center-in-San-Francisco-CA-on-March-1-2020-credit-Bill-Evans-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Taj-Mahal-Quartet-at-the-SFJAZZ-Center-in-San-Francisco-CA-on-March-1-2020-credit-Bill-Evans-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Taj-Mahal-Quartet-at-the-SFJAZZ-Center-in-San-Francisco-CA-on-March-1-2020-credit-Bill-Evans-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Taj-Mahal-Quartet-at-the-SFJAZZ-Center-in-San-Francisco-CA-on-March-1-2020-credit-Bill-Evans-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Taj-Mahal-Quartet-at-the-SFJAZZ-Center-in-San-Francisco-CA-on-March-1-2020-credit-Bill-Evans.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Taj Mahal Quartet performs on the SFJAZZ Center’s Robert N. Miner Auditorium stage in San Francisco, CA on March 1, 2020. \u003ccite>(Bill Evans)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Difficult as it may be to wrangle touring acts, Rob Ready of San Francisco cabaret \u003ca href=\"https://www.pianofight.com/\" target=\"_blank\" rel=\"noopener noreferrer\">PianoFight\u003c/a> points out that many local artists may also need time to rehearse and perfect performances. “For most bands and most theater acts—or burlesque or drag performers or magicians—none of these folks have been able to be in same room as each other for over a year,” he says. While, before the pandemic, PianoFight typically hosted a wide variety of music and theater shows in its three rooms on a single night, it will likely scale down its offerings when it reopens in late summer or early fall because there may be fewer performers available.\u003c/p>\n\u003cp>So, when will fans be able to enjoy live music? And when will an industry that was the first to close and last to reopen be fully functional again? Each venue has a different answer, but it’s safe to expect that in a few months’ time—and with enough vaccines—we may be able to safely gather again.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>This story was updated to include details about the San Francisco Symphony and a quote from Mark Hanson. \u003c/em>\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1416,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 21
},
"modified": 1705019207,
"excerpt": "Some live music may return as early as June, but, for most venues, late summer is a more realistic expectation. ",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Some live music may return as early as June, but, for most venues, late summer is a more realistic expectation. ",
"title": "California Reopens in June. When Can We See Live Music Again? | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "California Reopens in June. When Can We See Live Music Again?",
"datePublished": "2021-04-07T16:38:50-07:00",
"dateModified": "2024-01-11T16:26:47-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "california-reopens-in-june-when-can-we-see-live-music-again",
"status": "publish",
"templateType": "standard",
"featuredImageType": "standard",
"sticky": false,
"path": "/arts/13895321/california-reopens-in-june-when-can-we-see-live-music-again",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Governor Gavin Newsom announced yesterday that California would fully open its economy on June 15, provided there’s enough vaccine supply and COVID-19 hospitalizations remain low. Counties will abandon the color-coded tier system that allows certain businesses to operate at limited capacity, and instead will adopt a \u003ca href=\"https://www.cdph.ca.gov/Programs/CID/DCDC/Pages/COVID-19/beyond_memo.aspx\" target=\"_blank\" rel=\"noopener noreferrer\">statewide reopening model\u003c/a>.\u003c/p>\n\u003cp>Theoretically, that means clubs, concert halls and ballrooms can invite guests at full capacity in two months—and put musicians, stage crews and venue staff back to work. (The new state guidelines stipulate that masks will still be mandatory, and conventions with over 5,000 attendees will require proof of vaccination or a negative COVID test.) \u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "news_11867934",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>If all goes according to plan, \u003ca href=\"https://www.sterngrove.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Stern Grove Festival\u003c/a>, the free, outdoor live music series that takes place on weekends in San Francisco every summer, is planning to do just that. Executive director Bob Fiedler tells KQED he’s hopeful the festival can relaunch on June 20 with some COVID safety modifications.\u003c/p>\n\u003cp>Instead of allowing guests to come and go freely, there will be a fenced perimeter around the Stern Grove meadow and designated entry points. Reservations will be required, social distancing will be enforced and capacity will be down to about 3,000 from 10,000 in previous years. Pending approval from the San Francisco Department of Public Health, Stern Grove plans to announce its lineup and dates in about a month.\u003c/p>\n\u003cp>“As far as a bigger music festival, there’s a chance we’re going to be one of first ones back and we’re excited for that,” says Fiedler. “Music heals and it’s medicine, and the Bay Area and people in general can use that right now.”\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 \u003ca href=\"https://www.sfsymphony.org/About-SFS\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Symphony\u003c/a> may also see an earlier return to live performances than anticipated. CEO Mark Hanson tells KQED that the orchestra will likely give several outdoor concerts in June, July and August, and that program details will be released in the coming month or two. Indoor performances may resume in the fall. “O\u003cspan class=\"s1\">ur planning continues now with an increased sense of confidence and belief that this will actually happen,” he says, adding that digital programming will continue on the orchestra’s streaming service, \u003ca href=\"https://www.sfsymphonyplus.org/?npclid=CjwKCAjw07qDBhBxEiwA6pPbHmNgUj3r3vHeGVNbjrnN6x9uJ8B-mzK0cDBqYoscy_vTAvopOqYuaxoCFgoQAvD_BwE&utm_source=google&utm_medium=cpc&utm_term=sf%20symphony%20plus&utm_campaign=Brand+-+SFS%2B&gclid=CjwKCAjw07qDBhBxEiwA6pPbHmNgUj3r3vHeGVNbjrnN6x9uJ8B-mzK0cDBqYoscy_vTAvopOqYuaxoCFgoQAvD_BwE\" target=\"_blank\" rel=\"noopener noreferrer\">SFSymphony+\u003c/a>. \u003c/span>\u003c/p>\n\u003cp>For many indoor music venue owners, getting back to business may be a slower process. “The idea of reopening that soon is as scary as closing was a year ago,” says Lynn Schwarz, co-owner and talent buyer at \u003ca href=\"http://www.bottomofthehill.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Bottom of the Hill\u003c/a>, an intimate, dive-y San Francisco rock club with a capacity of 250 people.\u003c/p>\n\u003cfigure id=\"attachment_13852010\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13852010\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/03/MG_0601-800x533.jpg\" alt=\"Super Unison's Meghan O'Neil belts out powerful post-punk vocals on night two of the 2019 Noise Pop Music and Arts Festival at Bottom of the Hill.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/MG_0601.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/MG_0601-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/MG_0601-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Super Unison’s Meghan O’Neil belts out powerful post-punk vocals on night two of the 2019 Noise Pop Music and Arts Festival at Bottom of the Hill. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Schwarz and her partners need capital to reopen. They’re applying to the \u003ca href=\"https://www.sba.gov/funding-programs/loans/covid-19-relief-options/shuttered-venue-operators-grant\" target=\"_blank\" rel=\"noopener noreferrer\">Shuttered Venue Operators Grant\u003c/a> from the federal government, which would help take care of some of the bills and debt. They also need another Payroll Protection Program loan to rehire their staff and give them enough hours. That’s in addition to a litany of logistical tasks, like making sure appliances and sound equipment still work after a year of disuse, installing plastic barriers and better ventilation and switching from a cash-only to a touchless payment system. \u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13894097",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We will be [financially] vulnerable for the whole of next year,” says Schwarz, adding that many of her venue owner peers have expressed similar concerns.\u003c/p>\n\u003cp>Schwarz has booked a handful of concerts for August with bands like Surfer Blood and King Buffalo, and is in the process of finalizing a few other dates before announcing an official grand reopening. “It’s going to be a mad dash to get the best local bands on the bill,” she says, adding that out-of-town acts may be slow to organize national tours.\u003c/p>\n\u003cp>Venues that book primarily touring acts may take even longer to get off the ground. “When we—our community, meaning music venues, promoters, artists, agents and managers—all feel that it makes sense to start up the tours and to tour the country, then it starts to become real and viable,” says David Mayeri, CEO of \u003ca href=\"https://theuctheatre.org/\" target=\"_blank\" rel=\"noopener noreferrer\">The UC Theatre\u003c/a>, adding that concerts will likely resume in his 1,400-capacity Berkeley ballroom in September, possibly August. “A lot can happen between now and June 15 that will be positive; some things can happen that will be setbacks. We don’t know what to predict.”\u003c/p>\n\u003cp>Mayeri is an organizer with \u003ca href=\"https://nivacalifornia.org/\" target=\"_blank\" rel=\"noopener noreferrer\">NIVA California\u003c/a>, the regional branch of the National Independent Venue Association that came together to advocate for the concert industry during the pandemic. NIVA California sees the governor’s announcement as a step in the right direction, and is also advocating for more financial support at the state level.\u003c/p>\n\u003cfigure id=\"attachment_13863765\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863765\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/08/MG_7198-1-800x533.jpg\" alt=\"Toro y Moi performs at Outside Lands music festival in San Francisco, Aug. 11, 2019.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_7198-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_7198-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/MG_7198-1-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Toro y Moi performs at Outside Lands music festival in San Francisco, Aug. 11, 2019. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A big argument for state funding is that the arts are an economic engine; NIVA California estimates that independent venues generated $13 billion for the state economy in 2019. “We are still hoping for financial support from the state of California so venues can once again be economic drivers and contribute to the cultural fabric of our communities,” Sarah Fink Dempsey, spokesperson for \u003ca href=\"http://apeconcerts.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Another Planet Entertainment\u003c/a>, another NIVA member, tells KQED in an email.\u003c/p>\n\u003cp>Another Planet has already announced the return of its big festival, \u003ca href=\"https://www.sfoutsidelands.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Outside Lands\u003c/a>, in October. Fink Dempsey says that the company is hopeful that its venues—which include Oakland’s Fox Theater and San Francisco’s Bill Graham Civic Auditorium and The Independent—will be back in business in August. “Obviously this is all still unfolding and is a dynamic situation, and [we] will only do so when it is deemed safe,” she adds. \u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13894172",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.sfjazz.org/\" target=\"_blank\" rel=\"noopener noreferrer\">SFJAZZ\u003c/a>, which is a nonprofit like The UC Theatre, may not host live shows until January 2022, says founder and executive artistic director Randall Kline. “It’s all fluid right now. If this were a linear, straight, directed path, it’d be easy to do,” he says. “But this virus in particular is unpredictable and we’re not sure where it’s all going to go. The variables are still huge in this—what is safe and how people are going to be able to gather.”\u003c/p>\n\u003cp>SFJAZZ books its programming a year out, and Kline predicts a challenge may be securing the big-name, touring artists who are already reeling from having numerous tours canceled over the last year. Those performers may wait until things stabilize. “We’re looking at artists in our backyard,“ says Kline, adding that numerous venues will be competing to book high-caliber Bay Area and California acts. “We’re going to be a little more regional for a little bit.”\u003c/p>\n\u003cfigure id=\"attachment_13895353\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13895353\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/Taj-Mahal-Quartet-at-the-SFJAZZ-Center-in-San-Francisco-CA-on-March-1-2020-credit-Bill-Evans-800x533.jpg\" alt=\"A jazz quartet performs onstage in a modern theater with purple lighting.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Taj-Mahal-Quartet-at-the-SFJAZZ-Center-in-San-Francisco-CA-on-March-1-2020-credit-Bill-Evans-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Taj-Mahal-Quartet-at-the-SFJAZZ-Center-in-San-Francisco-CA-on-March-1-2020-credit-Bill-Evans-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Taj-Mahal-Quartet-at-the-SFJAZZ-Center-in-San-Francisco-CA-on-March-1-2020-credit-Bill-Evans-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Taj-Mahal-Quartet-at-the-SFJAZZ-Center-in-San-Francisco-CA-on-March-1-2020-credit-Bill-Evans-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Taj-Mahal-Quartet-at-the-SFJAZZ-Center-in-San-Francisco-CA-on-March-1-2020-credit-Bill-Evans-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Taj-Mahal-Quartet-at-the-SFJAZZ-Center-in-San-Francisco-CA-on-March-1-2020-credit-Bill-Evans.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Taj Mahal Quartet performs on the SFJAZZ Center’s Robert N. Miner Auditorium stage in San Francisco, CA on March 1, 2020. \u003ccite>(Bill Evans)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Difficult as it may be to wrangle touring acts, Rob Ready of San Francisco cabaret \u003ca href=\"https://www.pianofight.com/\" target=\"_blank\" rel=\"noopener noreferrer\">PianoFight\u003c/a> points out that many local artists may also need time to rehearse and perfect performances. “For most bands and most theater acts—or burlesque or drag performers or magicians—none of these folks have been able to be in same room as each other for over a year,” he says. While, before the pandemic, PianoFight typically hosted a wide variety of music and theater shows in its three rooms on a single night, it will likely scale down its offerings when it reopens in late summer or early fall because there may be fewer performers available.\u003c/p>\n\u003cp>So, when will fans be able to enjoy live music? And when will an industry that was the first to close and last to reopen be fully functional again? Each venue has a different answer, but it’s safe to expect that in a few months’ time—and with enough vaccines—we may be able to safely gather again.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>This story was updated to include details about the San Francisco Symphony and a quote from Mark Hanson. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13895321/california-reopens-in-june-when-can-we-see-live-music-again",
"authors": [
"11387"
],
"categories": [
"arts_1"
],
"tags": [
"arts_6192",
"arts_10126",
"arts_10127",
"arts_10278",
"arts_3944",
"arts_6387",
"arts_11031",
"arts_1739",
"arts_10902",
"arts_1788"
],
"featImg": "arts_13852026",
"label": "arts"
},
"arts_13890093": {
"type": "posts",
"id": "arts_13890093",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13890093",
"score": null,
"sort": [
1607643940000
]
},
"parent": 0,
"labelTerm": {},
"blocks": [],
"publishDate": 1607643940,
"format": "standard",
"title": "2020 Decimated the Concert Industry—And It Can’t Rebuild Without Government Help",
"headTitle": "2020 Decimated the Concert Industry—And It Can’t Rebuild Without Government Help | KQED",
