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_13921592": {
"type": "attachments",
"id": "arts_13921592",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13921592",
"found": true
},
"parent": 13921584,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/Jean-Fineberg-poto-by-Sandy-Morris-cropped-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/Jean-Fineberg-poto-by-Sandy-Morris-cropped-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/Jean-Fineberg-poto-by-Sandy-Morris-cropped-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/Jean-Fineberg-poto-by-Sandy-Morris-cropped.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/Jean-Fineberg-poto-by-Sandy-Morris-cropped-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/Jean-Fineberg-poto-by-Sandy-Morris-cropped-1536x864.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 864
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/Jean-Fineberg-poto-by-Sandy-Morris-cropped-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/11/Jean-Fineberg-poto-by-Sandy-Morris-cropped-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1668474354,
"modified": 1668474945,
"caption": "In the 1970s, Jean Fineberg recorded with all-time greats like David Bowie and Chic. And in more recent years, she's been a force in the East Bay's jazz scene, connecting and creating opportunities for women players.",
"description": null,
"title": "Jean-Fineberg poto by Sandy Morris cropped",
"credit": "Sandy Morris",
"status": "inherit",
"altTag": "Saxophonist Jean Fineberg plays a solo.",
"fetchFailed": false,
"isLoading": false
},
"arts_13907683": {
"type": "attachments",
"id": "arts_13907683",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13907683",
"found": true
},
"parent": 13907681,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/01/gettyimages-74413529-35cfcf03d2a4d7d50fec1e31a79f13287b1d5b94-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/01/gettyimages-74413529-35cfcf03d2a4d7d50fec1e31a79f13287b1d5b94-160x120.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 120
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/01/gettyimages-74413529-35cfcf03d2a4d7d50fec1e31a79f13287b1d5b94-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/01/gettyimages-74413529-35cfcf03d2a4d7d50fec1e31a79f13287b1d5b94-scaled-e1641327749728.jpg",
"width": 1920,
"height": 1440
},
"2048x2048": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/01/gettyimages-74413529-35cfcf03d2a4d7d50fec1e31a79f13287b1d5b94-2048x1536.jpg",
"width": 2048,
"mimeType": "image/jpeg",
"height": 1536
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/01/gettyimages-74413529-35cfcf03d2a4d7d50fec1e31a79f13287b1d5b94-1020x765.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 765
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/01/gettyimages-74413529-35cfcf03d2a4d7d50fec1e31a79f13287b1d5b94-1536x1152.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 1152
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/01/gettyimages-74413529-35cfcf03d2a4d7d50fec1e31a79f13287b1d5b94-1920x1440.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1440
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/01/gettyimages-74413529-35cfcf03d2a4d7d50fec1e31a79f13287b1d5b94-800x600.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 600
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/01/gettyimages-74413529-35cfcf03d2a4d7d50fec1e31a79f13287b1d5b94-768x576.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 576
}
},
"publishDate": 1641327248,
"modified": 1641327784,
"caption": "Musician David Bowie speaks onstage while accepting the Webby Lifetime Achievement award at the 11th Annual Webby Awards in 2007.",
"description": null,
"title": "Musician David Bowie speaks onstage while accepting the Webby Lifetime Achievement award at the 11th Annual Webby Awards in 2007.",
"credit": "Bryan Bedder/Getty Images",
"status": "inherit",
"altTag": null,
"fetchFailed": false,
"isLoading": false
},
"arts_13898902": {
"type": "attachments",
"id": "arts_13898902",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13898902",
"found": true
},
"parent": 13898899,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/06/Screen-Shot-2021-06-16-at-12.37.13-PM-1038x576.png",
"width": 1038,
"mimeType": "image/png",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/06/Screen-Shot-2021-06-16-at-12.37.13-PM-160x93.png",
"width": 160,
"mimeType": "image/png",
"height": 93
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/06/Screen-Shot-2021-06-16-at-12.37.13-PM-672x372.png",
"width": 672,
"mimeType": "image/png",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/06/Screen-Shot-2021-06-16-at-12.37.13-PM.png",
"width": 2768,
"height": 1606
},
"2048x2048": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/06/Screen-Shot-2021-06-16-at-12.37.13-PM-2048x1188.png",
"width": 2048,
"mimeType": "image/png",
"height": 1188
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/06/Screen-Shot-2021-06-16-at-12.37.13-PM-1020x592.png",
"width": 1020,
"mimeType": "image/png",
"height": 592
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/06/Screen-Shot-2021-06-16-at-12.37.13-PM-1536x891.png",
"width": 1536,
"mimeType": "image/png",
"height": 891
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/06/Screen-Shot-2021-06-16-at-12.37.13-PM-1920x1114.png",
"width": 1920,
"mimeType": "image/png",
"height": 1114
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/06/Screen-Shot-2021-06-16-at-12.37.13-PM-800x464.png",
"width": 800,
"mimeType": "image/png",
"height": 464
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/06/Screen-Shot-2021-06-16-at-12.37.13-PM-768x446.png",
"width": 768,
"mimeType": "image/png",
"height": 446
}
},
"publishDate": 1623872254,
"modified": 1623872254,
"caption": null,
"description": null,
"title": "Screen Shot 2021-06-16 at 12.37.13 PM",
"credit": null,
"status": "inherit",
"altTag": null,
"fetchFailed": false,
"isLoading": false
},
"arts_13883291": {
"type": "attachments",
"id": "arts_13883291",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13883291",
"found": true
},
"parent": 13883290,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/07/eclbsr4woaawehd_wide-bbcac503db5681127d93076772b508718a5ddd70-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/07/eclbsr4woaawehd_wide-bbcac503db5681127d93076772b508718a5ddd70-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/07/eclbsr4woaawehd_wide-bbcac503db5681127d93076772b508718a5ddd70-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/07/eclbsr4woaawehd_wide-bbcac503db5681127d93076772b508718a5ddd70.jpg",
"width": 1817,
"height": 1022
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/07/eclbsr4woaawehd_wide-bbcac503db5681127d93076772b508718a5ddd70-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/07/eclbsr4woaawehd_wide-bbcac503db5681127d93076772b508718a5ddd70-1536x864.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 864
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/07/eclbsr4woaawehd_wide-bbcac503db5681127d93076772b508718a5ddd70-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/07/eclbsr4woaawehd_wide-bbcac503db5681127d93076772b508718a5ddd70-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1594754337,
"modified": 1594755041,
"caption": "Activity manager Robert Speker worked with residents at England's Sydmar Lodge care home to re-create iconic album covers. Due to COVID-19, residents have been locked down in the facility for months.",
"description": "Activity manager Robert Speker worked with residents at England's Sydmar Lodge care home to re-create iconic album covers. Due to COVID-19, residents have been locked down in the facility for months.",
"title": "Activity manager Robert Speker worked with residents at England's Sydmar Lodge care home to re-create iconic album covers. Due to COVID-19, residents have been locked down in the facility for months.",
"credit": "Twitter/ @robertspeker",
"status": "inherit",
"fetchFailed": false,
"isLoading": false
},
"arts_13827479": {
"type": "attachments",
"id": "arts_13827479",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13827479",
"found": true
},
"parent": 13827478,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_63_ps11_wide-2aadff5e05f7358eac76e4e9946eda89d6dd0d1e-520x292.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 292
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_63_ps11_wide-2aadff5e05f7358eac76e4e9946eda89d6dd0d1e-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_63_ps11_wide-2aadff5e05f7358eac76e4e9946eda89d6dd0d1e-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_63_ps11_wide-2aadff5e05f7358eac76e4e9946eda89d6dd0d1e-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_63_ps11_wide-2aadff5e05f7358eac76e4e9946eda89d6dd0d1e-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_63_ps11_wide-2aadff5e05f7358eac76e4e9946eda89d6dd0d1e-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_63_ps11_wide-2aadff5e05f7358eac76e4e9946eda89d6dd0d1e.jpg",
"width": 2048,
"height": 1152
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_63_ps11_wide-2aadff5e05f7358eac76e4e9946eda89d6dd0d1e-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_63_ps11_wide-2aadff5e05f7358eac76e4e9946eda89d6dd0d1e-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_63_ps11_wide-2aadff5e05f7358eac76e4e9946eda89d6dd0d1e-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_63_ps11_wide-2aadff5e05f7358eac76e4e9946eda89d6dd0d1e-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_63_ps11_wide-2aadff5e05f7358eac76e4e9946eda89d6dd0d1e-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_63_ps11_wide-2aadff5e05f7358eac76e4e9946eda89d6dd0d1e-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_63_ps11_wide-2aadff5e05f7358eac76e4e9946eda89d6dd0d1e-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_63_ps11_wide-2aadff5e05f7358eac76e4e9946eda89d6dd0d1e-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_63_ps11_wide-2aadff5e05f7358eac76e4e9946eda89d6dd0d1e-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_63_ps11_wide-2aadff5e05f7358eac76e4e9946eda89d6dd0d1e-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_63_ps11_wide-2aadff5e05f7358eac76e4e9946eda89d6dd0d1e-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_63_ps11_wide-2aadff5e05f7358eac76e4e9946eda89d6dd0d1e-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_63_ps11_wide-2aadff5e05f7358eac76e4e9946eda89d6dd0d1e-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_63_ps11_wide-2aadff5e05f7358eac76e4e9946eda89d6dd0d1e-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1521389071,
"modified": 1521389071,
"caption": null,
"description": "\u003cem>David Bowie Is\u003c/em> will run from March 2, 2018 through July 15, 2018 at the Brooklyn Museum.",