"content": "\u003cp>\u003cstrong>Update, Dec. 21:\u003c/strong> The Save Our Stages Act has been included in the COVID-19 stimulus package. \u003ca href=\"https://www.kqed.org/arts/13890679/save-our-stages-act-included-in-stimulus-package-promises-relief-for-venues\" target=\"_blank\" rel=\"noopener noreferrer\">Read more\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Original post:\u003c/strong>\u003c/p>\n\u003cp>Ask anyone who misses the catharsis of a good, sweaty dance party or mosh pit—so much magic can happen within the four walls of a concert hall.\u003c/p>\n\u003cp>In the 1960s, San Francisco’s \u003ca href=\"https://www.kqed.org/news/11731290/how-bill-grahams-nazi-escape-might-explain-his-fillmore-apples\" target=\"_blank\" rel=\"noopener noreferrer\">Fillmore\u003c/a> was where the Grateful Dead and Sly and the Family Stone honed their psychedelic sound. In the late ’80s and early ’90s, MC Hammer brought Oakland party rap to the world with a \u003ca href=\"https://youtu.be/akVWFiptGNY\" target=\"_blank\" rel=\"noopener noreferrer\">music video\u003c/a> filmed at Sweet Jimmie’s, and Green Day made a name for themselves at Berkeley’s all-ages punk spot \u003ca href=\"https://www.kqed.org/arts/11333286/green-day-dookie-924-gilman\" target=\"_blank\" rel=\"noopener noreferrer\">924 Gilman\u003c/a>. More recently, \u003ca href=\"https://www.kqed.org/arts/13877225/slims-a-storied-sf-concert-hall-permanently-closes-after-30-years\" target=\"_blank\" rel=\"noopener noreferrer\">Slim’s\u003c/a> in San Francisco was the springboard for platinum-selling rapper G-Eazy’s first headlining tour.\u003c/p>\n\u003cp>Over the decades, the Bay Area’s music venues have been where people go to forge connections, build communities and experience new forms of creativity. Additionally, venues have had an outsized impact on the local economy by drawing music fans to neighborhoods where they spend money on pre-show drinks, late-night tacos, transportation and hotels. According to the \u003ca href=\"https://sfgov.org/entertainment/file/2062\" target=\"_blank\" rel=\"noopener noreferrer\">most recent study\u003c/a> from the San Francisco Controller’s Office, nightlife generated $6 billion for the local economy in 2015 and created 60,000 jobs.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Fast forward to the coronavirus pandemic, and most of those jobs are gone. Music venues sit empty, accruing debt and on the brink of permanent closure, as they await government assistance.\u003c/p>\n\u003cfigure id=\"attachment_13877009\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13877009\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/NewParish_1200-800x533.jpg\" alt='The New Parish in Oakland sits empty as the Bay Area adopts a \"shelter in place\" policy to curb the spread of coronavirus.' width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/NewParish_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/NewParish_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/NewParish_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/NewParish_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/NewParish_1200.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Oakland’s New Parish music venue on March 17, 2020. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite their importance to culture and the economy alike, venues have been all but forgotten in the United States’ woefully inadequate COVID-19 recovery plan. On the federal level, \u003ca href=\"https://www.kqed.org/arts/13883952/three-congressional-bills-could-help-save-independent-music-venues\" target=\"_blank\" rel=\"noopener noreferrer\">the Save Our Stages Act\u003c/a>, which would provide substantial grant funding to independent venues, has remained stuck in limbo as the Republican-controlled Senate continues to delay \u003ca href=\"https://www.cnn.com/2020/12/09/politics/covid-19-congress-stimulus-mcconnell-pelosi/index.html\" target=\"_blank\" rel=\"noopener noreferrer\">a second stimulus package\u003c/a>, leaving millions of Americans hungry and facing eviction.\u003c/p>\n\u003cp>At the state level, the COVID-19 crisis has plunged California into a \u003ca href=\"https://www.kqed.org/news/11818289/newsoms-revised-budget-cancels-6-billion-in-planned-program-expansions\" target=\"_blank\" rel=\"noopener noreferrer\">deficit\u003c/a>; the state has had to tap into its rainy day fund to \u003ca href=\"https://www.kqed.org/news/11818289/newsoms-revised-budget-cancels-6-billion-in-planned-program-expansions\" target=\"_blank\" rel=\"noopener noreferrer\">avoid major cuts\u003c/a> to essentials like K–12 education, and state lawmakers say relief for live music is unlikely without more federal funds. And on the city level, San Francisco, Oakland and Berkeley have given various pandemic-relief grants to artists, arts nonprofits and small businesses. But most of these grants have been doled out in one-time payments of $25,000 or less, which hasn’t come close to covering music venues’ costs. The San Francisco Venue Coalition estimates that the average monthly overhead of a typical San Francisco club is $18,000–$35,000.\u003c/p>\n\u003cp>A vaccine on the horizon offers a glimmer of hope that the concert business may resume in the second half of 2021. Until then, “We’ve got rent to pay, we’ve got mortgages to pay,” says David Mayeri, the CEO of Berkeley’s nonprofit UC Theatre and an organizer with the \u003ca href=\"https://www.nivassoc.org/\" target=\"_blank\" rel=\"noopener noreferrer\">National Independent Venue Association\u003c/a> (NIVA), a nationwide coalition that sprang up in response to the pandemic. NIVA has over 100 members in Northern California. “The financial burden is just enormous, and a lot of clubs are going out of business,” he says.\u003c/p>\n\u003cp>[pullquote size='large']Despite their importance to culture and the economy alike, venues have been all but forgotten in the United States’ woefully inadequate COVID-19 recovery plan.[/pullquote]\u003c/p>\n\u003cp>Indeed, \u003ca href=\"https://www.kqed.org/arts/13880884/the-studs-closure-is-cultural-erasure-caused-by-coronavirus\" target=\"_blank\" rel=\"noopener noreferrer\">The Stud\u003c/a>, San Francisco’s oldest LGBTQ+ venue, shuttered in May. And Oakland has lost eclectic concert hall \u003ca href=\"https://www.kqed.org/arts/13887215/end-of-an-era-oakland-venue-starline-social-club-is-on-the-market\" target=\"_blank\" rel=\"noopener noreferrer\">Starline Social Club\u003c/a>, punk dive Stork Club, Afro-futurist warehouse venue Spirithaus and The Uptown Nightclub.\u003c/p>\n\u003cp>“We’re anchor tenants to neighborhoods, economic drivers and employers,” says Casey Lowdermilk, the assistant general manager of Bill Graham Civic Auditorium and an organizer with the \u003ca href=\"https://www.sfvenuecoalition.com/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Venue Coalition\u003c/a> and NIVA. “Losing venues will have devastating impacts for our community—not only economically, but culturally.”\u003c/p>\n\u003ch2>A Lifeline for Venues?\u003c/h2>\n\u003cp>Even if the intrinsic value of art doesn’t move politicians to act, the live music industry’s financial impact has been a persuasive tool for organizers. By coming together across the United States, the venue owners of NIVA have flexed their collective economic muscle. “We are now seen as a very viable, organized group,” says Mayeri.\u003c/p>\n\u003cp>“Both sides, Democrats and Republicans, believe that saving arts and culture across the country, saving our stages, is important in the fabric of communities,” he continues, referencing \u003ca href=\"https://loopchicago.com/assets/f4fdbc1e00/Arts-in-the-Loop-Study.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">a Chicago study\u003c/a> that found that every dollar spent on live entertainment generates $12 for the local economy.\u003c/p>\n\u003cp>Thanks to NIVA’s awareness campaign in Congress, Mayeri is optimistic that the Save Our Stages Act now has support on both sides of the aisle, and it is included in the Senate’s \u003ca href=\"https://www.politico.com/f/?id=00000176-487c-d3e7-a3ff-dbfcd7ed0000\" target=\"_blank\" rel=\"noopener noreferrer\">bipartisan relief bill\u003c/a>. But Senate Republicans and Democrats have continued to clash over and further delay the stimulus package, with \u003ca href=\"https://www.politico.com/news/2020/12/09/stimulus-talks-gop-aid-coronavirus-443927\" target=\"_blank\" rel=\"noopener noreferrer\">the legislative session soon coming to an end\u003c/a>.\u003c/p>\n\u003cp>Federal relief is crucial to save venues, but Mayeri also believes California can do more. Even before the pandemic, independent music venues already operated on razor-thin profit margins because of high real estate costs. “The state of California should have a $50- to $100-million fund to support music venues and performing arts theaters,” Mayeri proposes. As of the 2019 fiscal year, California ranks 26th compared to other U.S. states in \u003ca href=\"https://nasaa-arts.org/wp-content/uploads/2019/02/NASAA-FY2019-SAA-Revenues-Report.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">per capita spending on the arts\u003c/a>.\u003c/p>\n\u003cp>“We have to rebuild—we’ve been decimated,” says longtime artist manager Michelle Campbell, whose clients, like rapper \u003ca href=\"https://www.kqed.org/arts/13853543/genre-defying-rapper-mahawam-grapples-with-an-hiv-diagnosis-on-their-new-ep\" target=\"_blank\" rel=\"noopener noreferrer\">Mahawam\u003c/a>, have built up their fan bases by touring independent venues. “We need funding for that, [even] if you have to entice corporations, give them tax write-offs and have them donate to cultural endowment funds. … There needs be something on all levels—city, state and federal—to rebuild the cultural landscape, because it’s going to be different. Especially when you have these long-term bars and venues that have closed permanently, like Starline, which was our cultural hub. How do we get something like that back? You have to be intentional.”\u003c/p>\n\u003cfigure id=\"attachment_12495738\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12495738\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/12/SOlange.MAIN_.1-800x485.jpg\" alt=\"Solange performs at the Starline Social Club in Oakland, Dec. 16, 2016.\" width=\"800\" height=\"485\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SOlange.MAIN_.1-800x485.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SOlange.MAIN_.1-160x97.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SOlange.MAIN_.1-768x466.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SOlange.MAIN_.1-1020x618.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SOlange.MAIN_.1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SOlange.MAIN_.1-1180x715.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SOlange.MAIN_.1-960x582.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SOlange.MAIN_.1-240x146.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SOlange.MAIN_.1-375x227.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SOlange.MAIN_.1-520x315.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Solange performs at the Starline Social Club in Oakland, Dec. 16, 2016. \u003ccite>( Liz Seward)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On the city level, the city of Berkeley, where the UC Theatre is located, had one of the swiftest pandemic responses of any Bay Area municipalities when it comes to the arts. In April, the city began distributing $4.5 million in \u003ca href=\"https://berkeleyrelieffund.org/\" target=\"_blank\" rel=\"noopener noreferrer\">relief funding\u003c/a> among arts nonprofits, small businesses and vulnerable tenants. San Francisco and Oakland have led their own relief effort that have included grants and loans for small businesses, arts nonprofits and individual artists. Additionally, San Francisco has \u003ca href=\"https://www.kqed.org/arts/13888342/sf-clubs-and-bars-welcome-mayors-relief-effort-yet-too-little-too-late\" target=\"_blank\" rel=\"noopener noreferrer\">waived payroll taxes\u003c/a> and other government expenses for bars and clubs, and created the \u003ca href=\"https://www.kqed.org/arts/13886812/san-francisco-expands-reopening-with-outdoor-live-music-and-other-entertainment\" target=\"_blank\" rel=\"noopener noreferrer\">JAM Permit\u003c/a>, which made it easier to book live music in outdoor dining areas and other city-designated Shared Spaces before the region went into its current lockdown.\u003c/p>\n\u003cp>But as the San Francisco Venue Coalition argues, these efforts, while appreciated, have been insufficient to address the specific needs of music venues. Payroll taxes, for instance, are only a small fraction of a venue’s expenditures, and the JAM Permit is geared towards a restaurant booking a jazz trio or DJ, not a promoter putting on an outdoor concert. The SFVC wants direct financial support instead.\u003c/p>\n\u003cp>Lowdermilk and the SFVC have given the San Francisco Entertainment Commission a detailed policy proposal that asks for $48 million in funding for independent venues. This would allow the city to cover the operating costs of around 50 venues for 16–18 months of closure with the funds it receives from the federal government’s second stimulus package.\u003c/p>\n\u003cp>“That will be a one-time payment, and hopefully by next summer we’ll reopen, and hopefully venues will have survived,” Lowdermilk says. “I think there are a lot of opportunities for our city government to help us, and we want to be there to be able to have that economic activity on the return, to help our city recover.”\u003c/p>\n\u003ch2>Without Federal Help, California’s Options are Limited\u003c/h2>\n\u003cp>The SFVC’s proposal is currently being considered by the Entertainment Commission, but it would require the approval of Mayor London Breed, whose office told KQED in a statement that without federal funding, the city is stretched beyond its capacity to maintain even its basic services. Acknowledging the hardships small businesses face, a spokesperson for the mayor wrote that the city’s CARES Act funding from the first stimulus package has been spent on the immediate needs of the pandemic, such as testing, quarantine housing, contact tracing, food security and personal protective equipment.\u003c/p>\n\u003cp>“Without additional financial support from the federal government, cities all across the country, like San Francisco, will need to make budget cuts and hard trade-offs,” the mayor’s office wrote, adding that even basic services, such as the Municipal Transportation Agency, are facing potential layoffs and budget cuts. “San Francisco needs additional federal support in the weeks and months ahead so that we can continue our COVID-19 response [and] support businesses—including entertainment and nightlife venues—and stabilize city services like Muni.”\u003c/p>\n\u003cp>San Francisco Supervisor Matt Haney, who represents the nightlife-heavy Tenderloin and South of Market neighborhoods, says that his office is exploring other funding opportunities for venues, even if federal relief doesn’t come in the near future. [aside postid='arts_13890048']\u003c/p>\n\u003cp>“We have an emergency reserve. It’s possible we could pull some money from that,” he says. “I think this is incredibly urgent, and if there’s any flexibility with spending, this should be something that is prioritized—even as a lifeline for the next three months to get us to a point where, hopefully, we have more robust support from federal government.”\u003c/p>\n\u003cp>Federal government help is also crucial in order for California to step in on a state level, says State Senator Scott Wiener. “Only Congress has the ability to deficit spend, only the federal government has the ability to print money. We need a significant new PPP program to support these businesses,” he says.\u003c/p>\n\u003cp>Wiener says Governor Gavin Newsom has expressed an urgency to help small businesses in the next budget cycle in January. Indeed, Newsom recently announced a \u003ca href=\"https://www.gov.ca.gov/2020/11/30/governor-newsom-announces-immediate-assistance-for-businesses-impacted-by-covid-19-including-temporary-tax-relief-and-500-million-in-grants/#:~:text=The%20Governor%20announced%20the%20creation,the%20health%20and%20safety%20restrictions.\" target=\"_blank\" rel=\"noopener noreferrer\">new, $500 million program\u003c/a> that will distribute grants of up to $25,000 to small businesses. But given venues’ huge monthly costs—and the fact that financial analysts predict that California could be operating at a deficit \u003ca href=\"https://www.cnbc.com/2020/05/08/california-legislative-analyst-projects-deficits-totaling-126-billion-through-2024.html\" target=\"_blank\" rel=\"noopener noreferrer\">through 2024\u003c/a>—federal funds will still be needed to make a major difference for music venues.\u003c/p>\n\u003cfigure id=\"attachment_13875775\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875775\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/D7A7852-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7852.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7852-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7852-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Death Valley Girls play a surprise “After Hours” Noise Pop show at Cafe du Nord on Friday, Feb. 28. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We have to balance our budget so we have far more constraints, but I don’t think the state has done enough to financially support small businesses, and particularly those that simply cannot reopen,” Wiener continues. “I know that will be a focus as we go back and go into the budget process.”\u003c/p>\n\u003cp>California’s commercial \u003ca href=\"https://www.sfchronicle.com/business/article/Newsom-extends-California-commercial-eviction-15594657.php\" target=\"_blank\" rel=\"noopener noreferrer\">eviction moratorium\u003c/a> helps, but it also leaves music venues on the hook for back-rent after March 2021. It’s highly improbable that they’ll resume business by then. (The State Legislature killed a bill sponsored by Wiener that would have extended eviction protections through the end of the pandemic—it was strongly opposed by the real estate industry.)\u003c/p>\n\u003cp>Once a music venue gets evicted or breaks its lease, it may be gone forever. That’s because of a lack of adequate rental properties, argues Allen Scott, a co-owner of The Independent and The New Parish and the head of concerts and festivals at Another Planet Entertainment. “If you’re the owner of a restaurant, you lay off all your employees, you break your lease, you cancel your insurance—you literally get rid of every expense that you have. Your hope is that when you can open back up again, you can negotiate a new lease … and you can move forward,” Scott says. “A music venue cannot do that because there are not that many spaces we can go into—otherwise it would be a lot easier of a business.”\u003c/p>\n\u003ch2>Other Options While the Federal Stimulus Stalls?\u003c/h2>\n\u003cp>Even as city and state governments await federal funding, some entertainment industry leaders say there’s more that can be done locally to support live music.\u003c/p>\n\u003cp>One criticism has come from arts presenters who feel that the performing arts have been unfairly left out of California’s reopening efforts. Before the current upswing of COVID-19 cases that landed most of California in the \u003ca href=\"https://www.kqed.org/news/11847641/california-tightens-coronavirus-restrictions-most-counties-must-close-nonessential-indoor-businesses\" target=\"_blank\" rel=\"noopener noreferrer\">purple tier\u003c/a>, indicating unmitigated spread, San Francisco moved to allow indoor dining at 25% capacity of up to 100 people; outdoor religious services with up to 200 people were also allowed. But there was no official pathway for outdoor, masked and socially distanced performing arts events—even though the city didn’t stop thousands of people from \u003ca href=\"https://www.sacbee.com/news/california/article245535745.html\" target=\"_blank\" rel=\"noopener noreferrer\">partying on Ocean Beach\u003c/a> during Burning Man weekend.\u003c/p>\n\u003cp>The lack of consistency frustrated venue owners and arts presenters, who believe that they have the tools and expertise to throw safe gatherings—and badly need the income. “We have hundreds of people who work for us who we’d like to give some employment to, some artists we’d like to give employment to … and more than anything else, create an environment that would be safer than what is currently happening,” Fred Barnes, general manager of The Chapel and co-founder of the \u003ca href=\"https://independentvenuealliance.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Independent Venue Alliance\u003c/a>, said at an August Entertainment Commission hearing.\u003c/p>\n\u003cfigure id=\"attachment_13825287\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13825287\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/02/MG_7650-800x533.jpg\" alt=\"The crowd at The Chapel in San Francisco on the third night of the 2018 Noise Pop Music and Arts Festival. (Estefany Gonzalez)\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7650-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7650-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7650-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7650-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7650.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7650-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7650-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7650-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7650-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7650-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at The Chapel in San Francisco on the third night of the 2018 Noise Pop Music and Arts Festival. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even after releasing the JAM Permit for music in outdoor dining and other public areas, the city attempted to shut down a 49-person-capacity outdoor performance from the San Francisco International Arts Festival (SFIAF). In an email to KQED, a spokesperson from the City Attorney’s office called it a potential “super spreader event.” In October, the SFIAF \u003ca href=\"https://www.kqed.org/arts/13888163/an-sf-arts-presenter-sues-the-city-and-state-to-allow-outdoor-performances\" target=\"_blank\" rel=\"noopener noreferrer\">filed a lawsuit\u003c/a> against the city of San Francisco and state of California, claiming that the performing arts should be the same way as religious services and political activity in California and San Francisco’s reopening efforts because they, too, are protected by the first amendment.\u003c/p>\n\u003cp>“We just want parity with those types of activities,” says SFIAF director Andrew Wood. The governor’s office sided with SFIAF in court and issued an interim directive to allow outdoor performances with 100 attendees or fewer pending local health officials’ approval. But the city of San Francisco is still in a legal battle with SFIAF, and the festival is using its \u003ca href=\"https://www.sfiaf.org/december_12_event\" target=\"_blank\" rel=\"noopener noreferrer\">virtual holiday party\u003c/a> to raise money for legal fees.\u003c/p>\n\u003cp>Social gatherings of any kind are off while California remains in the purple tier. But Wood says he wants the court to recognize the arts as a first amendment-protected activity so that they can be included in future reopening plans when virus rates go down and other activities like outdoor dining resume.\u003c/p>\n\u003cp>Shannon Amitin from the \u003ca href=\"https://sfqueernightlifefund.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Queer Nightlife Fund\u003c/a> agrees. The nonprofit organization has been giving out micro-grants to bartenders, sound techs, performers and DJs from LGBTQ+ bars and clubs since the pandemic started. Amitin says that in addition to improving the unemployment system, which has subjected some furloughed workers to \u003ca href=\"https://calmatters.org/california-divide/2020/11/low-on-help-expired-unemployment-boost-edd-debacles-sink-jobless-californians/\" target=\"_blank\" rel=\"noopener noreferrer\">months-long wait times\u003c/a> for relief, the city can help independent promoters and artists by providing guidelines for outdoor, socially distanced events that aren’t tethered to outdoor dining. “We really need to take a harm reduction approach to events,” says Amitin. “Folks are still going to gather, so let’s give them the tools and the ability to do it safely.”\u003c/p>\n\u003cp>For the San Francisco Venue Coalition’s part, Lowdermilk says that it only makes financial sense for its venues to operate at 100% capacity. “We don’t want to push this. We want our patrons and staff to be healthy,” he says. “And we’re only interested in reopening at full capacity. Any sort of limited-capacity situation doesn’t make sense for us—the numbers don’t work out for venues. … It’s a very low-margin industry as it is, and we need to fill our rooms to be profitable.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>That won’t happen until the vaccine is widely available—which means that venues will continue to bleed money, and go out of business, until the federal stimulus arrives.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 2883,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 41
},
"modified": 1705019753,
"excerpt": "Bay Area music venues are on the brink of shutting down permanently. Business owners and elected officials weigh in on how they can be saved. ",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Bay Area music venues are on the brink of shutting down permanently. Business owners and elected officials weigh in on how they can be saved. ",
"title": "2020 Decimated the Concert Industry—And It Can’t Rebuild Without Government Help | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "2020 Decimated the Concert Industry—And It Can’t Rebuild Without Government Help",
"datePublished": "2020-12-10T15:45:40-08:00",
"dateModified": "2024-01-11T16:35:53-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "2020-decimated-the-concert-industry-and-it-cant-rebuild-without-government-help",
"status": "publish",
"sourceUrl": "https://www.kqed.org/2020inreview",
"templateType": "standard",
"featuredImageType": "standard",
"sticky": false,
"source": "2020 in Review",
"path": "/arts/13890093/2020-decimated-the-concert-industry-and-it-cant-rebuild-without-government-help",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Update, Dec. 21:\u003c/strong> The Save Our Stages Act has been included in the COVID-19 stimulus package. \u003ca href=\"https://www.kqed.org/arts/13890679/save-our-stages-act-included-in-stimulus-package-promises-relief-for-venues\" target=\"_blank\" rel=\"noopener noreferrer\">Read more\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Original post:\u003c/strong>\u003c/p>\n\u003cp>Ask anyone who misses the catharsis of a good, sweaty dance party or mosh pit—so much magic can happen within the four walls of a concert hall.\u003c/p>\n\u003cp>In the 1960s, San Francisco’s \u003ca href=\"https://www.kqed.org/news/11731290/how-bill-grahams-nazi-escape-might-explain-his-fillmore-apples\" target=\"_blank\" rel=\"noopener noreferrer\">Fillmore\u003c/a> was where the Grateful Dead and Sly and the Family Stone honed their psychedelic sound. In the late ’80s and early ’90s, MC Hammer brought Oakland party rap to the world with a \u003ca href=\"https://youtu.be/akVWFiptGNY\" target=\"_blank\" rel=\"noopener noreferrer\">music video\u003c/a> filmed at Sweet Jimmie’s, and Green Day made a name for themselves at Berkeley’s all-ages punk spot \u003ca href=\"https://www.kqed.org/arts/11333286/green-day-dookie-924-gilman\" target=\"_blank\" rel=\"noopener noreferrer\">924 Gilman\u003c/a>. More recently, \u003ca href=\"https://www.kqed.org/arts/13877225/slims-a-storied-sf-concert-hall-permanently-closes-after-30-years\" target=\"_blank\" rel=\"noopener noreferrer\">Slim’s\u003c/a> in San Francisco was the springboard for platinum-selling rapper G-Eazy’s first headlining tour.\u003c/p>\n\u003cp>Over the decades, the Bay Area’s music venues have been where people go to forge connections, build communities and experience new forms of creativity. Additionally, venues have had an outsized impact on the local economy by drawing music fans to neighborhoods where they spend money on pre-show drinks, late-night tacos, transportation and hotels. According to the \u003ca href=\"https://sfgov.org/entertainment/file/2062\" target=\"_blank\" rel=\"noopener noreferrer\">most recent study\u003c/a> from the San Francisco Controller’s Office, nightlife generated $6 billion for the local economy in 2015 and created 60,000 jobs.\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>Fast forward to the coronavirus pandemic, and most of those jobs are gone. Music venues sit empty, accruing debt and on the brink of permanent closure, as they await government assistance.\u003c/p>\n\u003cfigure id=\"attachment_13877009\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13877009\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/NewParish_1200-800x533.jpg\" alt='The New Parish in Oakland sits empty as the Bay Area adopts a \"shelter in place\" policy to curb the spread of coronavirus.' width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/NewParish_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/NewParish_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/NewParish_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/NewParish_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/NewParish_1200.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Oakland’s New Parish music venue on March 17, 2020. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite their importance to culture and the economy alike, venues have been all but forgotten in the United States’ woefully inadequate COVID-19 recovery plan. On the federal level, \u003ca href=\"https://www.kqed.org/arts/13883952/three-congressional-bills-could-help-save-independent-music-venues\" target=\"_blank\" rel=\"noopener noreferrer\">the Save Our Stages Act\u003c/a>, which would provide substantial grant funding to independent venues, has remained stuck in limbo as the Republican-controlled Senate continues to delay \u003ca href=\"https://www.cnn.com/2020/12/09/politics/covid-19-congress-stimulus-mcconnell-pelosi/index.html\" target=\"_blank\" rel=\"noopener noreferrer\">a second stimulus package\u003c/a>, leaving millions of Americans hungry and facing eviction.\u003c/p>\n\u003cp>At the state level, the COVID-19 crisis has plunged California into a \u003ca href=\"https://www.kqed.org/news/11818289/newsoms-revised-budget-cancels-6-billion-in-planned-program-expansions\" target=\"_blank\" rel=\"noopener noreferrer\">deficit\u003c/a>; the state has had to tap into its rainy day fund to \u003ca href=\"https://www.kqed.org/news/11818289/newsoms-revised-budget-cancels-6-billion-in-planned-program-expansions\" target=\"_blank\" rel=\"noopener noreferrer\">avoid major cuts\u003c/a> to essentials like K–12 education, and state lawmakers say relief for live music is unlikely without more federal funds. And on the city level, San Francisco, Oakland and Berkeley have given various pandemic-relief grants to artists, arts nonprofits and small businesses. But most of these grants have been doled out in one-time payments of $25,000 or less, which hasn’t come close to covering music venues’ costs. The San Francisco Venue Coalition estimates that the average monthly overhead of a typical San Francisco club is $18,000–$35,000.\u003c/p>\n\u003cp>A vaccine on the horizon offers a glimmer of hope that the concert business may resume in the second half of 2021. Until then, “We’ve got rent to pay, we’ve got mortgages to pay,” says David Mayeri, the CEO of Berkeley’s nonprofit UC Theatre and an organizer with the \u003ca href=\"https://www.nivassoc.org/\" target=\"_blank\" rel=\"noopener noreferrer\">National Independent Venue Association\u003c/a> (NIVA), a nationwide coalition that sprang up in response to the pandemic. NIVA has over 100 members in Northern California. “The financial burden is just enormous, and a lot of clubs are going out of business,” he says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "Despite their importance to culture and the economy alike, venues have been all but forgotten in the United States’ woefully inadequate COVID-19 recovery plan.",
"name": "pullquote",
"attributes": {
"named": {
"size": "large",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Indeed, \u003ca href=\"https://www.kqed.org/arts/13880884/the-studs-closure-is-cultural-erasure-caused-by-coronavirus\" target=\"_blank\" rel=\"noopener noreferrer\">The Stud\u003c/a>, San Francisco’s oldest LGBTQ+ venue, shuttered in May. And Oakland has lost eclectic concert hall \u003ca href=\"https://www.kqed.org/arts/13887215/end-of-an-era-oakland-venue-starline-social-club-is-on-the-market\" target=\"_blank\" rel=\"noopener noreferrer\">Starline Social Club\u003c/a>, punk dive Stork Club, Afro-futurist warehouse venue Spirithaus and The Uptown Nightclub.\u003c/p>\n\u003cp>“We’re anchor tenants to neighborhoods, economic drivers and employers,” says Casey Lowdermilk, the assistant general manager of Bill Graham Civic Auditorium and an organizer with the \u003ca href=\"https://www.sfvenuecoalition.com/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Venue Coalition\u003c/a> and NIVA. “Losing venues will have devastating impacts for our community—not only economically, but culturally.”\u003c/p>\n\u003ch2>A Lifeline for Venues?\u003c/h2>\n\u003cp>Even if the intrinsic value of art doesn’t move politicians to act, the live music industry’s financial impact has been a persuasive tool for organizers. By coming together across the United States, the venue owners of NIVA have flexed their collective economic muscle. “We are now seen as a very viable, organized group,” says Mayeri.\u003c/p>\n\u003cp>“Both sides, Democrats and Republicans, believe that saving arts and culture across the country, saving our stages, is important in the fabric of communities,” he continues, referencing \u003ca href=\"https://loopchicago.com/assets/f4fdbc1e00/Arts-in-the-Loop-Study.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">a Chicago study\u003c/a> that found that every dollar spent on live entertainment generates $12 for the local economy.\u003c/p>\n\u003cp>Thanks to NIVA’s awareness campaign in Congress, Mayeri is optimistic that the Save Our Stages Act now has support on both sides of the aisle, and it is included in the Senate’s \u003ca href=\"https://www.politico.com/f/?id=00000176-487c-d3e7-a3ff-dbfcd7ed0000\" target=\"_blank\" rel=\"noopener noreferrer\">bipartisan relief bill\u003c/a>. But Senate Republicans and Democrats have continued to clash over and further delay the stimulus package, with \u003ca href=\"https://www.politico.com/news/2020/12/09/stimulus-talks-gop-aid-coronavirus-443927\" target=\"_blank\" rel=\"noopener noreferrer\">the legislative session soon coming to an end\u003c/a>.\u003c/p>\n\u003cp>Federal relief is crucial to save venues, but Mayeri also believes California can do more. Even before the pandemic, independent music venues already operated on razor-thin profit margins because of high real estate costs. “The state of California should have a $50- to $100-million fund to support music venues and performing arts theaters,” Mayeri proposes. As of the 2019 fiscal year, California ranks 26th compared to other U.S. states in \u003ca href=\"https://nasaa-arts.org/wp-content/uploads/2019/02/NASAA-FY2019-SAA-Revenues-Report.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">per capita spending on the arts\u003c/a>.\u003c/p>\n\u003cp>“We have to rebuild—we’ve been decimated,” says longtime artist manager Michelle Campbell, whose clients, like rapper \u003ca href=\"https://www.kqed.org/arts/13853543/genre-defying-rapper-mahawam-grapples-with-an-hiv-diagnosis-on-their-new-ep\" target=\"_blank\" rel=\"noopener noreferrer\">Mahawam\u003c/a>, have built up their fan bases by touring independent venues. “We need funding for that, [even] if you have to entice corporations, give them tax write-offs and have them donate to cultural endowment funds. … There needs be something on all levels—city, state and federal—to rebuild the cultural landscape, because it’s going to be different. Especially when you have these long-term bars and venues that have closed permanently, like Starline, which was our cultural hub. How do we get something like that back? You have to be intentional.”\u003c/p>\n\u003cfigure id=\"attachment_12495738\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12495738\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/12/SOlange.MAIN_.1-800x485.jpg\" alt=\"Solange performs at the Starline Social Club in Oakland, Dec. 16, 2016.\" width=\"800\" height=\"485\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SOlange.MAIN_.1-800x485.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SOlange.MAIN_.1-160x97.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SOlange.MAIN_.1-768x466.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SOlange.MAIN_.1-1020x618.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SOlange.MAIN_.1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SOlange.MAIN_.1-1180x715.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SOlange.MAIN_.1-960x582.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SOlange.MAIN_.1-240x146.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SOlange.MAIN_.1-375x227.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/SOlange.MAIN_.1-520x315.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Solange performs at the Starline Social Club in Oakland, Dec. 16, 2016. \u003ccite>( Liz Seward)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On the city level, the city of Berkeley, where the UC Theatre is located, had one of the swiftest pandemic responses of any Bay Area municipalities when it comes to the arts. In April, the city began distributing $4.5 million in \u003ca href=\"https://berkeleyrelieffund.org/\" target=\"_blank\" rel=\"noopener noreferrer\">relief funding\u003c/a> among arts nonprofits, small businesses and vulnerable tenants. San Francisco and Oakland have led their own relief effort that have included grants and loans for small businesses, arts nonprofits and individual artists. Additionally, San Francisco has \u003ca href=\"https://www.kqed.org/arts/13888342/sf-clubs-and-bars-welcome-mayors-relief-effort-yet-too-little-too-late\" target=\"_blank\" rel=\"noopener noreferrer\">waived payroll taxes\u003c/a> and other government expenses for bars and clubs, and created the \u003ca href=\"https://www.kqed.org/arts/13886812/san-francisco-expands-reopening-with-outdoor-live-music-and-other-entertainment\" target=\"_blank\" rel=\"noopener noreferrer\">JAM Permit\u003c/a>, which made it easier to book live music in outdoor dining areas and other city-designated Shared Spaces before the region went into its current lockdown.\u003c/p>\n\u003cp>But as the San Francisco Venue Coalition argues, these efforts, while appreciated, have been insufficient to address the specific needs of music venues. Payroll taxes, for instance, are only a small fraction of a venue’s expenditures, and the JAM Permit is geared towards a restaurant booking a jazz trio or DJ, not a promoter putting on an outdoor concert. The SFVC wants direct financial support instead.\u003c/p>\n\u003cp>Lowdermilk and the SFVC have given the San Francisco Entertainment Commission a detailed policy proposal that asks for $48 million in funding for independent venues. This would allow the city to cover the operating costs of around 50 venues for 16–18 months of closure with the funds it receives from the federal government’s second stimulus package.\u003c/p>\n\u003cp>“That will be a one-time payment, and hopefully by next summer we’ll reopen, and hopefully venues will have survived,” Lowdermilk says. “I think there are a lot of opportunities for our city government to help us, and we want to be there to be able to have that economic activity on the return, to help our city recover.”