"title": "David Bowie Is will run from March 2, 2018 through July 15, 2018 at the Brooklyn Museum.",
"credit": null,
"status": "inherit",
"fetchFailed": false,
"isLoading": false
},
"arts_12488851": {
"type": "attachments",
"id": "arts_12488851",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "12488851",
"found": true
},
"parent": 12488638,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/12/seu-jorgejpg-2eb1dd28aaad8a61-e1481846445373-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/12/seu-jorgejpg-2eb1dd28aaad8a61-e1481846445373-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/12/seu-jorgejpg-2eb1dd28aaad8a61-e1481846445373-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/12/seu-jorgejpg-2eb1dd28aaad8a61-e1481846445373-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/12/seu-jorgejpg-2eb1dd28aaad8a61-e1481846445373-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/12/seu-jorgejpg-2eb1dd28aaad8a61-e1481846445373-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/12/seu-jorgejpg-2eb1dd28aaad8a61-e1481846445373.jpg",
"width": 2027,
"height": 1141
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/12/seu-jorgejpg-2eb1dd28aaad8a61-e1481846445373-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/12/seu-jorgejpg-2eb1dd28aaad8a61-e1481846445373-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/12/seu-jorgejpg-2eb1dd28aaad8a61-e1481846445373-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/12/seu-jorgejpg-2eb1dd28aaad8a61-e1481846445373-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/12/seu-jorgejpg-2eb1dd28aaad8a61-e1481846445373-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/12/seu-jorgejpg-2eb1dd28aaad8a61-e1481846445373-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/12/seu-jorgejpg-2eb1dd28aaad8a61-e1481846445373-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/12/seu-jorgejpg-2eb1dd28aaad8a61-e1481846445373-1920x1081.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1081
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/12/seu-jorgejpg-2eb1dd28aaad8a61-e1481846445373-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/12/seu-jorgejpg-2eb1dd28aaad8a61-e1481846445373-1920x1081.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1081
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/12/seu-jorgejpg-2eb1dd28aaad8a61-e1481846445373-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/12/seu-jorgejpg-2eb1dd28aaad8a61-e1481846445373-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/12/seu-jorgejpg-2eb1dd28aaad8a61-e1481846445373-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/12/seu-jorgejpg-2eb1dd28aaad8a61-e1481846445373-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1481846396,
"modified": 1481846493,
"caption": "Seu Jorge performs Thursday, Dec. 15 at the Regency Ballroom.",
"description": null,
"title": "seu-jorgejpg-2eb1dd28aaad8a61",
"credit": null,
"status": "inherit",
"fetchFailed": false,
"isLoading": false
},
"arts_11238570": {
"type": "attachments",
"id": "arts_11238570",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "11238570",
"found": true
},
"parent": 11238569,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/man067ab_wide-7e2ec16e47ffe146ef9aeeba204c15741b940f46-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/man067ab_wide-7e2ec16e47ffe146ef9aeeba204c15741b940f46-400x225.jpg",
"width": 400,
"mimeType": "image/jpeg",
"height": 225
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/man067ab_wide-7e2ec16e47ffe146ef9aeeba204c15741b940f46-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/man067ab_wide-7e2ec16e47ffe146ef9aeeba204c15741b940f46-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/man067ab_wide-7e2ec16e47ffe146ef9aeeba204c15741b940f46.jpg",
"width": 4337,
"height": 2439
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/man067ab_wide-7e2ec16e47ffe146ef9aeeba204c15741b940f46-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/man067ab_wide-7e2ec16e47ffe146ef9aeeba204c15741b940f46-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/man067ab_wide-7e2ec16e47ffe146ef9aeeba204c15741b940f46-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/man067ab_wide-7e2ec16e47ffe146ef9aeeba204c15741b940f46-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/man067ab_wide-7e2ec16e47ffe146ef9aeeba204c15741b940f46-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/man067ab_wide-7e2ec16e47ffe146ef9aeeba204c15741b940f46-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/man067ab_wide-7e2ec16e47ffe146ef9aeeba204c15741b940f46-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/man067ab_wide-7e2ec16e47ffe146ef9aeeba204c15741b940f46-75x75.jpg",
"width": 75,
"mimeType": "image/jpeg",
"height": 75
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/man067ab_wide-7e2ec16e47ffe146ef9aeeba204c15741b940f46-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2016/01/man067ab_wide-7e2ec16e47ffe146ef9aeeba204c15741b940f46-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1452550427,
"modified": 1452550427,
"caption": null,
"description": "David Bowie showed off his acting chops as the British-accented alien in the 1976 film \u003cem>The Man Who Fell To Earth\u003c/em>.",
"title": "David Bowie showed off his acting chops as the British-accented alien in the 1976 film The Man Who Fell To Earth.",
"credit": null,
"status": "inherit",
"fetchFailed": false,
"isLoading": false
}
},
"audioPlayerReducer": {
"postId": "stream_live",
"isPaused": true,
"isPlaying": false,
"pfsActive": false,
"pledgeModalIsOpen": true,
"playerDrawerIsOpen": false
},
"authorsReducer": {
"byline_arts_13907681": {
"type": "authors",
"id": "byline_arts_13907681",
"meta": {
"override": true
},
"slug": "byline_arts_13907681",
"name": "Neda Ulaby",
"isLoading": false
},
"byline_arts_13898899": {
"type": "authors",
"id": "byline_arts_13898899",
"meta": {
"override": true
},
"slug": "byline_arts_13898899",
"name": "Leila Fadel",
"isLoading": false
},
"byline_arts_13883290": {
"type": "authors",
"id": "byline_arts_13883290",
"meta": {
"override": true
},
"slug": "byline_arts_13883290",
"name": "Laurel Wamsley",
"isLoading": false
},
"byline_arts_13827478": {
"type": "authors",
"id": "byline_arts_13827478",
"meta": {
"override": true
},
"slug": "byline_arts_13827478",
"name": "Piotr Orlov",
"isLoading": false
},
"byline_arts_12488638": {
"type": "authors",
"id": "byline_arts_12488638",
"meta": {
"override": true
},
"slug": "byline_arts_12488638",
"name": "Adrian Spinelli",
"isLoading": false
},
"byline_arts_11238569": {
"type": "authors",
"id": "byline_arts_11238569",
"meta": {
"override": true
},
"slug": "byline_arts_11238569",
"name": "Bob Mondello",
"isLoading": false
},
"agilbert": {
"type": "authors",
"id": "86",
"meta": {
"index": "authors_1716337520",
"id": "86",
"found": true
},
"name": "Andrew Gilbert",
"firstName": "Andrew",
"lastName": "Gilbert",
"slug": "agilbert",
"email": "jazzscribe@aol.com",
"display_author_email": false,
"staff_mastheads": [],
"title": "KQED Contributor",
"bio": "A Los Angeles native based in the Berkeley area since 1996, Andrew Gilbert covers jazz, international music and dance for KQED's \u003ci>California Report, \u003c/i>the\u003ci> Mercury News\u003c/i>, \u003ci>San Francisco Chronicle\u003c/i>, \u003ci>Berkeleyside.com\u003c/i>, and other publications. He is available for weddings and bar and bat mitzvahs. #jazzscribe",
"avatar": "https://secure.gravatar.com/avatar/445e6fe4cc696bd39773e3c90f5108b6?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"Contributor",
"author"
]
},
{
"site": "news",
"roles": [
"author"
]
}
],
"headData": {
"title": "Andrew Gilbert | KQED",
"description": "KQED Contributor",
"ogImgSrc": "https://secure.gravatar.com/avatar/445e6fe4cc696bd39773e3c90f5108b6?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/445e6fe4cc696bd39773e3c90f5108b6?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/agilbert"
}
},
"breakingNewsReducer": {},
"pagesReducer": {},
"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_13921584": {
"type": "posts",
"id": "arts_13921584",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13921584",
"score": null,
"sort": [
1668535580000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1668535580,
"format": "standard",
"title": "Since Bowie’s ‘Fame,’ Jean Fineberg Has Written Her Own Musical Rules",
"headTitle": "Since Bowie’s ‘Fame,’ Jean Fineberg Has Written Her Own Musical Rules | KQED",
"content": "\u003cp>Carry your horn with you and you never know where you might end up. For East Bay saxophonist and flutist \u003ca href=\"https://jeanfineberg.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Jean Fineberg\u003c/a>, toting an instrument around has led to some memorable encounters, like the time she ended up at a drug-fueled Electric Ladyland Studios recording session with David Bowie and John Lennon, contributing backup vocals on the 1975 hit “Fame.”\u003c/p>\n\u003cp>A Bronx native who spent more than a decade on the New York music scene playing R&B, pop, jazz and fusion, Fineberg has been a creative force in the Bay Area since moving west in 1989 with trumpeter Ellen Seeling, her partner in music and life. A versatile and well-traveled performer with more than 50 albums to her credit, including recordings by Patti LaBelle, Bo Diddley and Laura Nyro, Fineberg also played on Sister Sledge’s iconic hit “We Are Family” and anchored the horn section on Chic’s influential albums \u003cem>C’est Chic\u003c/em> and \u003cem>Risqué\u003c/em>.\u003c/p>\n\u003cp>In the Bay Area she and Seeling have long co-led the \u003ca href=\"https://www.montclairwomensbigband.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Montclair Women’s Big Band\u003c/a>, but in April of this year the saxophonist released her first album under her own name, \u003cem>Jean Fineberg & JAZZphoria. \u003c/em>Drawing from the Montclair band’s deep pool of talent, the eight-piece combo makes its \u003ca href=\"https://secure.thefreight.org/11707/jean-feinberg-and-jazzphoria\">Freight & Salvage debut Sunday, Nov. 20\u003c/a>. Featuring her original tunes and arrangements, the album reflects Fineberg’s love of improvisation and her conviction that music should be inextricably tied to dance and communal celebration, both of which served her well in her session with Bowie.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=VWjucGsfzg4\u003c/p>\n\u003cp>Fineberg drifted into Bowie’s orbit because a friend was dating him at the time, and she invited Fineberg to the studio. “I happened to have my flute with me and he asked if I wanted to play,” she recalls. “I ended up taking a solo on ‘Fame.’ And I sang on that too, and I’m not a singer! We all spent the night at his brownstone all coked up listening back to all the tracks. Philip Glass was there too, though I don’t know if he was doing coke. Two weeks later Bowie’s people called and asked for my info. I was in a 20-something daze and didn’t grasp the import. I was credited for vocals, but he cut most of the flute solo, which was totally fine. It’s an amazing song.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Many years later, the track with \u003ca href=\"https://www.youtube.com/watch?v=BGbWQn7cXxc\">Fineberg’s flute work\u003c/a> surfaced online.\u003c/p>\n\u003cp>https://youtu.be/BGbWQn7cXxc\u003c/p>\n\u003cp>In making her own musical statement, Fineberg wanted to document a diverse program of her originals exploring a variety of forms and grooves. While her burly tenor sax guides the proceedings, she gives plenty of space to top-shelf players like trumpeter Marina Garza, guitarist Nancy Wenstrom and low-reed expert Carolyn Walter on baritone sax and bass clarinet\u003c/p>\n\u003cp>They’re all well-traveled veterans, but Fineberg always has her eye out for young talent. Handling acoustic and electric bass duties is Jodi Durst, a recent graduate of the California Jazz Conservatory. And \u003ca href=\"https://erikaoba.com/bio\" target=\"_blank\" rel=\"noopener noreferrer\">Erika Oba\u003c/a> is a rising composer with an Oberlin Conservatory jazz piano degree who serves as resident YouthStage musical director at Berkeley Playhouse. She holds down the JAZZphoria keyboard bench while also contributing on flute and piccolo.\u003c/p>\n\u003cp>Oba credits Fineberg and Seeling, who are devoted to championing rising female musicians, with hiring her for some of her first gigs when she moved back to the East Bay, starting with a faculty spot on the summer \u003ca href=\"https://cjc.edu/jazzschool/camps-and-intensives/summer-youth-programs/girls-jazz-blues-camp/\" target=\"_blank\" rel=\"noopener noreferrer\">Girls’ Jazz & Blues Camp\u003c/a> they’ve produced at the California Jazz Conservatory since 2011. Before long she was subbing in the Montclair Women’s Big Band for pianist \u003ca href=\"https://www.kqed.org/arts/13875256/a-solution-for-musicians-suffering-from-exposure-labor-organizing\" target=\"_blank\" rel=\"noopener noreferrer\">Tammy Hall\u003c/a>, “who was a great mentor for me,” says Oba. She also connected so well with new JAZZphoria drummer Jeremy Steinkoler that they’ve started performing in another trio (including a \u003ca href=\"https://erikaoba.com/calendar/erika-oba-trio-at-the-back-room-8a35j-jyklw\">Dec. 11 Outsound date\u003c/a> at Musicians Union in San Francisco). [aside postid='arts_13921184']\u003c/p>\n\u003cp>“Jeanie’s band is always a really good time,” Oba says. “All of her concerts feel like a party. Her music is really fun, and while a lot of it is pretty complicated with shifting meters, it still feels like party music. We love it when people dance.”\u003c/p>\n\u003cp>Fineberg also plays drums in \u003ca href=\"https://www.youtube.com/watch?v=a_vTKBxT8bk\">Party Monsters\u003c/a>, a five-women cover band that often gets booked at county fairs. She’s worked in lots of mixed-gender combos, and has found that she prefers the camaraderie of all- or majority-women ensembles, which is what she was looking for in JAZZphoria. As a composer and arranger, she puts a premium on good readers and multi-instrumentalists, “because the bigger the palette the better,” she says. “And I wanted team players, people who were into the music, not hired guns. If I found two players who met those criteria and one was a man and one was a woman, I went with the woman. I wanted these underrecognized to players to have more visibility, and it turned out to be seven women and one man.”\u003c/p>\n\u003cfigure id=\"attachment_13921593\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921593\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Jean-Fineberg-JAZZphoria-PHOTO-LoRes-Horizontal_Credit-Irene-Young-Copy-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Jean-Fineberg-JAZZphoria-PHOTO-LoRes-Horizontal_Credit-Irene-Young-Copy-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Jean-Fineberg-JAZZphoria-PHOTO-LoRes-Horizontal_Credit-Irene-Young-Copy-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Jean-Fineberg-JAZZphoria-PHOTO-LoRes-Horizontal_Credit-Irene-Young-Copy-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Jean-Fineberg-JAZZphoria-PHOTO-LoRes-Horizontal_Credit-Irene-Young-Copy-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Jean-Fineberg-JAZZphoria-PHOTO-LoRes-Horizontal_Credit-Irene-Young-Copy.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jean Fineberg & JAZZphoria. \u003ccite>(Irene Young)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If Hollywood ever makes a film about women horn players, Fineberg and Seeling’s story could serve as a model for the romantic subplot. They met via the all-women band Isis, which Carol MacDonald and Ginger Bianco launched in 1972 when horn-driven bands like Chicago and Blood, Sweat and Tears were juggernauts. Fineberg was a founding member, and Seeling connected with the group several years later during the making of the third Isis album \u003cem>Breaking Through\u003c/em> “in Allen Toussaint’s studio in New Orleans,” Fineberg says.\u003c/p>\n\u003cp>Recommended by the great multi-instrumentalist Howard Johnson, Seeling arrived at the session “and we did \u003cem>not\u003c/em> get along at all,” Fineberg says. “I was a wild rock ‘n’ roll player, so here we were, me and trombonist Lolly Bienenfeld, and Ellen starts instructing us that the trumpet always leads the horn section. That’s what she learned in school.”\u003c/p>\n\u003cp>Whatever the tensions, Seeling joined the band for an East Coast tour, and somewhere along the Atlantic seaboard, their relationship changed. They both went on to tour and record with Laura Nyro, becoming close friends with her while the women in the band joined Nyro in the RV and the men flew to the next gig. Playing horn parts they created behind her vocals, they’re featured throughout her 1977 live album \u003cem>Season of Lights \u003c/em>(in a band that included jazz bass legend Richard Davis, vibraphonist Mike Mainieri and drummer Andy Newmark). [aside postid='arts_13921373']\u003c/p>\n\u003cp>“‘\u003ca href=\"https://www.youtube.com/watch?v=GBCfJ0MqqVY\">Upstairs By A Chinese Lamp\u003c/a>’ has some of my best flute work on record, and ‘I Am the Blues’ is some of Ellen’s best trumpet playing,” Fineberg says. “Laura didn’t have any charts and couldn’t tell you what chords you were playing. She’d say, ‘I want you to play palm trees on this section, or ocean waves.’”\u003c/p>\n\u003cp>Looking for an outlet for her songwriting, Fineberg and Seeling launched the Brecker Brothers-inspired fusion band \u003ca href=\"https://www.youtube.com/watch?v=xvvOAo1Z5qE\">DEUCE\u003c/a>, which performed at jazz festivals and clubs around the world in the 1980s while releasing several well-received albums. The band continued to tour and perform after they relocated to the East Bay in 1989, but when the opportunity arose to create the Montclair Women’s Big Band in 1997, they quickly established the 17-piece orchestra. Over the past decade or so Seeling has often taken a more visible role as an activist demanding equal opportunities for women instrumentalists, who are still often overlooked when it comes to major festivals. With JAZZphoria, Fineberg is making a potent musical statement that draws on her wealth of accumulated experience.\u003c/p>\n\u003cp>https://youtu.be/xvvOAo1Z5qE\u003c/p>\n\u003cp>“I’m coming from the blues essentially in everything I do,” she says. “I’m coming from rhythm. That’s how I start a tune, whether it’s blues, R&B or Latin music. I thought long and hard about calling it JAZZphoria because I didn’t want to typecast the group, that we’d be swinging all the time. But it is all improvised music. The tunes are vehicles for the soloists, but it’s very eclectic because I like so many different things. I’m tired of going to concerts where everything sounds the same.”\u003c/p>\n\u003cp>If there’s one thing that doesn’t seem to have changed much over the years it’s the predictable reaction to a woman with a horn. Fineberg recently posted on Facebook about a random encounter at a hotel in Wisconsin where “a 77-year-old lawyer and university professor, upon hearing that I’m a sax player, said ‘That’s a big instrument for a little girl.’” The post elicited more than 250 comments, with women bassists, drummers, saxophonists, percussionists and trombonists all describing similarly witless comments.\u003c/p>\n\u003cp>Fineberg has no time for fogies of any age. She’s looking to carry her horn into all the best places, bringing JAZZphoria to “the Monterey Jazz Festival, San Jose, Healdsburg, SFJAZZ, Yoshi’s. What everybody wants.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Jean Fineberg & JAZZphoria perform at \u003ca href=\"https://secure.thefreight.org/11707/jean-feinberg-and-jazzphoria\" target=\"_blank\" rel=\"noopener noreferrer\">Freight & Salvage in Berkeley on Nov. 20\u003c/a> at 7 p.m.\u003c/em>\u003c/p>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1624,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 22
},
"modified": 1705006160,
"excerpt": "The esteemed saxophonist and flutist has dedicated much of her career to building up women musicians.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The esteemed saxophonist and flutist has dedicated much of her career to building up women musicians.",
"title": "Since Bowie’s ‘Fame,’ Jean Fineberg Has Written Her Own Musical Rules | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Since Bowie’s ‘Fame,’ Jean Fineberg Has Written Her Own Musical Rules",
"datePublished": "2022-11-15T10:06:20-08:00",
"dateModified": "2024-01-11T12:49:20-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "jean-fineberg-jazzphoria-montclair-womens-big-band-jazz",
"status": "publish",
"templateType": "standard",
"excludeFromSiteSearch": "Include",
"featuredImageType": "standard",
"sticky": false,