\u003c/p>\n\u003ch2>Without Federal Help, California’s Options are Limited\u003c/h2>\n\u003cp>The SFVC’s proposal is currently being considered by the Entertainment Commission, but it would require the approval of Mayor London Breed, whose office told KQED in a statement that without federal funding, the city is stretched beyond its capacity to maintain even its basic services. Acknowledging the hardships small businesses face, a spokesperson for the mayor wrote that the city’s CARES Act funding from the first stimulus package has been spent on the immediate needs of the pandemic, such as testing, quarantine housing, contact tracing, food security and personal protective equipment.\u003c/p>\n\u003cp>“Without additional financial support from the federal government, cities all across the country, like San Francisco, will need to make budget cuts and hard trade-offs,” the mayor’s office wrote, adding that even basic services, such as the Municipal Transportation Agency, are facing potential layoffs and budget cuts. “San Francisco needs additional federal support in the weeks and months ahead so that we can continue our COVID-19 response [and] support businesses—including entertainment and nightlife venues—and stabilize city services like Muni.”\u003c/p>\n\u003cp>San Francisco Supervisor Matt Haney, who represents the nightlife-heavy Tenderloin and South of Market neighborhoods, says that his office is exploring other funding opportunities for venues, even if federal relief doesn’t come in the near future. \u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13890048",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We have an emergency reserve. It’s possible we could pull some money from that,” he says. “I think this is incredibly urgent, and if there’s any flexibility with spending, this should be something that is prioritized—even as a lifeline for the next three months to get us to a point where, hopefully, we have more robust support from federal government.”\u003c/p>\n\u003cp>Federal government help is also crucial in order for California to step in on a state level, says State Senator Scott Wiener. “Only Congress has the ability to deficit spend, only the federal government has the ability to print money. We need a significant new PPP program to support these businesses,” he says.\u003c/p>\n\u003cp>Wiener says Governor Gavin Newsom has expressed an urgency to help small businesses in the next budget cycle in January. Indeed, Newsom recently announced a \u003ca href=\"https://www.gov.ca.gov/2020/11/30/governor-newsom-announces-immediate-assistance-for-businesses-impacted-by-covid-19-including-temporary-tax-relief-and-500-million-in-grants/#:~:text=The%20Governor%20announced%20the%20creation,the%20health%20and%20safety%20restrictions.\" target=\"_blank\" rel=\"noopener noreferrer\">new, $500 million program\u003c/a> that will distribute grants of up to $25,000 to small businesses. But given venues’ huge monthly costs—and the fact that financial analysts predict that California could be operating at a deficit \u003ca href=\"https://www.cnbc.com/2020/05/08/california-legislative-analyst-projects-deficits-totaling-126-billion-through-2024.html\" target=\"_blank\" rel=\"noopener noreferrer\">through 2024\u003c/a>—federal funds will still be needed to make a major difference for music venues.\u003c/p>\n\u003cfigure id=\"attachment_13875775\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875775\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/D7A7852-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7852.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7852-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7852-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Death Valley Girls play a surprise “After Hours” Noise Pop show at Cafe du Nord on Friday, Feb. 28. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We have to balance our budget so we have far more constraints, but I don’t think the state has done enough to financially support small businesses, and particularly those that simply cannot reopen,” Wiener continues. “I know that will be a focus as we go back and go into the budget process.”\u003c/p>\n\u003cp>California’s commercial \u003ca href=\"https://www.sfchronicle.com/business/article/Newsom-extends-California-commercial-eviction-15594657.php\" target=\"_blank\" rel=\"noopener noreferrer\">eviction moratorium\u003c/a> helps, but it also leaves music venues on the hook for back-rent after March 2021. It’s highly improbable that they’ll resume business by then. (The State Legislature killed a bill sponsored by Wiener that would have extended eviction protections through the end of the pandemic—it was strongly opposed by the real estate industry.)\u003c/p>\n\u003cp>Once a music venue gets evicted or breaks its lease, it may be gone forever. That’s because of a lack of adequate rental properties, argues Allen Scott, a co-owner of The Independent and The New Parish and the head of concerts and festivals at Another Planet Entertainment. “If you’re the owner of a restaurant, you lay off all your employees, you break your lease, you cancel your insurance—you literally get rid of every expense that you have. Your hope is that when you can open back up again, you can negotiate a new lease … and you can move forward,” Scott says. “A music venue cannot do that because there are not that many spaces we can go into—otherwise it would be a lot easier of a business.”\u003c/p>\n\u003ch2>Other Options While the Federal Stimulus Stalls?\u003c/h2>\n\u003cp>Even as city and state governments await federal funding, some entertainment industry leaders say there’s more that can be done locally to support live music.\u003c/p>\n\u003cp>One criticism has come from arts presenters who feel that the performing arts have been unfairly left out of California’s reopening efforts. Before the current upswing of COVID-19 cases that landed most of California in the \u003ca href=\"https://www.kqed.org/news/11847641/california-tightens-coronavirus-restrictions-most-counties-must-close-nonessential-indoor-businesses\" target=\"_blank\" rel=\"noopener noreferrer\">purple tier\u003c/a>, indicating unmitigated spread, San Francisco moved to allow indoor dining at 25% capacity of up to 100 people; outdoor religious services with up to 200 people were also allowed. But there was no official pathway for outdoor, masked and socially distanced performing arts events—even though the city didn’t stop thousands of people from \u003ca href=\"https://www.sacbee.com/news/california/article245535745.html\" target=\"_blank\" rel=\"noopener noreferrer\">partying on Ocean Beach\u003c/a> during Burning Man weekend.\u003c/p>\n\u003cp>The lack of consistency frustrated venue owners and arts presenters, who believe that they have the tools and expertise to throw safe gatherings—and badly need the income. “We have hundreds of people who work for us who we’d like to give some employment to, some artists we’d like to give employment to … and more than anything else, create an environment that would be safer than what is currently happening,” Fred Barnes, general manager of The Chapel and co-founder of the \u003ca href=\"https://independentvenuealliance.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Independent Venue Alliance\u003c/a>, said at an August Entertainment Commission hearing.\u003c/p>\n\u003cfigure id=\"attachment_13825287\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13825287\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2018/02/MG_7650-800x533.jpg\" alt=\"The crowd at The Chapel in San Francisco on the third night of the 2018 Noise Pop Music and Arts Festival. (Estefany Gonzalez)\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7650-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7650-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7650-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7650-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7650.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7650-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7650-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7650-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7650-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/MG_7650-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at The Chapel in San Francisco on the third night of the 2018 Noise Pop Music and Arts Festival. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even after releasing the JAM Permit for music in outdoor dining and other public areas, the city attempted to shut down a 49-person-capacity outdoor performance from the San Francisco International Arts Festival (SFIAF). In an email to KQED, a spokesperson from the City Attorney’s office called it a potential “super spreader event.” In October, the SFIAF \u003ca href=\"https://www.kqed.org/arts/13888163/an-sf-arts-presenter-sues-the-city-and-state-to-allow-outdoor-performances\" target=\"_blank\" rel=\"noopener noreferrer\">filed a lawsuit\u003c/a> against the city of San Francisco and state of California, claiming that the performing arts should be the same way as religious services and political activity in California and San Francisco’s reopening efforts because they, too, are protected by the first amendment.\u003c/p>\n\u003cp>“We just want parity with those types of activities,” says SFIAF director Andrew Wood. The governor’s office sided with SFIAF in court and issued an interim directive to allow outdoor performances with 100 attendees or fewer pending local health officials’ approval. But the city of San Francisco is still in a legal battle with SFIAF, and the festival is using its \u003ca href=\"https://www.sfiaf.org/december_12_event\" target=\"_blank\" rel=\"noopener noreferrer\">virtual holiday party\u003c/a> to raise money for legal fees.\u003c/p>\n\u003cp>Social gatherings of any kind are off while California remains in the purple tier. But Wood says he wants the court to recognize the arts as a first amendment-protected activity so that they can be included in future reopening plans when virus rates go down and other activities like outdoor dining resume.\u003c/p>\n\u003cp>Shannon Amitin from the \u003ca href=\"https://sfqueernightlifefund.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Queer Nightlife Fund\u003c/a> agrees. The nonprofit organization has been giving out micro-grants to bartenders, sound techs, performers and DJs from LGBTQ+ bars and clubs since the pandemic started. Amitin says that in addition to improving the unemployment system, which has subjected some furloughed workers to \u003ca href=\"https://calmatters.org/california-divide/2020/11/low-on-help-expired-unemployment-boost-edd-debacles-sink-jobless-californians/\" target=\"_blank\" rel=\"noopener noreferrer\">months-long wait times\u003c/a> for relief, the city can help independent promoters and artists by providing guidelines for outdoor, socially distanced events that aren’t tethered to outdoor dining. “We really need to take a harm reduction approach to events,” says Amitin. “Folks are still going to gather, so let’s give them the tools and the ability to do it safely.”\u003c/p>\n\u003cp>For the San Francisco Venue Coalition’s part, Lowdermilk says that it only makes financial sense for its venues to operate at 100% capacity. “We don’t want to push this. We want our patrons and staff to be healthy,” he says. “And we’re only interested in reopening at full capacity. Any sort of limited-capacity situation doesn’t make sense for us—the numbers don’t work out for venues. … It’s a very low-margin industry as it is, and we need to fill our rooms to be profitable.”\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>That won’t happen until the vaccine is widely available—which means that venues will continue to bleed money, and go out of business, until the federal stimulus arrives.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13890093/2020-decimated-the-concert-industry-and-it-cant-rebuild-without-government-help",
"authors": [
"11387"
],
"categories": [
"arts_1",
"arts_235"
],
"tags": [
"arts_12958",
"arts_6192",
"arts_10126",
"arts_10127",
"arts_10342",
"arts_10278",
"arts_10422",
"arts_6387",
"arts_11031",
"arts_2093"
],
"featImg": "arts_13852059",
"label": "source_arts_13890093"
},
"arts_13863023": {
"type": "posts",
"id": "arts_13863023",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13863023",
"score": null,
"sort": [
1565040527000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1565040527,
"format": "standard",
"title": "Treasure Island Music Festival On Indefinite Hiatus",
"headTitle": "Treasure Island Music Festival On Indefinite Hiatus | KQED",
"content": "\u003cp>\u003cem>Updated Monday, 3:30 p.m. \u003c/em>\u003c/p>\n\u003cp>Noise Pop and Another Planet Entertainment announced Monday that the 2019 edition of Treasure Island Music Festival is cancelled, saying in a statement that the anticipated annual event first launched in 2007 is “on hiatus for the foreseeable future.”\u003c/p>\n\u003cp>The multi-day music festival, focused on indie-rock and increasingly electronic and hip-hop programming, occurred for the first time in Oakland last year, at Middle Harbor Shoreline Park.\u003c/p>\n\u003cp>But last month the Bay Conservation and Development Commission ordered the Port of Oakland, which oversees Middle Harbor, to cease hosting events without the regulatory agency’s approval, throwing the future of events at the shoreline location into question. [aside postID=arts_13843462,arts_13862704]\u003c/p>\n\u003cp>According to minutes from a BCDC enforcement committee meeting in July, the Port has flaunted its obligation to seek permission before reducing public access to the park by hosting ticketed events. “BCDC staff has communicated the issue over the years with the Port,” the minutes read. “Nevertheless, these special events continue to occur without BCDC approval.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Save the Bay, a conservationist group, pressured BCDC after observing adverse effects on Middle Harbor following Treasure Island Music Festival last year.\u003c/p>\n\u003cp>As KQED \u003ca href=\"https://www.kqed.org/arts/13843462/ruffled-feathers-can-birds-and-music-festivals-share-middle-harbor-park\">previously reported\u003c/a>, in 2018 the Port of Oakland-owned and operated park hosted three music festivals attended by more than 4,000 people in addition to Treasure Island and Blurry Vision, which each drew more than 10,000 people across their two-day runs. Last year the Port collected more than $60,000 in rental fees for the events at Middle Harbor.\u003c/p>\n\u003cp>The Port’s contracts with event promoters including APE and Blurry Vision producer Goldenvoice, which KQED previously reviewed, included no park-specific environmental stipulations aside from standard cleanup, even though Middle Harbor Shoreline Park provides important wildlife habitat for migrating and endangered and threatened species of birds.\u003c/p>\n\u003cp>The spat between the Port and BCDC contributed to the festival cancellation. “With the new issues facing the site location…putting on a festival to the degree for which our fans have come to expect over the past decade is simply not possible,” Noise Pop and APE said in a statement.\u003c/p>\n\u003cp>Treasure Island’s move to Oakland was an attempted rebound. The festival’s 2016 installment was marred by a rainstorm, prompting many artists to cancel and leading to litigation from disgruntled and injured attendees. It took a year off in 2017 before resurfacing at Middle Harbor.\u003c/p>\n\u003cp>The festival organizers’ statement goes on to note other opportunities to support local musicians and events, including Outside Lands, Noise Pop Festival and “any of the hundreds of concerts both Another Planet Entertainment and Noise Pop bring to the greater Bay Area each year.”\u003c/p>\n\u003cp>A Port of Oakland spokesperson said in a statement that it notifies BCDC about concerts but acknowledged it has been “remiss in obtaining written approvals.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The spokesperson added, “We’re implementing controls to make sure we fulfill BCDC’s requirements for all future concerts.”\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 516,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 15
},
"modified": 1705022405,
"excerpt": "The cancellation comes amid a regulatory spat between the Port of Oakland and the Bay Conservation and Development Commission regarding Middle Harbor Shoreline Park. ",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The cancellation comes amid a regulatory spat between the Port of Oakland and the Bay Conservation and Development Commission regarding Middle Harbor Shoreline Park. ",
"title": "Treasure Island Music Festival On Indefinite Hiatus | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Treasure Island Music Festival On Indefinite Hiatus",
"datePublished": "2019-08-05T14:28:47-07:00",
"dateModified": "2024-01-11T17:20:05-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "treasure-island-music-festival-on-indefinite-hiatus",
"status": "publish",
"templateType": "standard",
"audioUrl": "https://www.kqed.org/.stream/anon/radio/RDnews/2019/08/VeltmanTreasureIsleMusicCancel.mp3",
"featuredImageType": "standard",
"sticky": false,