"path": "/arts/13921584/jean-fineberg-jazzphoria-montclair-womens-big-band-jazz",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Carry your horn with you and you never know where you might end up. For East Bay saxophonist and flutist \u003ca href=\"https://jeanfineberg.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Jean Fineberg\u003c/a>, toting an instrument around has led to some memorable encounters, like the time she ended up at a drug-fueled Electric Ladyland Studios recording session with David Bowie and John Lennon, contributing backup vocals on the 1975 hit “Fame.”\u003c/p>\n\u003cp>A Bronx native who spent more than a decade on the New York music scene playing R&B, pop, jazz and fusion, Fineberg has been a creative force in the Bay Area since moving west in 1989 with trumpeter Ellen Seeling, her partner in music and life. A versatile and well-traveled performer with more than 50 albums to her credit, including recordings by Patti LaBelle, Bo Diddley and Laura Nyro, Fineberg also played on Sister Sledge’s iconic hit “We Are Family” and anchored the horn section on Chic’s influential albums \u003cem>C’est Chic\u003c/em> and \u003cem>Risqué\u003c/em>.\u003c/p>\n\u003cp>In the Bay Area she and Seeling have long co-led the \u003ca href=\"https://www.montclairwomensbigband.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Montclair Women’s Big Band\u003c/a>, but in April of this year the saxophonist released her first album under her own name, \u003cem>Jean Fineberg & JAZZphoria. \u003c/em>Drawing from the Montclair band’s deep pool of talent, the eight-piece combo makes its \u003ca href=\"https://secure.thefreight.org/11707/jean-feinberg-and-jazzphoria\">Freight & Salvage debut Sunday, Nov. 20\u003c/a>. Featuring her original tunes and arrangements, the album reflects Fineberg’s love of improvisation and her conviction that music should be inextricably tied to dance and communal celebration, both of which served her well in her session with Bowie.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/VWjucGsfzg4'\n title='//www.youtube.com/embed/VWjucGsfzg4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Fineberg drifted into Bowie’s orbit because a friend was dating him at the time, and she invited Fineberg to the studio. “I happened to have my flute with me and he asked if I wanted to play,” she recalls. “I ended up taking a solo on ‘Fame.’ And I sang on that too, and I’m not a singer! We all spent the night at his brownstone all coked up listening back to all the tracks. Philip Glass was there too, though I don’t know if he was doing coke. Two weeks later Bowie’s people called and asked for my info. I was in a 20-something daze and didn’t grasp the import. I was credited for vocals, but he cut most of the flute solo, which was totally fine. It’s an amazing song.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Many years later, the track with \u003ca href=\"https://www.youtube.com/watch?v=BGbWQn7cXxc\">Fineberg’s flute work\u003c/a> surfaced online.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/BGbWQn7cXxc'\n title='//www.youtube.com/embed/BGbWQn7cXxc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In making her own musical statement, Fineberg wanted to document a diverse program of her originals exploring a variety of forms and grooves. While her burly tenor sax guides the proceedings, she gives plenty of space to top-shelf players like trumpeter Marina Garza, guitarist Nancy Wenstrom and low-reed expert Carolyn Walter on baritone sax and bass clarinet\u003c/p>\n\u003cp>They’re all well-traveled veterans, but Fineberg always has her eye out for young talent. Handling acoustic and electric bass duties is Jodi Durst, a recent graduate of the California Jazz Conservatory. And \u003ca href=\"https://erikaoba.com/bio\" target=\"_blank\" rel=\"noopener noreferrer\">Erika Oba\u003c/a> is a rising composer with an Oberlin Conservatory jazz piano degree who serves as resident YouthStage musical director at Berkeley Playhouse. She holds down the JAZZphoria keyboard bench while also contributing on flute and piccolo.\u003c/p>\n\u003cp>Oba credits Fineberg and Seeling, who are devoted to championing rising female musicians, with hiring her for some of her first gigs when she moved back to the East Bay, starting with a faculty spot on the summer \u003ca href=\"https://cjc.edu/jazzschool/camps-and-intensives/summer-youth-programs/girls-jazz-blues-camp/\" target=\"_blank\" rel=\"noopener noreferrer\">Girls’ Jazz & Blues Camp\u003c/a> they’ve produced at the California Jazz Conservatory since 2011. Before long she was subbing in the Montclair Women’s Big Band for pianist \u003ca href=\"https://www.kqed.org/arts/13875256/a-solution-for-musicians-suffering-from-exposure-labor-organizing\" target=\"_blank\" rel=\"noopener noreferrer\">Tammy Hall\u003c/a>, “who was a great mentor for me,” says Oba. She also connected so well with new JAZZphoria drummer Jeremy Steinkoler that they’ve started performing in another trio (including a \u003ca href=\"https://erikaoba.com/calendar/erika-oba-trio-at-the-back-room-8a35j-jyklw\">Dec. 11 Outsound date\u003c/a> at Musicians Union in San Francisco). \u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13921184",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Jeanie’s band is always a really good time,” Oba says. “All of her concerts feel like a party. Her music is really fun, and while a lot of it is pretty complicated with shifting meters, it still feels like party music. We love it when people dance.”\u003c/p>\n\u003cp>Fineberg also plays drums in \u003ca href=\"https://www.youtube.com/watch?v=a_vTKBxT8bk\">Party Monsters\u003c/a>, a five-women cover band that often gets booked at county fairs. She’s worked in lots of mixed-gender combos, and has found that she prefers the camaraderie of all- or majority-women ensembles, which is what she was looking for in JAZZphoria. As a composer and arranger, she puts a premium on good readers and multi-instrumentalists, “because the bigger the palette the better,” she says. “And I wanted team players, people who were into the music, not hired guns. If I found two players who met those criteria and one was a man and one was a woman, I went with the woman. I wanted these underrecognized to players to have more visibility, and it turned out to be seven women and one man.”\u003c/p>\n\u003cfigure id=\"attachment_13921593\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921593\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Jean-Fineberg-JAZZphoria-PHOTO-LoRes-Horizontal_Credit-Irene-Young-Copy-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Jean-Fineberg-JAZZphoria-PHOTO-LoRes-Horizontal_Credit-Irene-Young-Copy-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Jean-Fineberg-JAZZphoria-PHOTO-LoRes-Horizontal_Credit-Irene-Young-Copy-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Jean-Fineberg-JAZZphoria-PHOTO-LoRes-Horizontal_Credit-Irene-Young-Copy-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Jean-Fineberg-JAZZphoria-PHOTO-LoRes-Horizontal_Credit-Irene-Young-Copy-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Jean-Fineberg-JAZZphoria-PHOTO-LoRes-Horizontal_Credit-Irene-Young-Copy.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jean Fineberg & JAZZphoria. \u003ccite>(Irene Young)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If Hollywood ever makes a film about women horn players, Fineberg and Seeling’s story could serve as a model for the romantic subplot. They met via the all-women band Isis, which Carol MacDonald and Ginger Bianco launched in 1972 when horn-driven bands like Chicago and Blood, Sweat and Tears were juggernauts. Fineberg was a founding member, and Seeling connected with the group several years later during the making of the third Isis album \u003cem>Breaking Through\u003c/em> “in Allen Toussaint’s studio in New Orleans,” Fineberg says.\u003c/p>\n\u003cp>Recommended by the great multi-instrumentalist Howard Johnson, Seeling arrived at the session “and we did \u003cem>not\u003c/em> get along at all,” Fineberg says. “I was a wild rock ‘n’ roll player, so here we were, me and trombonist Lolly Bienenfeld, and Ellen starts instructing us that the trumpet always leads the horn section. That’s what she learned in school.”\u003c/p>\n\u003cp>Whatever the tensions, Seeling joined the band for an East Coast tour, and somewhere along the Atlantic seaboard, their relationship changed. They both went on to tour and record with Laura Nyro, becoming close friends with her while the women in the band joined Nyro in the RV and the men flew to the next gig. Playing horn parts they created behind her vocals, they’re featured throughout her 1977 live album \u003cem>Season of Lights \u003c/em>(in a band that included jazz bass legend Richard Davis, vibraphonist Mike Mainieri and drummer Andy Newmark). \u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13921373",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“‘\u003ca href=\"https://www.youtube.com/watch?v=GBCfJ0MqqVY\">Upstairs By A Chinese Lamp\u003c/a>’ has some of my best flute work on record, and ‘I Am the Blues’ is some of Ellen’s best trumpet playing,” Fineberg says. “Laura didn’t have any charts and couldn’t tell you what chords you were playing. She’d say, ‘I want you to play palm trees on this section, or ocean waves.’”\u003c/p>\n\u003cp>Looking for an outlet for her songwriting, Fineberg and Seeling launched the Brecker Brothers-inspired fusion band \u003ca href=\"https://www.youtube.com/watch?v=xvvOAo1Z5qE\">DEUCE\u003c/a>, which performed at jazz festivals and clubs around the world in the 1980s while releasing several well-received albums. The band continued to tour and perform after they relocated to the East Bay in 1989, but when the opportunity arose to create the Montclair Women’s Big Band in 1997, they quickly established the 17-piece orchestra. Over the past decade or so Seeling has often taken a more visible role as an activist demanding equal opportunities for women instrumentalists, who are still often overlooked when it comes to major festivals. With JAZZphoria, Fineberg is making a potent musical statement that draws on her wealth of accumulated experience.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/xvvOAo1Z5qE'\n title='//www.youtube.com/embed/xvvOAo1Z5qE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“I’m coming from the blues essentially in everything I do,” she says. “I’m coming from rhythm. That’s how I start a tune, whether it’s blues, R&B or Latin music. I thought long and hard about calling it JAZZphoria because I didn’t want to typecast the group, that we’d be swinging all the time. But it is all improvised music. The tunes are vehicles for the soloists, but it’s very eclectic because I like so many different things. I’m tired of going to concerts where everything sounds the same.”\u003c/p>\n\u003cp>If there’s one thing that doesn’t seem to have changed much over the years it’s the predictable reaction to a woman with a horn. Fineberg recently posted on Facebook about a random encounter at a hotel in Wisconsin where “a 77-year-old lawyer and university professor, upon hearing that I’m a sax player, said ‘That’s a big instrument for a little girl.’” The post elicited more than 250 comments, with women bassists, drummers, saxophonists, percussionists and trombonists all describing similarly witless comments.\u003c/p>\n\u003cp>Fineberg has no time for fogies of any age. She’s looking to carry her horn into all the best places, bringing JAZZphoria to “the Monterey Jazz Festival, San Jose, Healdsburg, SFJAZZ, Yoshi’s. What everybody wants.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Jean Fineberg & JAZZphoria perform at \u003ca href=\"https://secure.thefreight.org/11707/jean-feinberg-and-jazzphoria\" target=\"_blank\" rel=\"noopener noreferrer\">Freight & Salvage in Berkeley on Nov. 20\u003c/a> at 7 p.m.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13921584/jean-fineberg-jazzphoria-montclair-womens-big-band-jazz",
"authors": [
"86"
],
"categories": [
"arts_1",
"arts_69"
],
"tags": [
"arts_8355",
"arts_1341",
"arts_10278",
"arts_1420",
"arts_585"
],
"featImg": "arts_13921592",
"label": "arts"
},
"arts_13907681": {
"type": "posts",
"id": "arts_13907681",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13907681",
"score": null,
"sort": [
1641328189000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1641328189,
"format": "standard",
"title": "There's a Growing Constellation of Stars Selling Off Back Catalogs for Galactic Sums",
"headTitle": "There’s a Growing Constellation of Stars Selling Off Back Catalogs for Galactic Sums | KQED",
"content": "\u003cp>Cue “Changes.”\u003c/p>\n\u003cp>Warner Chappell Music has bought the publishing rights to David Bowie’s catalog of songs for what may be more than $250 million, according to some reports. The musician died almost exactly five years ago, on Jan. 10, 2016, after a diagnosis of liver cancer.\u003c/p>\n\u003cp>“This fantastic pact with the David Bowie estate opens up a universe of opportunities to take his extraordinary music into dynamic new places,” enthused WCM’s co-chair and COO, Carianne Marshall \u003ca href=\"https://www.wmg.com/news/warner-chappell-acquires-david-bowie-music-publishing-catalog-36046\" target=\"_blank\" rel=\"noopener noreferrer\">in a statement\u003c/a>. “This isn’t merely a catalog, but a living, breathing collection of timeless songs that are as powerful and resonant today as they were when they were first written.”\u003c/p>\n\u003cp>[aside postid='arts_13898899']The announcement follows a string of similar ones over the past two years; Bruce Springsteen, Paul Simon, Bob Dylan, Stevie Nicks and Neil Young are just some of the stars who have recently sold off substantial rights to their music.\u003c/p>\n\u003cp>(It should be noted: There are huge differences between royalties for songwriting and performance. Some of these deals are just for publishing, as with the Bowie deal; others also include the original recordings, known as masters.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Springsteen sold his entire back catalog—including songwriting and recordings—to Sony Music Group, according to a \u003ca href=\"https://www.sonymusic.com/sonymusic/smg-announces-acquisition-of-bruce-springsteens-music/\" target=\"_blank\" rel=\"noopener noreferrer\">Dec. 16 announcement\u003c/a>. Industry reports placed the purchase at north of $500 million.\u003c/p>\n\u003cp>Even before the official announcement of the purchase in May, Sony Music Group’s chairman, Rob Stringer, told investors he’s spent about $1.5 billion just on music acquisitions since the beginning of the year.\u003c/p>\n\u003cp>“Including rights to some of the most iconic artists of all time, such as Paul Simon,” he gloated.\u003c/p>\n\u003cfigure id=\"attachment_13907684\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13907684\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/01/gettyimages-1352185071_slide-d75ec374d0205a842bd02f672bca8400d540b918-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/gettyimages-1352185071_slide-d75ec374d0205a842bd02f672bca8400d540b918-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/gettyimages-1352185071_slide-d75ec374d0205a842bd02f672bca8400d540b918-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/gettyimages-1352185071_slide-d75ec374d0205a842bd02f672bca8400d540b918-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/gettyimages-1352185071_slide-d75ec374d0205a842bd02f672bca8400d540b918-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/gettyimages-1352185071_slide-d75ec374d0205a842bd02f672bca8400d540b918-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/gettyimages-1352185071_slide-d75ec374d0205a842bd02f672bca8400d540b918-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/gettyimages-1352185071_slide-d75ec374d0205a842bd02f672bca8400d540b918-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bruce Springsteen onstage in New York, November 2021. \u003ccite>(Jamie McCarthy/Getty Images for SUFH)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://people.miami.edu/profile/selton@miami.edu\" target=\"_blank\" rel=\"noopener noreferrer\">Serona Elton\u003c/a> used to work with the major labels. Now she’s a professor and associate dean at the \u003ca href=\"https://www.frost.miami.edu/\" target=\"_blank\" rel=\"noopener noreferrer\">University of Miami Frost School of Music\u003c/a>. She compares being a celebrity musician with a catalog of hits to owning property someplace like Austin, Texas. “It’s scorching hot,” she exclaims. “Hot, hot, hot!”\u003c/p>\n\u003cp>“All of a sudden the market is crazy and everyone’s paying ridiculous sums of money,” she says. “And people worry it’s a bubble. Maybe it’s the right time to sell.”\u003c/p>\n\u003cp>But we’re talking about huge musicians who are not exactly starving artists, and famously careful about creative control. Why sell off so much of their precious back catalogs?\u003c/p>\n\u003cp>“The pandemic is part of it,” explains \u003ca href=\"http://www.tatianacirisano.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Tatiana Cirisano\u003c/a>, a music analyst at \u003ca href=\"https://www.midiaresearch.com/\" target=\"_blank\" rel=\"noopener noreferrer\">MIDiA Research\u003c/a>. “Touring has been stalled for some time. It could be stalled again. ”\u003c/p>\n\u003cp>[aside postid='arts_12168401']Even Springsteen took a hit when it came to revenues from live performances and touring last year. And, Cirisano points out, these musicians’ accountants know very well that capital gains taxes may change unfavorably for people holding such assets. Moreover—to be blunt—many of these musicians are senior citizens. They’re planning their estates.\u003c/p>\n\u003cp>When \u003ca href=\"https://www.universalmusic.com/universal-music-publishing-group-acquires-bob-dylans-entire-catalog-of-songs/\" target=\"_blank\" rel=\"noopener noreferrer\">Bob Dylan sold his entire songwriting catalog\u003c/a> to Universal Music Publishing Group last year, it included music he’d written more than 50 years ago. So he’s taking a lump sum now, rather than counting on royalties from whenever “Mr. Tambourine Man” goes viral on whatever platform might be most popular in a few decades. Even younger artists like Shakira and Calvin Harris recently sold parts of their back catalogs because corporations are paying so much for them.\u003c/p>\n\u003cp>Rob Stringer of Sony Music Group told investors this spring not to worry about the price of these acquisitions. Stocks go up and down, but lucrative music rights feel safer, he noted, due to Spotify, Apple and other streaming and subscription services.\u003c/p>\n\u003cp>“The number of users of paid music streaming services went up by almost 100 million in 2020 to 443 million globally, ” he explained. “Many research analysts are projecting this figure to well exceed one billion by 2030. In the music publishing market, streaming is driving similar sustained growth. The publishing industry achieved its seventh straight year of consecutive expansion, rising 5.2 percent in 2020,” he continued.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Synergy is also the name of the game here; when Sony buys up Springsteen’s music, they can use it more easily in movies and TV made by Sony studios. Other artists on Sony labels can sample or cover his songs, and whenever a Bruce Springsteen biopic comes out, you can bet a Sony movie studio will make it.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=David+Bowie+joins+constellation+of+stars+selling+off+back+catalogs+for+galactic+sums&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 792,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 19
},
"modified": 1705007356,
"excerpt": "David Bowie, Bruce Springsteen and Stevie Nicks recently sold off their back catalogs. Why forgo creative control?",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "David Bowie, Bruce Springsteen and Stevie Nicks recently sold off their back catalogs. Why forgo creative control?",
"title": "There's a Growing Constellation of Stars Selling Off Back Catalogs for Galactic Sums | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "There's a Growing Constellation of Stars Selling Off Back Catalogs for Galactic Sums",
"datePublished": "2022-01-04T12:29:49-08:00",
"dateModified": "2024-01-11T13:09:16-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "david-bowie-joins-constellation-of-stars-selling-off-back-catalogs-for-galactic-sums",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=1066388302&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprStoryDate": "Tue, 04 Jan 2022 11:23:34 -0500",
"excludeFromSiteSearch": "Include",
"nprLastModifiedDate": "Tue, 04 Jan 2022 11:39:59 -0500",
"featuredImageType": "standard",
"nprHtmlLink": "https://www.npr.org/2022/01/04/1066388302/bruce-springsteen-neil-young-songs-music-catalogs?ft=nprml&f=1066388302",
"nprImageAgency": "Getty Images",
"nprStoryId": "1066388302",
"nprByline": "Neda Ulaby",
"sticky": false,
"nprImageCredit": "Bryan Bedder",
"showOnAuthorArchivePages": "No",
"nprRetrievedStory": "1",
"nprPubDate": "Tue, 04 Jan 2022 11:39:00 -0500",