"path": "/arts/13863023/treasure-island-music-festival-on-indefinite-hiatus",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Updated Monday, 3:30 p.m. \u003c/em>\u003c/p>\n\u003cp>Noise Pop and Another Planet Entertainment announced Monday that the 2019 edition of Treasure Island Music Festival is cancelled, saying in a statement that the anticipated annual event first launched in 2007 is “on hiatus for the foreseeable future.”\u003c/p>\n\u003cp>The multi-day music festival, focused on indie-rock and increasingly electronic and hip-hop programming, occurred for the first time in Oakland last year, at Middle Harbor Shoreline Park.\u003c/p>\n\u003cp>But last month the Bay Conservation and Development Commission ordered the Port of Oakland, which oversees Middle Harbor, to cease hosting events without the regulatory agency’s approval, throwing the future of events at the shoreline location into question. \u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13843462,arts_13862704",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>According to minutes from a BCDC enforcement committee meeting in July, the Port has flaunted its obligation to seek permission before reducing public access to the park by hosting ticketed events. “BCDC staff has communicated the issue over the years with the Port,” the minutes read. “Nevertheless, these special events continue to occur without BCDC approval.”\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>Save the Bay, a conservationist group, pressured BCDC after observing adverse effects on Middle Harbor following Treasure Island Music Festival last year.\u003c/p>\n\u003cp>As KQED \u003ca href=\"https://www.kqed.org/arts/13843462/ruffled-feathers-can-birds-and-music-festivals-share-middle-harbor-park\">previously reported\u003c/a>, in 2018 the Port of Oakland-owned and operated park hosted three music festivals attended by more than 4,000 people in addition to Treasure Island and Blurry Vision, which each drew more than 10,000 people across their two-day runs. Last year the Port collected more than $60,000 in rental fees for the events at Middle Harbor.\u003c/p>\n\u003cp>The Port’s contracts with event promoters including APE and Blurry Vision producer Goldenvoice, which KQED previously reviewed, included no park-specific environmental stipulations aside from standard cleanup, even though Middle Harbor Shoreline Park provides important wildlife habitat for migrating and endangered and threatened species of birds.\u003c/p>\n\u003cp>The spat between the Port and BCDC contributed to the festival cancellation. “With the new issues facing the site location…putting on a festival to the degree for which our fans have come to expect over the past decade is simply not possible,” Noise Pop and APE said in a statement.\u003c/p>\n\u003cp>Treasure Island’s move to Oakland was an attempted rebound. The festival’s 2016 installment was marred by a rainstorm, prompting many artists to cancel and leading to litigation from disgruntled and injured attendees. It took a year off in 2017 before resurfacing at Middle Harbor.\u003c/p>\n\u003cp>The festival organizers’ statement goes on to note other opportunities to support local musicians and events, including Outside Lands, Noise Pop Festival and “any of the hundreds of concerts both Another Planet Entertainment and Noise Pop bring to the greater Bay Area each year.”\u003c/p>\n\u003cp>A Port of Oakland spokesperson said in a statement that it notifies BCDC about concerts but acknowledged it has been “remiss in obtaining written approvals.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The spokesperson added, “We’re implementing controls to make sure we fulfill BCDC’s requirements for all future concerts.”\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13863023/treasure-island-music-festival-on-indefinite-hiatus",
"authors": [
"11091"
],
"categories": [
"arts_69"
],
"tags": [
"arts_6192",
"arts_1118",
"arts_1694",
"arts_746",
"arts_1022",
"arts_596",
"arts_1143",
"arts_1539"
],
"featImg": "arts_13843453",
"label": "arts"
},
"arts_13846754": {
"type": "posts",
"id": "arts_13846754",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13846754",
"score": null,
"sort": [
1544559839000
]
},
"guestAuthors": [],
"slug": "in-2018-corporate-monotony-seized-san-francisco-music-venues",
"title": "In 2018, Corporate Monotony Seized San Francisco Music Venues",
"publishDate": 1544559839,
"format": "standard",
"headTitle": "In 2018, Corporate Monotony Seized San Francisco Music Venues | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>When news broke in January of corporate promoter Goldenvoice assuming control of booking concerts at both Slim’s and the Great American Music Hall, Jamie Zawinski was dismayed. The DNA Lounge owner had long looked to Slim’s, his neighbor on 11th Street in SoMa, as a model independent music venue in San Francisco. “They were the example,” he said of the 500-capacity club founded in 1988. “If Slim’s can’t make it work anymore, who can?”\u003c/p>\n\u003cp>Zawinski also realized that few people, not even his own employees, knew the extent of local music venues’ corporate consolidation, or of its effects on the remaining independents.\u003c/p>\n\u003cp>In a \u003ca href=\"https://www.dnalounge.com/backstage/log/2018/01/31.html\">blog post\u003c/a>, Zawinski tallied the rooms controlled by Goldenvoice, Live Nation and local competitor Another Planet Entertainment, arguing that the companies’ “vertically integrated” club and festival holdings, along with ticketing services, provides a monopolistic advantage. Zawinski also included a list of 18 independently owned and operated clubs, hoping to encourage readers to patronize venues that aren’t what he recently called “fronts for chains.” [contextly_sidebar id=”ZMlm6piZqqTvtCF9CH62CaDbK8rKOpHO”]\u003c/p>\n\u003cp>But less than a year later, three of those 18 independent clubs have shuttered or announced impending closure. (The co-owner of another, Brick & Mortar Music Hall, was \u003ca href=\"https://www.eastbayexpress.com/SevenDays/archives/2018/06/14/jason-perkins-of-parish-entertainment-group-dubbed-valenciavigilante-accused-of-accosting-homeless-man\">accused\u003c/a> of threatening and assaulting homeless people.) The closures of the Hemlock Tavern, Elbo Room and Mezzanine all involve plans for redevelopment—the latter venue’s landlord plainly \u003ca href=\"https://www.kqed.org/arts/13845305/san-francisco-nightclub-mezzanine-will-close-in-2019-after-16-years\">told\u003c/a> KQED that Mezzanine doesn’t earn him as much as offices.\u003c/p>\n\u003cfigure id=\"attachment_13816998\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13816998\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/Hemlock_Banners194-1024x926-800x450.jpg\" alt=\"The longtime bar and live rock venue is being sold to a developer with plans to reopen a new, unrelated 'Hemlock Tavern.'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Hemlock_Banners194-1024x926-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Hemlock_Banners194-1024x926-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Hemlock_Banners194-1024x926-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Hemlock_Banners194-1024x926-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Hemlock_Banners194-1024x926-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Hemlock_Banners194-1024x926.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Hemlock_Banners194-1024x926-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Hemlock_Banners194-1024x926-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Hemlock_Banners194-1024x926-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The longtime bar and live rock venue is being sold to a developer with plans to reopen a new, unrelated ‘Hemlock Tavern.’ \u003ccite>(Courtesy Hemlock Tavern)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To Zawinski, Slim’s and GAMH ceding to Goldenvoice is practically the loss of two civic treasures. Other industry figures agree, lamenting the takeover as if the venues had shut down outright.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It isn’t that San Franciscans aren’t interested in concerts; corporate promoters taking over clubs and launching new festivals itself illustrates tremendous demand. But stakeholders say the erosion of the independent venue ecosystem, which follows the virtual disappearance of the city’s underground DIY spaces, diminishes the concert experience for attendee and performer alike. [contextly_sidebar id=”B5Qqcmv9noLlwMFVR5jPGj5XhaR6wgY2″]\u003c/p>\n\u003cp>In San Francisco, the 1960s counterculture pioneered multimedia concerts, presaged the modern music festival, and birthed the nationally recognized Bill Graham Presents, which trained a generation of local promoters. Today, though, Live Nation owns what was once Graham’s flagship venue, The Fillmore. And Slim’s and the Great American, long booked by a Graham protégé, are run by a company, Goldenvoice, whose corporate parent is owned by a \u003ca href=\"https://pitchfork.com/news/coachella-co-owners-latest-charitable-filing-shows-deep-anti-lgbtq-ties/\">right-wing philanthropist\u003c/a>.\u003c/p>\n\u003cp>Goldenvoice and Live Nation’s diversified businesses—the latter made $2.1 billion in ticketing \u003cem>fees\u003c/em> last year alone, according to its shareholder report—are so anticompetitive, they’ve prompted criticism from legislators on antitrust grounds. Artists, too, have cried foul: In the 2000s, indie singer-songwriter Conor Oberst of Bright Eyes boycotted venues affiliated with Live Nation predecessor Clear Channel.\u003c/p>\n\u003cfigure id=\"attachment_13846930\" class=\"wp-caption aligncenter\" style=\"max-width: 789px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13846930\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/Great_American_Music_Hall_April_1976.jpg\" alt=\"This year Goldenvoice assumed control of booking at the Great American Music Hall, seen here in the 1970s.\" width=\"789\" height=\"675\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Great_American_Music_Hall_April_1976.jpg 789w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Great_American_Music_Hall_April_1976-160x137.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Great_American_Music_Hall_April_1976-768x657.jpg 768w\" sizes=\"(max-width: 789px) 100vw, 789px\">\u003cfigcaption class=\"wp-caption-text\">This year Goldenvoice assumed control of booking at the Great American Music Hall, seen here in the 1970s. \u003ccite>(Wikimedia Commons)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With national venue infrastructures, the companies can book entire tours, or entice groups away from competitors with the possibility of future festival appearances, effectively shutting out independents such as DNA Lounge. For example, Zawinski said he lost an act he’d booked several times previously to what he called a “corporate-owned” venue just a week before we spoke. “They reluctantly made it clear it was about getting a shot at a festival,” he said.\u003c/p>\n\u003cp>Undercutting independent venues’ in-house talent buyers also tends to deprive show-goers of a well-curated slate of local openers, not to mention lessening all-local lineups. As a talent-buyer since 2002, Anthony Bedard built the Hemlock’s reputation as a rocker haunt, and early last year he landed a job booking the Great American Music Hall. This past year, though, he lost both gigs: first after Goldenvoice’s GAMH partnership, and then ahead of the Hemlock’s demolition.\u003c/p>\n\u003cfigure id=\"attachment_10746787\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10746787\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/TonyBedardMain-800x450.jpg\" alt=\"Anthony Bedard booked the Hemlock Tavern for 16 years. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/TonyBedardMain-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/TonyBedardMain-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/TonyBedardMain-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/TonyBedardMain-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/TonyBedardMain.jpg 1400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Anthony Bedard booked the Hemlock Tavern for 16 years. \u003ccite>(Julie Michelle)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bedard’s work is inflected with fandom. At the Hemlock, he took risks promoting emerging or underground acts, building a record of ear-to-the-street discernment and prescience that landed him roles at Great American, however short lived, and Hardly Strictly Bluegrass.\u003c/p>\n\u003cp>His corporate successors at Great American Music Hall, by contrast, aren’t even pretending to support grassroots music scenes in San Francisco. Earlier this year \u003ca href=\"https://www.eastbayexpress.com/oakland/will-corporations-ruin-live-music-in-the-bay-area/Content?oid=14129707\">I asked Danny Bell\u003c/a>, a Goldenvoice talent buyer in San Francisco, if Great American patrons should expect the sort of local programming that Bedard brought to the venue.\u003c/p>\n\u003cp>“Is it a priority? It’s tough to say,” Bell said. “I think it just naturally happens.”\u003c/p>\n\u003cp>In Chicago, local club owners recently rallied to oppose the inclusion of several Live Nation-run venues in a new waterfront development, saying city tax incentives on the project effectively subsidized their corporate competitors. Bedard and Zawinski aren’t sure political organizing is a solution. “Even if a venue is thriving, there’s the looming question of how much more the landlord can make by redeveloping the property,” Bedard said. “It’s bigger than the music industry.” [contextly_sidebar id=”nTimG1VOgOCzHFYgnzRjwmQgTsdDMHVj”]\u003c/p>\n\u003cp>Even the San Francisco Entertainment Commission, a government body tasked with regulating and promoting nightlife, sounds defeated by the cascade of closures and corporatization. Discussing news of Mezzanine’s ouster at a hearing last month, the commissioners bemoaned “greed,” and wondered if some other city officials could “put some pressure on the landlord.”\u003c/p>\n\u003cfigure id=\"attachment_13831544\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13831544\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/MG_8562-1-800x533.jpg\" alt=\"The crowd at Mezzanine on May 5 during night three of the 2018 Mutek festival.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_8562-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_8562-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_8562-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_8562-1-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_8562-1-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_8562-1-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Mezzanine on May 5 during night three of the 2018 Mutek festival. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For music venue success stories, you’d have to expand the definition of “music venue” to accommodate the broader performing arts. Counterpulse, the Center for New Music, The Lab (which is currently \u003ca href=\"http://www.sfexaminer.com/mission-nonprofit-seeks-buy-historic-redstone-building-keep-tenants-place/\">rallying\u003c/a> to buy its building), and the Grand Theater have all opened or reopened since 2013, and this past year provided crucial outlets for improvised, experimental, and electronic music. But their shared nonprofit status, involving heavy reliance on grant support, illustrates the difficulty of subsisting on a traditional mix of ticket and drink sales.\u003c/p>\n\u003cp>There are reasons for optimism. Noise Pop, the booking outfit with close ties to Another Planet, will bring dozens of shows to independent venues—including the Swedish American Hall, Rickshaw Stop and Bottom of the Hill—as part of its decentralized annual festival in February and March. And Bedard, rebounding from the loss of two jobs, months ago launched Talent Moat, bringing choice lineups to independent venues including Thee Parkside, the Chapel and the Knockout.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>But for another in-house talent buyer position, Bedard had to make the bittersweet transition to the East Bay. (Likewise, the Elbo Room this year opened an Oakland location.) He recently started booking the Ivy Room in Albany, where the new ownership’s enthusiasm, along with the service-industry worker clientele, reminds him of the Hemlock in the mid-2000s. “The takeover hasn’t done me in,” he said. “My shows hit the calendar in January.”\u003c/p>\n\n",
"blocks": [],
"excerpt": "Independent venues continue to struggle, diminishing concerts for attendees and performers.",
"status": "publish",
"parent": 0,
"modified": 1726703153,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 20,
"wordCount": 1264
},
"headData": {
"title": "In 2018, Corporate Monotony Seized San Francisco Music Venues | KQED",
"description": "Independent venues continue to struggle, diminishing concerts for attendees and performers.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "In 2018, Corporate Monotony Seized San Francisco Music Venues",
"datePublished": "2018-12-11T12:23:59-08:00",
"dateModified": "2024-09-18T16:45:53-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"audioUrl": "https://od1.kqed.org/anon.kqed/radio/thebay/2019/03/LocalMusicFINAL1.mp3",
"sticky": false,
"audioTrackLength": 577,
"path": "/arts/13846754/in-2018-corporate-monotony-seized-san-francisco-music-venues",
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When news broke in January of corporate promoter Goldenvoice assuming control of booking concerts at both Slim’s and the Great American Music Hall, Jamie Zawinski was dismayed. The DNA Lounge owner had long looked to Slim’s, his neighbor on 11th Street in SoMa, as a model independent music venue in San Francisco. “They were the example,” he said of the 500-capacity club founded in 1988. “If Slim’s can’t make it work anymore, who can?”\u003c/p>\n\u003cp>Zawinski also realized that few people, not even his own employees, knew the extent of local music venues’ corporate consolidation, or of its effects on the remaining independents.\u003c/p>\n\u003cp>In a \u003ca href=\"https://www.dnalounge.com/backstage/log/2018/01/31.html\">blog post\u003c/a>, Zawinski tallied the rooms controlled by Goldenvoice, Live Nation and local competitor Another Planet Entertainment, arguing that the companies’ “vertically integrated” club and festival holdings, along with ticketing services, provides a monopolistic advantage. Zawinski also included a list of 18 independently owned and operated clubs, hoping to encourage readers to patronize venues that aren’t what he recently called “fronts for chains.” \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>But less than a year later, three of those 18 independent clubs have shuttered or announced impending closure. (The co-owner of another, Brick & Mortar Music Hall, was \u003ca href=\"https://www.eastbayexpress.com/SevenDays/archives/2018/06/14/jason-perkins-of-parish-entertainment-group-dubbed-valenciavigilante-accused-of-accosting-homeless-man\">accused\u003c/a> of threatening and assaulting homeless people.) The closures of the Hemlock Tavern, Elbo Room and Mezzanine all involve plans for redevelopment—the latter venue’s landlord plainly \u003ca href=\"https://www.kqed.org/arts/13845305/san-francisco-nightclub-mezzanine-will-close-in-2019-after-16-years\">told\u003c/a> KQED that Mezzanine doesn’t earn him as much as offices.\u003c/p>\n\u003cfigure id=\"attachment_13816998\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13816998\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/Hemlock_Banners194-1024x926-800x450.jpg\" alt=\"The longtime bar and live rock venue is being sold to a developer with plans to reopen a new, unrelated 'Hemlock Tavern.'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Hemlock_Banners194-1024x926-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Hemlock_Banners194-1024x926-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Hemlock_Banners194-1024x926-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Hemlock_Banners194-1024x926-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Hemlock_Banners194-1024x926-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Hemlock_Banners194-1024x926.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Hemlock_Banners194-1024x926-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Hemlock_Banners194-1024x926-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Hemlock_Banners194-1024x926-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The longtime bar and live rock venue is being sold to a developer with plans to reopen a new, unrelated ‘Hemlock Tavern.’ \u003ccite>(Courtesy Hemlock Tavern)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To Zawinski, Slim’s and GAMH ceding to Goldenvoice is practically the loss of two civic treasures. Other industry figures agree, lamenting the takeover as if the venues had shut down outright.\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>It isn’t that San Franciscans aren’t interested in concerts; corporate promoters taking over clubs and launching new festivals itself illustrates tremendous demand. But stakeholders say the erosion of the independent venue ecosystem, which follows the virtual disappearance of the city’s underground DIY spaces, diminishes the concert experience for attendee and performer alike. \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>In San Francisco, the 1960s counterculture pioneered multimedia concerts, presaged the modern music festival, and birthed the nationally recognized Bill Graham Presents, which trained a generation of local promoters. Today, though, Live Nation owns what was once Graham’s flagship venue, The Fillmore. And Slim’s and the Great American, long booked by a Graham protégé, are run by a company, Goldenvoice, whose corporate parent is owned by a \u003ca href=\"https://pitchfork.com/news/coachella-co-owners-latest-charitable-filing-shows-deep-anti-lgbtq-ties/\">right-wing philanthropist\u003c/a>.\u003c/p>\n\u003cp>Goldenvoice and Live Nation’s diversified businesses—the latter made $2.1 billion in ticketing \u003cem>fees\u003c/em> last year alone, according to its shareholder report—are so anticompetitive, they’ve prompted criticism from legislators on antitrust grounds. Artists, too, have cried foul: In the 2000s, indie singer-songwriter Conor Oberst of Bright Eyes boycotted venues affiliated with Live Nation predecessor Clear Channel.\u003c/p>\n\u003cfigure id=\"attachment_13846930\" class=\"wp-caption aligncenter\" style=\"max-width: 789px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13846930\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/Great_American_Music_Hall_April_1976.jpg\" alt=\"This year Goldenvoice assumed control of booking at the Great American Music Hall, seen here in the 1970s.\" width=\"789\" height=\"675\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Great_American_Music_Hall_April_1976.jpg 789w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Great_American_Music_Hall_April_1976-160x137.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Great_American_Music_Hall_April_1976-768x657.jpg 768w\" sizes=\"(max-width: 789px) 100vw, 789px\">\u003cfigcaption class=\"wp-caption-text\">This year Goldenvoice assumed control of booking at the Great American Music Hall, seen here in the 1970s. \u003ccite>(Wikimedia Commons)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With national venue infrastructures, the companies can book entire tours, or entice groups away from competitors with the possibility of future festival appearances, effectively shutting out independents such as DNA Lounge. For example, Zawinski said he lost an act he’d booked several times previously to what he called a “corporate-owned” venue just a week before we spoke. “They reluctantly made it clear it was about getting a shot at a festival,” he said.\u003c/p>\n\u003cp>Undercutting independent venues’ in-house talent buyers also tends to deprive show-goers of a well-curated slate of local openers, not to mention lessening all-local lineups. As a talent-buyer since 2002, Anthony Bedard built the Hemlock’s reputation as a rocker haunt, and early last year he landed a job booking the Great American Music Hall. This past year, though, he lost both gigs: first after Goldenvoice’s GAMH partnership, and then ahead of the Hemlock’s demolition.\u003c/p>\n\u003cfigure id=\"attachment_10746787\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10746787\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/TonyBedardMain-800x450.jpg\" alt=\"Anthony Bedard booked the Hemlock Tavern for 16 years. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/TonyBedardMain-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/TonyBedardMain-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/TonyBedardMain-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/TonyBedardMain-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/TonyBedardMain.jpg 1400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Anthony Bedard booked the Hemlock Tavern for 16 years. \u003ccite>(Julie Michelle)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bedard’s work is inflected with fandom. At the Hemlock, he took risks promoting emerging or underground acts, building a record of ear-to-the-street discernment and prescience that landed him roles at Great American, however short lived, and Hardly Strictly Bluegrass.\u003c/p>\n\u003cp>His corporate successors at Great American Music Hall, by contrast, aren’t even pretending to support grassroots music scenes in San Francisco. Earlier this year \u003ca href=\"https://www.eastbayexpress.com/oakland/will-corporations-ruin-live-music-in-the-bay-area/Content?oid=14129707\">I asked Danny Bell\u003c/a>, a Goldenvoice talent buyer in San Francisco, if Great American patrons should expect the sort of local programming that Bedard brought to the venue.\u003c/p>\n\u003cp>“Is it a priority? It’s tough to say,” Bell said. “I think it just naturally happens.”\u003c/p>\n\u003cp>In Chicago, local club owners recently rallied to oppose the inclusion of several Live Nation-run venues in a new waterfront development, saying city tax incentives on the project effectively subsidized their corporate competitors. Bedard and Zawinski aren’t sure political organizing is a solution. “Even if a venue is thriving, there’s the looming question of how much more the landlord can make by redeveloping the property,” Bedard said. “It’s bigger than the music industry.” \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Even the San Francisco Entertainment Commission, a government body tasked with regulating and promoting nightlife, sounds defeated by the cascade of closures and corporatization. Discussing news of Mezzanine’s ouster at a hearing last month, the commissioners bemoaned “greed,” and wondered if some other city officials could “put some pressure on the landlord.”\u003c/p>\n\u003cfigure id=\"attachment_13831544\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13831544\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/MG_8562-1-800x533.jpg\" alt=\"The crowd at Mezzanine on May 5 during night three of the 2018 Mutek festival.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_8562-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_8562-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_8562-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_8562-1-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_8562-1-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/MG_8562-1-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Mezzanine on May 5 during night three of the 2018 Mutek festival. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For music venue success stories, you’d have to expand the definition of “music venue” to accommodate the broader performing arts. Counterpulse, the Center for New Music, The Lab (which is currently \u003ca href=\"http://www.sfexaminer.com/mission-nonprofit-seeks-buy-historic-redstone-building-keep-tenants-place/\">rallying\u003c/a> to buy its building), and the Grand Theater have all opened or reopened since 2013, and this past year provided crucial outlets for improvised, experimental, and electronic music. But their shared nonprofit status, involving heavy reliance on grant support, illustrates the difficulty of subsisting on a traditional mix of ticket and drink sales.\u003c/p>\n\u003cp>There are reasons for optimism. Noise Pop, the booking outfit with close ties to Another Planet, will bring dozens of shows to independent venues—including the Swedish American Hall, Rickshaw Stop and Bottom of the Hill—as part of its decentralized annual festival in February and March. And Bedard, rebounding from the loss of two jobs, months ago launched Talent Moat, bringing choice lineups to independent venues including Thee Parkside, the Chapel and the Knockout.\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>But for another in-house talent buyer position, Bedard had to make the bittersweet transition to the East Bay. (Likewise, the Elbo Room this year opened an Oakland location.) He recently started booking the Ivy Room in Albany, where the new ownership’s enthusiasm, along with the service-industry worker clientele, reminds him of the Hemlock in the mid-2000s. “The takeover hasn’t done me in,” he said. “My shows hit the calendar in January.”\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13846754/in-2018-corporate-monotony-seized-san-francisco-music-venues",
"authors": [
"11091"
],
"categories": [
"arts_1",
"arts_69"
],
"tags": [
"arts_6192",
"arts_1118",
"arts_3875",
"arts_2187",
"arts_3219",
"arts_746",
"arts_596"
],
"featImg": "arts_13846954",
"label": "arts"
}
},
"podcastsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"podcasts": {}
},
"radioProgramsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"radioPrograms": {}
},
"radioSearchSegmentsReducer": {},
"programsReducer": {
"all-things-considered": {
"id": "all-things-considered",
"title": "All Things Considered",
"info": "Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. Michel Martin hosts on the weekends.",
"airtime": "MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/all-things-considered/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/all-things-considered"
},
"american-suburb-podcast": {
"id": "american-suburb-podcast",
"title": "American Suburb: The Podcast",
"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg",
"officialWebsiteLink": "/news/series/american-suburb-podcast",
"meta": {
"site": "news",
"source": "kqed",
"order": 19
},
"link": "/news/series/american-suburb-podcast/",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/RBrW",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328",
"tuneIn": "https://tunein.com/radio/American-Suburb-p1086805/",
"rss": "https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"
}
},
"baycurious": {
"id": "baycurious",
"title": "Bay Curious",
"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Bay Curious",
"officialWebsiteLink": "/news/series/baycurious",
"meta": {
"site": "news",
"source": "kqed",
"order": 3
},
"link": "/podcasts/baycurious",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/bay-curious/id1172473406",
"npr": "https://www.npr.org/podcasts/500557090/bay-curious",
"rss": "https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast",
"amazon": "https://music.amazon.com/podcasts/9a90d476-aa04-455d-9a4c-0871ed6216d4/bay-curious",
"stitcher": "https://www.stitcher.com/podcast/kqed/bay-curious",
"spotify": "https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"
}
},
"bbc-world-service": {
"id": "bbc-world-service",
"title": "BBC World Service",
"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
"airtime": "MON-FRI 9pm-10pm, TUE-FRI 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.bbc.co.uk/sounds/play/live:bbc_world_service",
"meta": {
"site": "news",
"source": "BBC World Service"
},
"link": "/radio/program/bbc-world-service",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2",
"tuneIn": "https://tunein.com/radio/BBC-World-Service-p455581/",
"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report",
"officialWebsiteLink": "/californiareport",
"meta": {
"site": "news",
"source": "kqed",
"order": 8
},
"link": "/californiareport",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-the-california-report/id79681292",
"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
"npr": "https://www.npr.org/podcasts/432285393/the-california-report",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-the-california-report-podcast-8838",
"rss": "https://ww2.kqed.org/news/tag/tcram/feed/podcast"
}
},
"californiareportmagazine": {
"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Magazine-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report Magazine",
"officialWebsiteLink": "/californiareportmagazine",
"meta": {
"site": "news",
"source": "kqed",
"order": 10
},
"link": "/californiareportmagazine",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-california-report-magazine/id1314750545",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
"npr": "https://www.npr.org/podcasts/564733126/the-california-report-magazine",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-california-report-magazine",
"rss": "https://ww2.kqed.org/news/tag/tcrmag/feed/podcast"
}
},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
"tagline": "Your irreverent guide to the trends redefining our world",
"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/02/CAT_2_Tile-scaled.jpg",
"imageAlt": "KQED Close All Tabs",
"officialWebsiteLink": "/podcasts/closealltabs",
"meta": {
"site": "news",
"source": "kqed",
"order": 1
},
"link": "/podcasts/closealltabs",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/close-all-tabs/id214663465",
"rss": "https://feeds.megaphone.fm/KQINC6993880386",
"amazon": "https://music.amazon.com/podcasts/92d9d4ac-67a3-4eed-b10a-fb45d45b1ef2/close-all-tabs",
"spotify": "https://open.spotify.com/show/6LAJFHnGK1pYXYzv6SIol6?si=deb0cae19813417c"
}
},
"code-switch-life-kit": {
"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
"airtime": "SUN 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/code-switch-life-kit",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
"spotify": "https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV",
"rss": "https://feeds.npr.org/510312/podcast.xml"
}
},
"commonwealth-club": {
"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
"tuneIn": "https://tunein.com/radio/Commonwealth-Club-of-California-p1060/"
}
},
"forum": {
"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
"officialWebsiteLink": "/forum",
"meta": {
"site": "news",
"source": "kqed",
"order": 9
},
"link": "/forum",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-forum/id73329719",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
"npr": "https://www.npr.org/podcasts/432307980/forum",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-forum-podcast",
"rss": "https://feeds.megaphone.fm/KQINC9557381633"
}
},
"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
"airtime": "MON-FRI 7pm-8pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Fresh-Air-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/fresh-air/",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/fresh-air",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Fresh-Air-p17/",
"rss": "https://feeds.npr.org/381444908/podcast.xml"
}
},
"here-and-now": {
"id": "here-and-now",
"title": "Here & Now",
"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
"airtime": "MON-THU 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Here-And-Now-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://www.wbur.org/hereandnow",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/here-and-now",
"subsdcribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=426698661",
"tuneIn": "https://tunein.com/radio/Here--Now-p211/",
"rss": "https://feeds.npr.org/510051/podcast.xml"
}
},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/hiddenbrain.jpg",
"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/hidden-brain/id1028908750?mt=2",
"tuneIn": "https://tunein.com/podcasts/Science-Podcasts/Hidden-Brain-p787503/",
"rss": "https://feeds.npr.org/510308/podcast.xml"
}
},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
"tuneIn": "https://tunein.com/podcasts/Arts--Culture-Podcasts/How-I-Built-This-p910896/",
"rss": "https://feeds.npr.org/510313/podcast.xml"
}
},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
"site": "news",
"source": "kqed",
"order": 15
},
"link": "/podcasts/hyphenacion",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/hyphenaci%C3%B3n/id1191591838",
"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
"youtube": "https://www.youtube.com/c/kqedarts",
"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
"site": "news",
"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
"subscribe": {
"npr": "https://www.npr.org/podcasts/790253322/the-political-mind-of-jerry-brown",
"apple": "https://itunes.apple.com/us/podcast/id1492194549",
"rss": "https://ww2.kqed.org/news/series/jerrybrown/feed/podcast/",
"tuneIn": "http://tun.in/pjGcK",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-political-mind-of-jerry-brown",
"spotify": "https://open.spotify.com/show/54C1dmuyFyKMFttY6X2j6r?si=K8SgRCoISNK6ZbjpXrX5-w",
"amazon": "https://music.amazon.com/podcasts/44420f75-3b0e-4301-ab3b-16da6b09e543/the-political-mind-of-jerry-brown"
}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/xtTd",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Latino-USA-p621/",
"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201853034&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/APM-Marketplace-p88/",
"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
"site": "news",
"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
"spotify": "https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"
}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
"npr": "https://rpb3r.app.goo.gl/onourwatch",
"spotify": "https://open.spotify.com/show/0OLWoyizopu6tY1XiuX70x",
"tuneIn": "https://tunein.com/radio/On-Our-Watch-p1436229/",
"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
"site": "news",
"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
"site": "radio",
"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
}
},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
"site": "radio",
"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/political-breakdown/id1327641087",
"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
"stitcher": "https://www.stitcher.com/podcast/kqed/political-breakdown",
"spotify": "https://open.spotify.com/show/07RVyIjIdk2WDuVehvBMoN",
"rss": "https://ww2.kqed.org/news/tag/political-breakdown/feed/podcast"
}
},
"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
"meta": {
"site": "news",
"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/possible/id1677184070",
"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
}
},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pri.org/programs/the-world",
"meta": {
"site": "news",
"source": "PRI"
},
"link": "/radio/program/pri-the-world",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pris-the-world-latest-edition/id278196007?mt=2",
"tuneIn": "https://tunein.com/podcasts/News--Politics-Podcasts/PRIs-The-World-p24/",
"rss": "http://feeds.feedburner.com/pri/theworld"
}
},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