"path": "/arts/13907681/david-bowie-joins-constellation-of-stars-selling-off-back-catalogs-for-galactic-sums",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Cue “Changes.”\u003c/p>\n\u003cp>Warner Chappell Music has bought the publishing rights to David Bowie’s catalog of songs for what may be more than $250 million, according to some reports. The musician died almost exactly five years ago, on Jan. 10, 2016, after a diagnosis of liver cancer.\u003c/p>\n\u003cp>“This fantastic pact with the David Bowie estate opens up a universe of opportunities to take his extraordinary music into dynamic new places,” enthused WCM’s co-chair and COO, Carianne Marshall \u003ca href=\"https://www.wmg.com/news/warner-chappell-acquires-david-bowie-music-publishing-catalog-36046\" target=\"_blank\" rel=\"noopener noreferrer\">in a statement\u003c/a>. “This isn’t merely a catalog, but a living, breathing collection of timeless songs that are as powerful and resonant today as they were when they were first written.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13898899",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>The announcement follows a string of similar ones over the past two years; Bruce Springsteen, Paul Simon, Bob Dylan, Stevie Nicks and Neil Young are just some of the stars who have recently sold off substantial rights to their music.\u003c/p>\n\u003cp>(It should be noted: There are huge differences between royalties for songwriting and performance. Some of these deals are just for publishing, as with the Bowie deal; others also include the original recordings, known as masters.)\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>Springsteen sold his entire back catalog—including songwriting and recordings—to Sony Music Group, according to a \u003ca href=\"https://www.sonymusic.com/sonymusic/smg-announces-acquisition-of-bruce-springsteens-music/\" target=\"_blank\" rel=\"noopener noreferrer\">Dec. 16 announcement\u003c/a>. Industry reports placed the purchase at north of $500 million.\u003c/p>\n\u003cp>Even before the official announcement of the purchase in May, Sony Music Group’s chairman, Rob Stringer, told investors he’s spent about $1.5 billion just on music acquisitions since the beginning of the year.\u003c/p>\n\u003cp>“Including rights to some of the most iconic artists of all time, such as Paul Simon,” he gloated.\u003c/p>\n\u003cfigure id=\"attachment_13907684\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13907684\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/01/gettyimages-1352185071_slide-d75ec374d0205a842bd02f672bca8400d540b918-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/gettyimages-1352185071_slide-d75ec374d0205a842bd02f672bca8400d540b918-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/gettyimages-1352185071_slide-d75ec374d0205a842bd02f672bca8400d540b918-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/gettyimages-1352185071_slide-d75ec374d0205a842bd02f672bca8400d540b918-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/gettyimages-1352185071_slide-d75ec374d0205a842bd02f672bca8400d540b918-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/gettyimages-1352185071_slide-d75ec374d0205a842bd02f672bca8400d540b918-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/gettyimages-1352185071_slide-d75ec374d0205a842bd02f672bca8400d540b918-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/01/gettyimages-1352185071_slide-d75ec374d0205a842bd02f672bca8400d540b918-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bruce Springsteen onstage in New York, November 2021. \u003ccite>(Jamie McCarthy/Getty Images for SUFH)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://people.miami.edu/profile/selton@miami.edu\" target=\"_blank\" rel=\"noopener noreferrer\">Serona Elton\u003c/a> used to work with the major labels. Now she’s a professor and associate dean at the \u003ca href=\"https://www.frost.miami.edu/\" target=\"_blank\" rel=\"noopener noreferrer\">University of Miami Frost School of Music\u003c/a>. She compares being a celebrity musician with a catalog of hits to owning property someplace like Austin, Texas. “It’s scorching hot,” she exclaims. “Hot, hot, hot!”\u003c/p>\n\u003cp>“All of a sudden the market is crazy and everyone’s paying ridiculous sums of money,” she says. “And people worry it’s a bubble. Maybe it’s the right time to sell.”\u003c/p>\n\u003cp>But we’re talking about huge musicians who are not exactly starving artists, and famously careful about creative control. Why sell off so much of their precious back catalogs?\u003c/p>\n\u003cp>“The pandemic is part of it,” explains \u003ca href=\"http://www.tatianacirisano.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Tatiana Cirisano\u003c/a>, a music analyst at \u003ca href=\"https://www.midiaresearch.com/\" target=\"_blank\" rel=\"noopener noreferrer\">MIDiA Research\u003c/a>. “Touring has been stalled for some time. It could be stalled again. ”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_12168401",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Even Springsteen took a hit when it came to revenues from live performances and touring last year. And, Cirisano points out, these musicians’ accountants know very well that capital gains taxes may change unfavorably for people holding such assets. Moreover—to be blunt—many of these musicians are senior citizens. They’re planning their estates.\u003c/p>\n\u003cp>When \u003ca href=\"https://www.universalmusic.com/universal-music-publishing-group-acquires-bob-dylans-entire-catalog-of-songs/\" target=\"_blank\" rel=\"noopener noreferrer\">Bob Dylan sold his entire songwriting catalog\u003c/a> to Universal Music Publishing Group last year, it included music he’d written more than 50 years ago. So he’s taking a lump sum now, rather than counting on royalties from whenever “Mr. Tambourine Man” goes viral on whatever platform might be most popular in a few decades. Even younger artists like Shakira and Calvin Harris recently sold parts of their back catalogs because corporations are paying so much for them.\u003c/p>\n\u003cp>Rob Stringer of Sony Music Group told investors this spring not to worry about the price of these acquisitions. Stocks go up and down, but lucrative music rights feel safer, he noted, due to Spotify, Apple and other streaming and subscription services.\u003c/p>\n\u003cp>“The number of users of paid music streaming services went up by almost 100 million in 2020 to 443 million globally, ” he explained. “Many research analysts are projecting this figure to well exceed one billion by 2030. In the music publishing market, streaming is driving similar sustained growth. The publishing industry achieved its seventh straight year of consecutive expansion, rising 5.2 percent in 2020,” he continued.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Synergy is also the name of the game here; when Sony buys up Springsteen’s music, they can use it more easily in movies and TV made by Sony studios. Other artists on Sony labels can sample or cover his songs, and whenever a Bruce Springsteen biopic comes out, you can bet a Sony movie studio will make it.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=David+Bowie+joins+constellation+of+stars+selling+off+back+catalogs+for+galactic+sums&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13907681/david-bowie-joins-constellation-of-stars-selling-off-back-catalogs-for-galactic-sums",
"authors": [
"byline_arts_13907681"
],
"categories": [
"arts_1",
"arts_69",
"arts_75"
],
"tags": [
"arts_1537",
"arts_1341",
"arts_905"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13907683",
"label": "arts_137"
},
"arts_13898899": {
"type": "posts",
"id": "arts_13898899",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13898899",
"score": null,
"sort": [
1623877432000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1623877432,
"format": "standard",
"title": "A David Bowie Painting That Sold For $4 at a Thrift Store is Now Up For Auction",
"headTitle": "A David Bowie Painting That Sold For $4 at a Thrift Store is Now Up For Auction | KQED",
"content": "\u003cp>A painting by the legendary rock star David Bowie is up for auction, and it could sell for tens of thousands more than the purchase price.\u003c/p>\n\u003cp>An unnamed seller picked it up at a donation center in Canada for $4.09. It wasn’t until later that they noticed the signature of Ziggy Stardust himself on the back, signed in 1997.\u003c/p>\n\u003cp>As of Wednesday, the highest bid for\u003cem> DHead XLVI \u003c/em>was around $18,000, with another week to go on the market.\u003c/p>\n\u003cfigure id=\"attachment_13898900\" class=\"wp-caption aligncenter\" style=\"max-width: 618px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13898900\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/bowie_custom-8a794d4f53281d43c534c338f8dce94989ebc0bf.jpg\" alt=\"The painting by David Bowie on auction.\" width=\"618\" height=\"750\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/bowie_custom-8a794d4f53281d43c534c338f8dce94989ebc0bf.jpg 618w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/bowie_custom-8a794d4f53281d43c534c338f8dce94989ebc0bf-160x194.jpg 160w\" sizes=\"(max-width: 618px) 100vw, 618px\">\u003cfigcaption class=\"wp-caption-text\">The painting by David Bowie on auction. \u003ccite>(Cowley Abbott)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The painting, a vibrant blue and red acrylic artwork, is part of a series of 47 pieces of art that Bowie created between 1995 and 1997. He titled the series Dead Heads (DHeads), and each piece included a nonsequential Roman numeral, according to the Canadian auction house Cowley Abbott.\u003c/p>\n\u003cp>This isn’t the first time Bowie’s work has been found in odd places. The earliest known recording of his singing, from 1963, \u003ca href=\"https://www.npr.org/2018/07/23/631491229/david-bowies-first-demo-from-1963-found-in-bread-basket\" target=\"_blank\" rel=\"noopener noreferrer\">was found in a breadbasket\u003c/a> of a former bandmate from one of his earliest projects, a band called the Konrads.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Bowie, who influenced generations of musicians and fans, \u003ca href=\"https://www.npr.org/2016/01/11/462627061/british-rock-musician-david-bowie-dies-at-69\" target=\"_blank\" rel=\"noopener noreferrer\">died in 2016\u003c/a>.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+David+Bowie+Painting+That+Sold+For+%244+At+A+Thrift+Store+Is+Now+Up+For+Auction&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 208,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 8
},
"modified": 1705008204,
"excerpt": "The unnamed seller found the painting at a donation center in Canada and paid $4.09 for it. It's now expected to make thousands.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The unnamed seller found the painting at a donation center in Canada and paid $4.09 for it. It's now expected to make thousands.",
"title": "A David Bowie Painting That Sold For $4 at a Thrift Store is Now Up For Auction | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "A David Bowie Painting That Sold For $4 at a Thrift Store is Now Up For Auction",
"datePublished": "2021-06-16T14:03:52-07:00",
"dateModified": "2024-01-11T13:23:24-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "a-david-bowie-painting-that-sold-for-4-at-a-thrift-store-is-now-up-for-auction",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=1007047497&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprStoryDate": "Wed, 16 Jun 2021 05:45:00 -0400",
"nprLastModifiedDate": "Wed, 16 Jun 2021 14:59:36 -0400",
"featuredImageType": "standard",
"nprHtmlLink": "https://www.npr.org/2021/06/16/1007047497/an-abstract-painting-by-rock-legend-david-bowie-is-up-for-auction?ft=nprml&f=1007047497",
"nprAudio": "https://ondemand.npr.org/anon.npr-mp3/npr/me/2021/06/20210616_me_hr1_return-lf.mp3?orgId=1&topicId=1008&d=29&p=3&story=1007047497&ft=nprml&f=1007047497",
"nprImageAgency": "Cowley Abbott",
"nprAudioM3u": "http://api.npr.org/m3u/11007047498-eca2f5.m3u?orgId=1&topicId=1008&d=29&p=3&story=1007047497&ft=nprml&f=1007047497",
"nprStoryId": "1007047497",
"nprByline": "Leila Fadel",
"sticky": false,
"nprRetrievedStory": "1",
"nprPubDate": "Wed, 16 Jun 2021 14:59:00 -0400",
"path": "/arts/13898899/a-david-bowie-painting-that-sold-for-4-at-a-thrift-store-is-now-up-for-auction",
"audioUrl": "https://ondemand.npr.org/anon.npr-mp3/npr/me/2021/06/20210616_me_hr1_return-lf.mp3?orgId=1&topicId=1008&d=29&p=3&story=1007047497&ft=nprml&f=1007047497",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A painting by the legendary rock star David Bowie is up for auction, and it could sell for tens of thousands more than the purchase price.\u003c/p>\n\u003cp>An unnamed seller picked it up at a donation center in Canada for $4.09. It wasn’t until later that they noticed the signature of Ziggy Stardust himself on the back, signed in 1997.\u003c/p>\n\u003cp>As of Wednesday, the highest bid for\u003cem> DHead XLVI \u003c/em>was around $18,000, with another week to go on the market.\u003c/p>\n\u003cfigure id=\"attachment_13898900\" class=\"wp-caption aligncenter\" style=\"max-width: 618px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13898900\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/bowie_custom-8a794d4f53281d43c534c338f8dce94989ebc0bf.jpg\" alt=\"The painting by David Bowie on auction.\" width=\"618\" height=\"750\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/bowie_custom-8a794d4f53281d43c534c338f8dce94989ebc0bf.jpg 618w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/bowie_custom-8a794d4f53281d43c534c338f8dce94989ebc0bf-160x194.jpg 160w\" sizes=\"(max-width: 618px) 100vw, 618px\">\u003cfigcaption class=\"wp-caption-text\">The painting by David Bowie on auction. \u003ccite>(Cowley Abbott)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The painting, a vibrant blue and red acrylic artwork, is part of a series of 47 pieces of art that Bowie created between 1995 and 1997. He titled the series Dead Heads (DHeads), and each piece included a nonsequential Roman numeral, according to the Canadian auction house Cowley Abbott.\u003c/p>\n\u003cp>This isn’t the first time Bowie’s work has been found in odd places. The earliest known recording of his singing, from 1963, \u003ca href=\"https://www.npr.org/2018/07/23/631491229/david-bowies-first-demo-from-1963-found-in-bread-basket\" target=\"_blank\" rel=\"noopener noreferrer\">was found in a breadbasket\u003c/a> of a former bandmate from one of his earliest projects, a band called the Konrads.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Bowie, who influenced generations of musicians and fans, \u003ca href=\"https://www.npr.org/2016/01/11/462627061/british-rock-musician-david-bowie-dies-at-69\" target=\"_blank\" rel=\"noopener noreferrer\">died in 2016\u003c/a>.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+David+Bowie+Painting+That+Sold+For+%244+At+A+Thrift+Store+Is+Now+Up+For+Auction&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13898899/a-david-bowie-painting-that-sold-for-4-at-a-thrift-store-is-now-up-for-auction",
"authors": [
"byline_arts_13898899"
],
"categories": [
"arts_1",
"arts_69",
"arts_75"
],
"tags": [
"arts_1341",
"arts_13737"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13898902",
"label": "arts_137"
},
"arts_13883290": {
"type": "posts",
"id": "arts_13883290",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13883290",
"score": null,
"sort": [
1594755983000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1594755983,
"format": "standard",
"title": "Care Home Residents Brilliantly Re-Create Iconic Album Covers on Twitter",
"headTitle": "Care Home Residents Brilliantly Re-Create Iconic Album Covers on Twitter | KQED",
"content": "\u003cp>Residents at the Sydmar Lodge Care Home in Edgeware, England, have been in lockdown for four months.\u003c/p>\n\u003cp>As activities manager at the home, Robert Speker wanted to keep spirits up while visitors and outside entertainment aren’t permitted.\u003c/p>\n\u003cp>Thus, a brilliant project was born: re-creating classic album covers with residents cast as the rock stars.\u003c/p>\n\u003cp>Speker \u003ca href=\"https://twitter.com/robertspeker/status/1281627807546839042\" target=\"_blank\" rel=\"noopener noreferrer\">tweeted \u003c/a>side-by-side photos of the original covers and the Sydmar Lodge residents’ new takes, and the tweets quickly took off.\u003c/p>\n\u003cp>https://twitter.com/robertspeker/status/1281627747136274432\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Instead of British singer Adele, meet 93-year-old Vera.\u003c/p>\n\u003cp>Riffing on Springsteen’s famous \u003cem>Born In The U.S.A.\u003c/em>, there’s a blue-jeaned Martin Steinberg in front of the English flag.\u003c/p>\n\u003cp>Could anyone improve upon David Bowie’s iconic lightning-bolt painted face? Roma Cohen appears to be an icon herself with the lightning bolt highlighted by her white hair.\u003c/p>\n\u003cp>https://twitter.com/robertspeker/status/1281627807546839042?s=20\u003c/p>\n\u003cp>There’s Toba David as Michael Jackson, tough in a leather jacket.\u003c/p>\n\u003cp>And Sheila Solomon as a Sydmar Lodge punk, reinventing The Clash’s guitar-smashing with a walking cane ready to come crashing down.\u003c/p>\n\u003cp>Staffers got in on the project, too, with four carers lit from below looking every bit as moody as Queen.\u003c/p>\n\u003cp>“I made the suggestions of which albums and which resident best suited the look, or had a vague similarity to the artist,” Speker \u003ca href=\"https://twitter.com/robertspeker/status/1282455570944069636\" target=\"_blank\" rel=\"noopener noreferrer\">explained\u003c/a> on Twitter. “Then I proposed the idea to each resident. Gladly all of them were enthused and perhaps a bit bemused by the idea, but happy to participate.”\u003c/p>\n\u003cp>He says he did the residents’ makeup, drew their tattoos, and did the photography and editing. A care home manager helped with hair and makeup touch-ups.\u003c/p>\n\u003cp>Speker, who began working at Sydmar Lodge in 2015, has won accolades for his inventiveness before. “Robert continues to astound us with his creative, and somewhat ‘out of the box’ ideas,” Sydmar Lodge Manager Julie Davey testifies on the home’s website.\u003c/p>\n\u003cp>Noting that Speker had won an activities coordinator award, Sydmar Lodge \u003ca href=\"https://www.sydmarlodge.co.uk/\" target=\"_blank\" rel=\"noopener noreferrer\">notes\u003c/a> that he “performs his activities with creativeness, ingenuity, individuality and originality” and recently took a resident swimming for the first time in 20 years.\u003c/p>\n\u003cp>These have been bleak times at some care homes in the U.K. Among residents at nursing homes in England and Wales from Dec. 28, 2019, to June 12, 2020, there were \u003ca href=\"https://www.ons.gov.uk/peoplepopulationandcommunity/birthsdeathsandmarriages/deaths/articles/deathsinvolvingcovid19inthecaresectorenglandandwales/deathsoccurringupto12june2020andregisteredupto20june2020provisional\" target=\"_blank\" rel=\"noopener noreferrer\">nearly 30,000\u003c/a> more deaths than during the same period last year.\u003c/p>\n\u003cp>“As this situation is on-going it could be months before the situation changes for them and the need to keep them happy entertained and full of spirit has never been more crucial,” Speker wrote on \u003ca href=\"https://www.gofundme.com/f/8rz5n-the-show-must-go-on\" target=\"_blank\" rel=\"noopener noreferrer\">a GoFundMe page\u003c/a> he created to support the care home.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Elderly people will remain in lockdown for a long time,” he wrote, “and I want to make their time as happy and full of enjoyment and interest as possible.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=At+U.K.+Care+Home%2C+Residents+Brilliantly+Re-Create+Iconic+Album+Covers+On+Twitter&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 522,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 19
},
"modified": 1705020436,
"excerpt": "The activities manager cast residents as rock stars to keep spirits up while visitors and outside entertainment are banned.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The activities manager cast residents as rock stars to keep spirits up while visitors and outside entertainment are banned.",
"title": "Care Home Residents Brilliantly Re-Create Iconic Album Covers on Twitter | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Care Home Residents Brilliantly Re-Create Iconic Album Covers on Twitter",
"datePublished": "2020-07-14T12:46:23-07:00",
"dateModified": "2024-01-11T16:47:16-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "care-home-residents-brilliantly-re-create-iconic-album-covers-on-twitter",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=890569181&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprStoryDate": "Mon, 13 Jul 2020 16:56:21 -0400",
"nprLastModifiedDate": "Tue, 14 Jul 2020 08:42:05 -0400",
"featuredImageType": "standard",
"nprHtmlLink": "https://www.npr.org/sections/coronavirus-live-updates/2020/07/13/890569181/at-u-k-care-home-residents-brilliantly-recreate-iconic-album-covers?ft=nprml&f=890569181",
"nprImageAgency": "Robert Speker on Twitter",
"nprStoryId": "890569181",
"nprByline": "Laurel Wamsley",
"sticky": false,
"nprImageCredit": "Screengrab by NPR",
"nprRetrievedStory": "1",
"nprPubDate": "Tue, 14 Jul 2020 08:42:00 -0400",
"path": "/arts/13883290/care-home-residents-brilliantly-re-create-iconic-album-covers-on-twitter",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Residents at the Sydmar Lodge Care Home in Edgeware, England, have been in lockdown for four months.\u003c/p>\n\u003cp>As activities manager at the home, Robert Speker wanted to keep spirits up while visitors and outside entertainment aren’t permitted.\u003c/p>\n\u003cp>Thus, a brilliant project was born: re-creating classic album covers with residents cast as the rock stars.\u003c/p>\n\u003cp>Speker \u003ca href=\"https://twitter.com/robertspeker/status/1281627807546839042\" target=\"_blank\" rel=\"noopener noreferrer\">tweeted \u003c/a>side-by-side photos of the original covers and the Sydmar Lodge residents’ new takes, and the tweets quickly took off.\u003c/p>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "singleTwitterStatus",