"airtime": "SUN 12am-1am, SAT 2pm-3pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/radiolab1400.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/radiolab/",
"meta": {
"site": "science",
"source": "WNYC"
},
"link": "/radio/program/radiolab",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/radiolab/id152249110?mt=2",
"tuneIn": "https://tunein.com/radio/RadioLab-p68032/",
"rss": "https://feeds.wnyc.org/radiolab"
}
},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png",
"officialWebsiteLink": "https://www.revealnews.org/episodes/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/reveal",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/reveal/id886009669",
"tuneIn": "https://tunein.com/radio/Reveal-p679597/",
"rss": "http://feeds.revealradio.org/revealpodcast"
}
},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Rightnowish-Podcast-Tile-500x500-1.jpg",
"imageAlt": "KQED Rightnowish with Pendarvis Harshaw",
"officialWebsiteLink": "/podcasts/rightnowish",
"meta": {
"site": "arts",
"source": "kqed",
"order": 16
},
"link": "/podcasts/rightnowish",
"subscribe": {
"npr": "https://www.npr.org/podcasts/721590300/rightnowish",
"rss": "https://ww2.kqed.org/arts/programs/rightnowish/feed/podcast",
"apple": "https://podcasts.apple.com/us/podcast/rightnowish/id1482187648",
"stitcher": "https://www.stitcher.com/podcast/kqed/rightnowish",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMxMjU5MTY3NDc4",
"spotify": "https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I"
}
},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
"airtime": "FRI 11am-1pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Science-Friday-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/science-friday",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/science-friday",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=73329284&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Science-Friday-p394/",
"rss": "http://feeds.wnyc.org/science-friday"
}
},
"snap-judgment": {
"id": "snap-judgment",
"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
"airtime": "SAT 1pm-2pm, 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/05/Snap-Judgment-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Snap Judgment",
"officialWebsiteLink": "https://snapjudgment.org",
"meta": {
"site": "arts",
"source": "kqed",
"order": 4
},
"link": "https://snapjudgment.org",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/snap-judgment/id283657561",
"npr": "https://www.npr.org/podcasts/449018144/snap-judgment",
"stitcher": "https://www.pandora.com/podcast/snap-judgment/PC:241?source=stitcher-sunset",
"spotify": "https://open.spotify.com/show/3Cct7ZWmxHNAtLgBTqjC5v",
"rss": "https://snap.feed.snapjudgment.org/"
}
},
"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Sold-Out-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Sold Out: Rethinking Housing in America",
"officialWebsiteLink": "/podcasts/soldout",
"meta": {
"site": "news",
"source": "kqed",
"order": 13
},
"link": "/podcasts/soldout",
"subscribe": {
"npr": "https://www.npr.org/podcasts/911586047/s-o-l-d-o-u-t-a-new-future-for-housing",
"apple": "https://podcasts.apple.com/us/podcast/introducing-sold-out-rethinking-housing-in-america/id1531354937",
"rss": "https://feeds.megaphone.fm/soldout",
"spotify": "https://open.spotify.com/show/38dTBSk2ISFoPiyYNoKn1X",
"stitcher": "https://www.stitcher.com/podcast/kqed/sold-out-rethinking-housing-in-america",
"tunein": "https://tunein.com/radio/SOLD-OUT-Rethinking-Housing-in-America-p1365871/"
}
},
"spooked": {
"id": "spooked",
"title": "Spooked",
"tagline": "True-life supernatural stories",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/10/Spooked-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Spooked",
"officialWebsiteLink": "https://spookedpodcast.org/",
"meta": {
"site": "news",
"source": "kqed",
"order": 7
},
"link": "https://spookedpodcast.org/",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/spooked/id1279361017",
"npr": "https://www.npr.org/podcasts/549547848/snap-judgment-presents-spooked",
"spotify": "https://open.spotify.com/show/76571Rfl3m7PLJQZKQIGCT",
"rss": "https://feeds.simplecast.com/TBotaapn"
}
},
"tech-nation": {
"id": "tech-nation",
"title": "Tech Nation Radio Podcast",
"info": "Tech Nation is a weekly public radio program, hosted by Dr. Moira Gunn. Founded in 1993, it has grown from a simple interview show to a multi-faceted production, featuring conversations with noted technology and science leaders, and a weekly science and technology-related commentary.",
"airtime": "FRI 10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Tech-Nation-Radio-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://technation.podomatic.com/",
"meta": {
"site": "science",
"source": "Tech Nation Media"
},
"link": "/radio/program/tech-nation",
"subscribe": {
"rss": "https://technation.podomatic.com/rss2.xml"
}
},
"ted-radio-hour": {
"id": "ted-radio-hour",
"title": "TED Radio Hour",
"info": "The TED Radio Hour is a journey through fascinating ideas, astonishing inventions, fresh approaches to old problems, and new ways to think and create.",
"airtime": "SUN 3pm-4pm, SAT 10pm-11pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/tedRadioHour.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/ted-radio-hour/?showDate=2018-06-22",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/ted-radio-hour",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/8vsS",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=523121474&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/TED-Radio-Hour-p418021/",
"rss": "https://feeds.npr.org/510298/podcast.xml"
}
},
"thebay": {
"id": "thebay",
"title": "The Bay",
"tagline": "Local news to keep you rooted",
"info": "Host Devin Katayama walks you through the biggest story of the day with reporters and newsmakers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Bay-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Bay",
"officialWebsiteLink": "/podcasts/thebay",
"meta": {
"site": "radio",
"source": "kqed",
"order": 2
},
"link": "/podcasts/thebay",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-bay/id1350043452",
"amazon": "https://music.amazon.com/podcasts/d800ea4c-7a2c-42f2-b861-edaf78a5db0b/the-bay",
"npr": "https://www.npr.org/podcasts/586725995/the-bay",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-bay",
"spotify": "https://open.spotify.com/show/4BIKBKIujizLHlIlBNaAqQ",
"rss": "https://feeds.megaphone.fm/KQINC8259786327"
}
},
"thelatest": {
"id": "thelatest",
"title": "The Latest",
"tagline": "Trusted local news in real time",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/05/The-Latest-2025-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Latest",
"officialWebsiteLink": "/thelatest",
"meta": {
"site": "news",
"source": "kqed",
"order": 6
},
"link": "/thelatest",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-latest-from-kqed/id1197721799",
"npr": "https://www.npr.org/podcasts/1257949365/the-latest-from-k-q-e-d",
"spotify": "https://open.spotify.com/show/5KIIXMgM9GTi5AepwOYvIZ?si=bd3053fec7244dba",
"rss": "https://feeds.megaphone.fm/KQINC9137121918"
}
},
"theleap": {
"id": "theleap",
"title": "The Leap",
"tagline": "What if you closed your eyes, and jumped?",
"info": "Stories about people making dramatic, risky changes, told by award-winning public radio reporter Judy Campbell.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Leap-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Leap",
"officialWebsiteLink": "/podcasts/theleap",
"meta": {
"site": "news",
"source": "kqed",
"order": 17
},
"link": "/podcasts/theleap",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-leap/id1046668171",
"npr": "https://www.npr.org/podcasts/447248267/the-leap",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-leap",
"spotify": "https://open.spotify.com/show/3sSlVHHzU0ytLwuGs1SD1U",
"rss": "https://ww2.kqed.org/news/programs/the-leap/feed/podcast"
}
},
"the-moth-radio-hour": {
"id": "the-moth-radio-hour",
"title": "The Moth Radio Hour",
"info": "Since its launch in 1997, The Moth has presented thousands of true stories, told live and without notes, to standing-room-only crowds worldwide. Moth storytellers stand alone, under a spotlight, with only a microphone and a roomful of strangers. The storyteller and the audience embark on a high-wire act of shared experience which is both terrifying and exhilarating. Since 2008, The Moth podcast has featured many of our favorite stories told live on Moth stages around the country. For information on all of our programs and live events, visit themoth.org.",
"airtime": "SAT 8pm-9pm and SUN 11am-12pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/theMoth.jpg",
"officialWebsiteLink": "https://themoth.org/",
"meta": {
"site": "arts",
"source": "prx"
},
"link": "/radio/program/the-moth-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/the-moth-podcast/id275699983?mt=2",
"tuneIn": "https://tunein.com/radio/The-Moth-p273888/",
"rss": "http://feeds.themoth.org/themothpodcast"
}
},
"the-new-yorker-radio-hour": {
"id": "the-new-yorker-radio-hour",
"title": "The New Yorker Radio Hour",
"info": "The New Yorker Radio Hour is a weekly program presented by the magazine's editor, David Remnick, and produced by WNYC Studios and The New Yorker. Each episode features a diverse mix of interviews, profiles, storytelling, and an occasional burst of humor inspired by the magazine, and shaped by its writers, artists, and editors. This isn't a radio version of a magazine, but something all its own, reflecting the rich possibilities of audio storytelling and conversation. Theme music for the show was composed and performed by Merrill Garbus of tUnE-YArDs.",
"airtime": "SAT 10am-11am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-New-Yorker-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/tnyradiohour",
"meta": {
"site": "arts",
"source": "WNYC"
},
"link": "/radio/program/the-new-yorker-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/id1050430296",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/New-Yorker-Radio-Hour-p803804/",
"rss": "https://feeds.feedburner.com/newyorkerradiohour"
}
},
"the-sam-sanders-show": {
"id": "the-sam-sanders-show",
"title": "The Sam Sanders Show",
"info": "One of public radio's most dynamic voices, Sam Sanders helped launch The NPR Politics Podcast and hosted NPR's hit show It's Been A Minute. Now, the award-winning host returns with something brand new, The Sam Sanders Show. Every week, Sam Sanders and friends dig into the culture that shapes our lives: what's driving the biggest trends, how artists really think, and even the memes you can't stop scrolling past. Sam is beloved for his way of unpacking the world and bringing you up close to fresh currents and engaging conversations. The Sam Sanders Show is smart, funny and always a good time.",
"airtime": "FRI 12-1pm AND SAT 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/11/The-Sam-Sanders-Show-Podcast-Tile-400x400-1.jpg",
"officialWebsiteLink": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"meta": {
"site": "arts",
"source": "KCRW"
},
"link": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"subscribe": {
"rss": "https://feed.cdnstream1.com/zjb/feed/download/ac/28/59/ac28594c-e1d0-4231-8728-61865cdc80e8.xml"
}
},
"the-splendid-table": {
"id": "the-splendid-table",
"title": "The Splendid Table",
"info": "\u003cem>The Splendid Table\u003c/em> hosts our nation's conversations about cooking, sustainability and food culture.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Splendid-Table-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.splendidtable.org/",
"airtime": "SUN 10-11 pm",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/the-splendid-table"
},
"this-american-life": {
"id": "this-american-life",
"title": "This American Life",
"info": "This American Life is a weekly public radio show, heard by 2.2 million people on more than 500 stations. Another 2.5 million people download the weekly podcast. It is hosted by Ira Glass, produced in collaboration with Chicago Public Media, delivered to stations by PRX The Public Radio Exchange, and has won all of the major broadcasting awards.",
"airtime": "SAT 12pm-1pm, 7pm-8pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/thisAmericanLife.png",
"officialWebsiteLink": "https://www.thisamericanlife.org/",
"meta": {
"site": "news",
"source": "wbez"
},
"link": "/radio/program/this-american-life",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201671138&at=11l79Y&ct=nprdirectory",
"rss": "https://www.thisamericanlife.org/podcast/rss.xml"
}
},
"tinydeskradio": {
"id": "tinydeskradio",
"title": "Tiny Desk Radio",
"info": "We're bringing the best of Tiny Desk to the airwaves, only on public radio.",
"airtime": "SUN 8pm and SAT 9pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/04/300x300-For-Member-Station-Logo-Tiny-Desk-Radio-@2x.png",
"officialWebsiteLink": "https://www.npr.org/series/g-s1-52030/tiny-desk-radio",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/tinydeskradio",
"subscribe": {
"rss": "https://feeds.npr.org/g-s1-52030/rss.xml"
}
},
"wait-wait-dont-tell-me": {
"id": "wait-wait-dont-tell-me",
"title": "Wait Wait... Don't Tell Me!",
"info": "Peter Sagal and Bill Kurtis host the weekly NPR News quiz show alongside some of the best and brightest news and entertainment personalities.",
"airtime": "SUN 10am-11am, SAT 11am-12pm, SAT 6pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Wait-Wait-Podcast-Tile-300x300-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/wait-wait-dont-tell-me/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/wait-wait-dont-tell-me",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/Xogv",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=121493804&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Wait-Wait-Dont-Tell-Me-p46/",
"rss": "https://feeds.npr.org/344098539/podcast.xml"
}
},
"weekend-edition-saturday": {
"id": "weekend-edition-saturday",
"title": "Weekend Edition Saturday",
"info": "Weekend Edition Saturday wraps up the week's news and offers a mix of analysis and features on a wide range of topics, including arts, sports, entertainment, and human interest stories. The two-hour program is hosted by NPR's Peabody Award-winning Scott Simon.",
"airtime": "SAT 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-saturday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-saturday"
},
"weekend-edition-sunday": {
"id": "weekend-edition-sunday",
"title": "Weekend Edition Sunday",
"info": "Weekend Edition Sunday features interviews with newsmakers, artists, scientists, politicians, musicians, writers, theologians and historians. The program has covered news events from Nelson Mandela's 1990 release from a South African prison to the capture of Saddam Hussein.",
"airtime": "SUN 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-sunday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-sunday"
}
},
"racesReducer": {},
"racesGenElectionReducer": {},
"racesGenElection2026Reducer": {},
"racesGenElection2026PresidentialReducer": {},
"radioSchedulesReducer": {},
"listsReducer": {
"posts/arts?tag=another-planet-entertainment": {
"isFetching": false,
"latestQuery": {
"from": 0,
"size": 12
},
"vitalsOnly": false,
"totalRequested": 11,
"isLoading": false,
"isLoadingMore": true,
"total": {
"value": 11,
"relation": "eq"
},
"items": [
"arts_13989281",
"arts_13983358",
"arts_13975649",
"arts_13932865",
"arts_13917362",
"arts_13908311",
"arts_13900770",
"arts_13895321",
"arts_13890093",
"arts_13863023",
"arts_13846754"
],
"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_tag_another-planet-entertainment": {
"isLoading": true
},
"arts_6192": {
"type": "terms",
"id": "arts_6192",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "6192",
"found": true
},
"relationships": {},
"featImg": null,
"name": "another planet entertainment",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "another planet entertainment Archives | KQED Arts",
"ogDescription": null
},
"ttid": 6204,
"slug": "another-planet-entertainment",
"isLoading": false,
"link": "/arts/tag/another-planet-entertainment"
},
"source_arts_13989281": {
"type": "terms",
"id": "source_arts_13989281",
"meta": {
"override": true
},
"name": "The Do List",
"link": "https://www.kqed.org/thedolist",
"isLoading": false
},
"source_arts_13975649": {
"type": "terms",
"id": "source_arts_13975649",
"meta": {
"override": true
},
"name": "The Do List",
"link": "https://www.kqed.org/thedolist",
"isLoading": false
},
"source_arts_13890093": {
"type": "terms",
"id": "source_arts_13890093",
"meta": {
"override": true
},
"name": "2020 in Review",
"link": "https://www.kqed.org/2020inreview",
"isLoading": false
},
"arts_140": {
"type": "terms",
"id": "arts_140",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "140",
"found": true
},
"relationships": {},
"name": "The Do List",
"slug": "the-do-list",
"taxonomy": "program",
"description": null,
"featImg": "https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/The-Do-LIst-logo-2014-horizontal-015.png",
"headData": {
"title": "The Do List Archives | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 141,
"isLoading": false,
"link": "/arts/program/the-do-list"
},
"arts_1": {
"type": "terms",
"id": "arts_1",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Arts",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Arts Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1,
"slug": "arts",
"isLoading": false,
"link": "/arts/category/arts"
},
"arts_69": {
"type": "terms",
"id": "arts_69",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "69",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Music",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Music Archives | KQED Arts",
"ogDescription": null
},
"ttid": 70,
"slug": "music",
"isLoading": false,
"link": "/arts/category/music"
},
"arts_22313": {
"type": "terms",
"id": "arts_22313",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "22313",
"found": true
},
"relationships": {},
"name": "The Do List",
"slug": "the-do-list",
"taxonomy": "category",
"description": null,
"featImg": null,
"headData": {
"title": "The Do List | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 22325,
"isLoading": false,
"link": "/arts/category/the-do-list"
},
"arts_1501": {
"type": "terms",
"id": "arts_1501",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1501",
"found": true
},
"relationships": {},
"featImg": null,
"name": "electronic music",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "electronic music Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1513,
"slug": "electronic-music",
"isLoading": false,
"link": "/arts/tag/electronic-music"
},
"arts_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_1146": {
"type": "terms",
"id": "arts_1146",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1146",
"found": true
},
"relationships": {},
"featImg": null,
"name": "San Francisco",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "San Francisco Archives | KQED Arts",
"ogDescription": null
},
"ttid": 701,
"slug": "san-francisco",
"isLoading": false,
"link": "/arts/tag/san-francisco"
},
"arts_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_21866": {
"type": "terms",
"id": "arts_21866",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21866",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Arts and Culture",
"description": null,
"taxonomy": "interest",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Arts and Culture Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21878,
"slug": "arts-and-culture",
"isLoading": false,
"link": "/arts/interest/arts-and-culture"
},
"arts_21879": {
"type": "terms",
"id": "arts_21879",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21879",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Entertainment",
"description": null,
"taxonomy": "interest",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Entertainment Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21891,
"slug": "entertainment",
"isLoading": false,
"link": "/arts/interest/entertainment"
},
"arts_21870": {
"type": "terms",
"id": "arts_21870",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21870",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Events",
"description": null,
"taxonomy": "interest",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Events Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21882,
"slug": "events",
"isLoading": false,
"link": "/arts/interest/events"
},
"arts_21859": {
"type": "terms",
"id": "arts_21859",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21859",
"found": true
},
"relationships": {},
"featImg": null,
"name": "San Francisco",
"description": null,
"taxonomy": "interest",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "San Francisco Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21871,
"slug": "san-francisco",
"isLoading": false,
"link": "/arts/interest/san-francisco"
},
"arts_968": {
"type": "terms",
"id": "arts_968",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "968",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Comedy",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Comedy Archives | KQED Arts",
"ogDescription": null
},
"ttid": 986,
"slug": "comedy",
"isLoading": false,
"link": "/arts/category/comedy"
},
"arts_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_6476": {
"type": "terms",
"id": "arts_6476",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "6476",
"found": true
},
"relationships": {},
"featImg": null,
"name": "castro theatre",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "castro theatre Archives | KQED Arts",
"ogDescription": null
},
"ttid": 6488,
"slug": "castro-theatre",
"isLoading": false,
"link": "/arts/tag/castro-theatre"
},
"arts_22586": {
"type": "terms",
"id": "arts_22586",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "22586",
"found": true
},
"relationships": {},
"name": "concerts",
"slug": "concerts",
"taxonomy": "tag",
"description": null,
"featImg": null,
"headData": {
"title": "concerts | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 22598,
"isLoading": false,
"link": "/arts/tag/concerts"
},
"arts_5544": {
"type": "terms",
"id": "arts_5544",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "5544",
"found": true
},
"relationships": {},
"featImg": null,
"name": "movie theaters",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "movie theaters Archives | KQED Arts",
"ogDescription": null
},
"ttid": 5556,
"slug": "movie-theaters",
"isLoading": false,
"link": "/arts/tag/movie-theaters"
},
"arts_2457": {
"type": "terms",
"id": "arts_2457",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2457",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Empire",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Empire Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2469,
"slug": "empire",
"isLoading": false,
"link": "/arts/tag/empire"
},
"arts_74": {
"type": "terms",
"id": "arts_74",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "74",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Movies",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Movies Archives | KQED Arts",
"ogDescription": null
},
"ttid": 75,
"slug": "movies",
"isLoading": false,
"link": "/arts/category/movies"
},
"arts_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_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_1201": {
"type": "terms",
"id": "arts_1201",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1201",
"found": true
},
"relationships": {},
"featImg": null,
"name": "film festivals",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "film festivals Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1213,
"slug": "film-festivals",
"isLoading": false,
"link": "/arts/tag/film-festivals"
},
"arts_7666": {
"type": "terms",
"id": "arts_7666",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "7666",
"found": true
},
"relationships": {},
"name": "Frameline",
"slug": "frameline",
"taxonomy": "tag",
"description": null,
"featImg": null,
"headData": {
"title": "Frameline | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 7678,
"isLoading": false,
"link": "/arts/tag/frameline"
},
"arts_22117": {
"type": "terms",
"id": "arts_22117",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "22117",
"found": true
},
"relationships": {},
"featImg": null,
"name": "grand lake theatre",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "grand lake theatre Archives | KQED Arts",
"ogDescription": null
},
"ttid": 22129,
"slug": "grand-lake-theatre",
"isLoading": false,
"link": "/arts/tag/grand-lake-theatre"
},
"arts_5305": {
"type": "terms",
"id": "arts_5305",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "5305",
"found": true
},
"relationships": {},
"featImg": null,
"name": "sf jewish film festival",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "sf jewish film festival Archives | KQED Arts",
"ogDescription": null
},
"ttid": 5317,
"slug": "sf-jewish-film-festival",
"isLoading": false,
"link": "/arts/tag/sf-jewish-film-festival"
},
"arts_3772": {
"type": "terms",
"id": "arts_3772",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3772",
"found": true
},
"relationships": {},
"name": "SFFILM",
"slug": "sffilm",
"taxonomy": "tag",
"description": null,
"featImg": null,
"headData": {
"title": "SFFILM | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 3784,
"isLoading": false,
"link": "/arts/tag/sffilm"
},
"arts_10589": {
"type": "terms",
"id": "arts_10589",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "10589",
"found": true
},
"relationships": {},
"featImg": null,
"name": "&Music",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "&Music Archives | KQED Arts",
"ogDescription": null
},
"ttid": 10601,
"slug": "music",
"isLoading": false,
"link": "/arts/tag/music"
},
"arts_3547": {
"type": "terms",
"id": "arts_3547",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3547",
"found": true
},
"relationships": {},
"featImg": null,
"name": "castro",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "castro Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3559,
"slug": "castro",
"isLoading": false,
"link": "/arts/tag/castro"
},
"arts_3465": {
"type": "terms",
"id": "arts_3465",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3465",
"found": true
},
"relationships": {},
"featImg": null,
"name": "movies",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "movies Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3477,
"slug": "movies",
"isLoading": false,
"link": "/arts/tag/movies"
},
"arts_3670": {
"type": "terms",
"id": "arts_3670",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3670",
"found": true
},
"relationships": {},
"featImg": null,
"name": "castro theater",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "castro theater Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3682,
"slug": "castro-theater",
"isLoading": false,
"link": "/arts/tag/castro-theater"
},
"arts_1853": {
"type": "terms",
"id": "arts_1853",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1853",
"found": true
},
"relationships": {},
"featImg": null,
"name": "bottlerock",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "bottlerock Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1865,
"slug": "bottlerock",
"isLoading": false,
"link": "/arts/tag/bottlerock"
},
"arts_1071": {
"type": "terms",
"id": "arts_1071",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1071",
"found": true
},
"relationships": {},
"featImg": null,
"name": "San Francisco Opera",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "San Francisco Opera Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1088,
"slug": "san-francisco-opera",
"isLoading": false,
"link": "/arts/tag/san-francisco-opera"
},
"arts_1367": {
"type": "terms",
"id": "arts_1367",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1367",
"found": true
},
"relationships": {},
"featImg": null,
"name": "San Francisco Symphony",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "San Francisco Symphony Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1379,
"slug": "san-francisco-symphony",
"isLoading": false,
"link": "/arts/tag/san-francisco-symphony"
},
"arts_1788": {
"type": "terms",
"id": "arts_1788",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1788",
"found": true
},
"relationships": {},
"featImg": null,
"name": "stern grove",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "stern grove Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1800,
"slug": "stern-grove",
"isLoading": false,
"link": "/arts/tag/stern-grove"
},
"arts_10126": {
"type": "terms",
"id": "arts_10126",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "10126",
"found": true
},
"relationships": {},
"featImg": null,
"name": "coronavirus",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "coronavirus Archives | KQED Arts",
"ogDescription": null
},
"ttid": 10138,
"slug": "coronavirus",
"isLoading": false,
"link": "/arts/tag/coronavirus"
},
"arts_10127": {
"type": "terms",
"id": "arts_10127",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "10127",
"found": true
},
"relationships": {},
"featImg": null,
"name": "covid-19",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "covid-19 Archives | KQED Arts",
"ogDescription": null
},
"ttid": 10139,
"slug": "covid-19",
"isLoading": false,
"link": "/arts/tag/covid-19"
},
"arts_3944": {
"type": "terms",
"id": "arts_3944",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3944",
"found": true
},
"relationships": {},
"featImg": null,
"name": "fox theater",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "fox theater Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3956,
"slug": "fox-theater",
"isLoading": false,
"link": "/arts/tag/fox-theater"
},
"arts_6387": {
"type": "terms",
"id": "arts_6387",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "6387",
"found": true
},
"relationships": {},
"featImg": null,
"name": "music venues",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "music venues Archives | KQED Arts",
"ogDescription": null
},
"ttid": 6399,
"slug": "music-venues",
"isLoading": false,
"link": "/arts/tag/music-venues"
},
"arts_11031": {
"type": "terms",
"id": "arts_11031",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "11031",
"found": true
},
"relationships": {},
"featImg": null,
"name": "national independent venue association",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "national independent venue association Archives | KQED Arts",
"ogDescription": null
},
"ttid": 11043,
"slug": "national-independent-venue-association",
"isLoading": false,
"link": "/arts/tag/national-independent-venue-association"
},
"arts_1739": {
"type": "terms",
"id": "arts_1739",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1739",
"found": true
},
"relationships": {},
"name": "Outside Lands",
"slug": "outside-lands",
"taxonomy": "tag",
"description": null,
"featImg": null,
"headData": {
"title": "Outside Lands | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 1751,
"isLoading": false,
"link": "/arts/tag/outside-lands"
},
"arts_10902": {
"type": "terms",
"id": "arts_10902",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "10902",
"found": true
},
"relationships": {},
"featImg": null,
"name": "reopening",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "reopening Archives | KQED Arts",
"ogDescription": null
},
"ttid": 10914,
"slug": "reopening",
"isLoading": false,
"link": "/arts/tag/reopening"
},
"arts_12958": {
"type": "terms",
"id": "arts_12958",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "12958",
"found": true
},
"relationships": {},
"featImg": null,
"name": "2020inreview",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "2020inreview Archives | KQED Arts",
"ogDescription": null
},
"ttid": 12970,
"slug": "2020inreview",
"isLoading": false,
"link": "/arts/tag/2020inreview"
},
"arts_10422": {
"type": "terms",
"id": "arts_10422",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "10422",
"found": true
},
"relationships": {},
"featImg": null,
"name": "featured-news",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "featured-news Archives | KQED Arts",
"ogDescription": null
},
"ttid": 10434,
"slug": "featured-news",
"isLoading": false,
"link": "/arts/tag/featured-news"
},
"arts_2093": {
"type": "terms",
"id": "arts_2093",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2093",
"found": true
},
"relationships": {},
"featImg": null,
"name": "uc theatre",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "uc theatre Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2105,
"slug": "uc-theatre",
"isLoading": false,
"link": "/arts/tag/uc-theatre"
},
"arts_1118": {
"type": "terms",
"id": "arts_1118",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1118",
"found": true
},
"relationships": {},
"featImg": null,
"name": "featured",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "featured Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1135,
"slug": "featured",
"isLoading": false,
"link": "/arts/tag/featured"
},
"arts_1694": {
"type": "terms",
"id": "arts_1694",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1694",
"found": true
},
"relationships": {},
"featImg": null,
"name": "music festivals",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "music festivals Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1706,
"slug": "music-festivals",
"isLoading": false,
"link": "/arts/tag/music-festivals"
},
"arts_746": {
"type": "terms",
"id": "arts_746",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "746",
"found": true
},
"relationships": {},
"featImg": null,
"name": "news",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "news Archives | KQED Arts",
"ogDescription": null
},
"ttid": 764,
"slug": "news-2",
"isLoading": false,
"link": "/arts/tag/news-2"
},
"arts_1022": {
"type": "terms",
"id": "arts_1022",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1022",
"found": true
},
"relationships": {},
"featImg": null,
"name": "noise pop",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "noise pop Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1039,
"slug": "noise-pop",
"isLoading": false,
"link": "/arts/tag/noise-pop"
},
"arts_596": {
"type": "terms",
"id": "arts_596",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "596",
"found": true
},
"relationships": {},
"featImg": null,
"name": "ntv",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "ntv Archives | KQED Arts",
"ogDescription": null
},
"ttid": 602,
"slug": "ntv",
"isLoading": false,
"link": "/arts/tag/ntv"
},
"arts_1143": {
"type": "terms",
"id": "arts_1143",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1143",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Oakland",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Oakland Archives | KQED Arts",
"ogDescription": null
},
"ttid": 692,
"slug": "oakland",
"isLoading": false,
"link": "/arts/tag/oakland"
},
"arts_1539": {
"type": "terms",
"id": "arts_1539",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1539",
"found": true
},
"relationships": {},
"featImg": null,
"name": "treasure island music festival",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "treasure island music festival Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1551,
"slug": "treasure-island-music-festival",
"isLoading": false,
"link": "/arts/tag/treasure-island-music-festival"
},
"arts_3875": {
"type": "terms",
"id": "arts_3875",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3875",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Goldenvoice",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Goldenvoice Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3887,
"slug": "goldenvoice",
"isLoading": false,
"link": "/arts/tag/goldenvoice"
},
"arts_2187": {
"type": "terms",
"id": "arts_2187",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2187",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Great American Music Hall",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Great American Music Hall Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2199,
"slug": "great-american-music-hall",
"isLoading": false,
"link": "/arts/tag/great-american-music-hall"
},
"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"
}
},
"userPermissionsReducer": {
"wpLoggedIn": false
},
"eventsReducer": {},
"fssReducer": {},
"tvDailyScheduleReducer": {},
"tvWeeklyScheduleReducer": {},
"tvPrimetimeScheduleReducer": {},
"tvMonthlyScheduleReducer": {},
"userAccountReducer": {
"user": {
"email": null,
"emailStatus": "EMAIL_UNVALIDATED",
"loggedStatus": "LOGGED_OUT",
"loggingChecked": false,
"articles": [],
"firstName": null,
"lastName": null,
"phoneNumber": null,
"fetchingMembership": false,
"membershipError": false,
"memberships": [
{
"id": null,
"startDate": null,
"firstName": null,
"lastName": null,
"familyNumber": null,
"memberNumber": null,
"memberSince": null,
"expirationDate": null,
"pfsEligible": false,
"isSustaining": false,
"membershipLevel": "Prospect",
"membershipStatus": "Non Member",
"lastGiftDate": null,
"renewalDate": null,
"lastDonationAmount": null
}
]
},
"authModal": {
"isOpen": false,
"view": "LANDING_VIEW"
},
"error": null
},
"youthMediaReducer": {},
"checkPleaseReducer": {
"filterData": {
"region": {
"key": "Restaurant Region",
"filters": [
"Any Region"
]
},
"cuisine": {
"key": "Restaurant Cuisine",
"filters": [
"Any Cuisine"
]
}
},
"restaurantDataById": {},
"restaurantIdsSorted": [],
"error": null
},
"userAgentReducer": {
"userAgent": "Mozilla/5.0 AppleWebKit/537.36 (KHTML, like Gecko; compatible; ClaudeBot/1.0; +claudebot@anthropic.com)",
"isBot": true
},
"requestOutcomesReducer": {
"notFound": []
},
"navPromosReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": true,
"promos": {
"news": {
"name": "2026 Voter Guide",
"link": "/voterguide",
"imageURL": "https://cdn.kqed.org/wp-content/uploads/2026/10/Nav-News-Nov2026ElectionCoverage@2x-7bd4aad4.png",
"description": "Get informed in minutes with our Voter Guide for California’s November 3 election."
},
"podcasts-radio": {},
"video-tv": {},
"events": {},
"support": {}
}
}
}