"attributes": {
"named": {
"id": "1281627747136274432"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\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>Instead of British singer Adele, meet 93-year-old Vera.\u003c/p>\n\u003cp>Riffing on Springsteen’s famous \u003cem>Born In The U.S.A.\u003c/em>, there’s a blue-jeaned Martin Steinberg in front of the English flag.\u003c/p>\n\u003cp>Could anyone improve upon David Bowie’s iconic lightning-bolt painted face? Roma Cohen appears to be an icon herself with the lightning bolt highlighted by her white hair.\u003c/p>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "singleTwitterStatus",
"attributes": {
"named": {
"id": "1281627807546839042"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>There’s Toba David as Michael Jackson, tough in a leather jacket.\u003c/p>\n\u003cp>And Sheila Solomon as a Sydmar Lodge punk, reinventing The Clash’s guitar-smashing with a walking cane ready to come crashing down.\u003c/p>\n\u003cp>Staffers got in on the project, too, with four carers lit from below looking every bit as moody as Queen.\u003c/p>\n\u003cp>“I made the suggestions of which albums and which resident best suited the look, or had a vague similarity to the artist,” Speker \u003ca href=\"https://twitter.com/robertspeker/status/1282455570944069636\" target=\"_blank\" rel=\"noopener noreferrer\">explained\u003c/a> on Twitter. “Then I proposed the idea to each resident. Gladly all of them were enthused and perhaps a bit bemused by the idea, but happy to participate.”\u003c/p>\n\u003cp>He says he did the residents’ makeup, drew their tattoos, and did the photography and editing. A care home manager helped with hair and makeup touch-ups.\u003c/p>\n\u003cp>Speker, who began working at Sydmar Lodge in 2015, has won accolades for his inventiveness before. “Robert continues to astound us with his creative, and somewhat ‘out of the box’ ideas,” Sydmar Lodge Manager Julie Davey testifies on the home’s website.\u003c/p>\n\u003cp>Noting that Speker had won an activities coordinator award, Sydmar Lodge \u003ca href=\"https://www.sydmarlodge.co.uk/\" target=\"_blank\" rel=\"noopener noreferrer\">notes\u003c/a> that he “performs his activities with creativeness, ingenuity, individuality and originality” and recently took a resident swimming for the first time in 20 years.\u003c/p>\n\u003cp>These have been bleak times at some care homes in the U.K. Among residents at nursing homes in England and Wales from Dec. 28, 2019, to June 12, 2020, there were \u003ca href=\"https://www.ons.gov.uk/peoplepopulationandcommunity/birthsdeathsandmarriages/deaths/articles/deathsinvolvingcovid19inthecaresectorenglandandwales/deathsoccurringupto12june2020andregisteredupto20june2020provisional\" target=\"_blank\" rel=\"noopener noreferrer\">nearly 30,000\u003c/a> more deaths than during the same period last year.\u003c/p>\n\u003cp>“As this situation is on-going it could be months before the situation changes for them and the need to keep them happy entertained and full of spirit has never been more crucial,” Speker wrote on \u003ca href=\"https://www.gofundme.com/f/8rz5n-the-show-must-go-on\" target=\"_blank\" rel=\"noopener noreferrer\">a GoFundMe page\u003c/a> he created to support the care home.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Elderly people will remain in lockdown for a long time,” he wrote, “and I want to make their time as happy and full of enjoyment and interest as possible.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=At+U.K.+Care+Home%2C+Residents+Brilliantly+Re-Create+Iconic+Album+Covers+On+Twitter&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13883290/care-home-residents-brilliantly-re-create-iconic-album-covers-on-twitter",
"authors": [
"byline_arts_13883290"
],
"categories": [
"arts_1",
"arts_75"
],
"tags": [
"arts_10126",
"arts_7534",
"arts_10127",
"arts_1341",
"arts_8572",
"arts_4919",
"arts_913",
"arts_905",
"arts_10416",
"arts_3026",
"arts_2391",
"arts_1553"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13883291",
"label": "arts_137"
},
"arts_13827478": {
"type": "posts",
"id": "arts_13827478",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13827478",
"score": null,
"sort": [
1521389527000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1521389527,
"format": "image",
"title": "What You Could Take Away From 'David Bowie Is'",
"headTitle": "What You Could Take Away From ‘David Bowie Is’ | KQED",
"content": "\u003cp>There is a wonderful irony in a career retrospective of a living artist that becomes so popular it outlives its subject. In 2010 — long before \u003cem>David Bowie Is\u003c/em> travelled to ten other locations around the world, before it landed in Brooklyn earlier this month — London’s Victoria & Albert Museum was approached by the rock icon’s management to create an exhibit out of the singer’s archives. At the time, the idea that such a show would be taken seriously, much less prove to be a success, were hardly foregone conclusions. Music exhibitions of its type were practically non-existent outside of specialty institutions such as the Rock & Roll Hall of Fame. The barrier between high and low cultures was, even such a short time in the past, still sturdy.\u003c/p>\n\u003cp>Nevertheless, says Victoria Broackes, senior curator of the V&A’s theater and performance department, Bowie was “quite literally top of the museum’s list” of potential single-artist exhibition subjects, and when offered the show, she did not hesitate to say yes — “though I did not really have the authority to say that, given that we’re a traditional, 150-year-old museum. I reckoned that people would get how important this opportunity was, and indeed they did.” Even as the show opened, its blockbuster appeal in the global museum market was hardly obvious: “We only had one additional venue that was possibly interested [in taking the exhibit]. It was only after the first couple of weeks that we realized, ‘God, we sort of have a big hit on our hands.'” \u003c/p>\n\u003cp>Launched in March of 2013 and co-curated by Broackes and Geoffrey Marsh, \u003cem>David Bowie Is\u003c/em> treats its subject not merely as a pop star, but as an artist who, in the spot-on words of the curators’ preface, “channeled the avant-garde into the populist mainstream without compromising its subversive liberating power.”\u003c/p>\n\u003cp>The exhibit is stacked with the things that super-fans expect: costumes, photos, posters, lyric sheets, art mock-ups, videos, music, film and live clips (delivered by a relatively seamless audio-visual headphone experience), framed by pieces that place Bowie in a historical and cultural context. That context, the post-war slipstream of art and fashion, social ideas and human progress, is the origin story of his unquenchable inquisitiveness. The through-line of how a 17 year-old from a London suburb who founded the Society for the Prevention of Cruelty to Men with Long Hair (an interview with young David Jones pontificating on the subject is an early highlight) became a grizzled cyberpunk (developing dawn-of-the-digital-age software for cutting up words and pages in the manner of his heroes Brion Gysin and William Burroughs) is direct and unmistakable.\u003c/p>\n\u003cfigure id=\"attachment_13827480\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_58_ps11_wide-f83c943c12bafb2f11490e8e5d68c4b2cfca81f5-800x450.jpg\" alt=\"'David Bowie Is.'\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13827480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_58_ps11_wide-f83c943c12bafb2f11490e8e5d68c4b2cfca81f5-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_58_ps11_wide-f83c943c12bafb2f11490e8e5d68c4b2cfca81f5-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_58_ps11_wide-f83c943c12bafb2f11490e8e5d68c4b2cfca81f5-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_58_ps11_wide-f83c943c12bafb2f11490e8e5d68c4b2cfca81f5-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_58_ps11_wide-f83c943c12bafb2f11490e8e5d68c4b2cfca81f5-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_58_ps11_wide-f83c943c12bafb2f11490e8e5d68c4b2cfca81f5-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_58_ps11_wide-f83c943c12bafb2f11490e8e5d68c4b2cfca81f5-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_58_ps11_wide-f83c943c12bafb2f11490e8e5d68c4b2cfca81f5-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_58_ps11_wide-f83c943c12bafb2f11490e8e5d68c4b2cfca81f5-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_58_ps11_wide-f83c943c12bafb2f11490e8e5d68c4b2cfca81f5-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_58_ps11_wide-f83c943c12bafb2f11490e8e5d68c4b2cfca81f5.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘David Bowie Is.’ \u003ccite>(Jonathan Dorado/Courtesy of the Brooklyn Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It isn’t only the material that demonstrates Bowie’s prolific mutation — according to Broackes, it was purposefully built into the show’s skeletal structure, which left room for the exhibition to change, at least a little, at each stop. Walking through the Brooklyn Museum, reveals distinctions great and small to the one installed at Chicago’s Museum of Contemporary Art in late 2014; a different order to parts of his story or ulterior emphasis, new set-pieces and items, and shorter, re-imagined functions for some of the programming. A room of in-concert clips that showed hours of footage in Chicago has, for instance, been reduced to five hand-picked performances.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Part of the story of Bowie and of the exhibition was not to stand still,” says Broackes. “The core of the exhibition was to remain the same — we worked hard with Bowie’s people to develop a narrative that everyone was happy with. But when it [travelled] to a place that had local significance in Bowie’s life — Japan, Berlin, to a lesser extent almost everywhere — the show would be able to adapt.”\u003c/p>\n\u003cp>These adjustments took place, in part, because the local curators and designers overseeing the exhibit at each institution had access to other collections, which they used to augment Bowie’s story at every stop. If part of Bowie’s appeal was an elasticity of his meaning — of the humane, perceptive usefulness that his mercurial creativity brought to audiences — the difference in the stories that each new presentation told served to mirror it.\u003c/p>\n\u003cp>“All that being said,” adds Broackes, “New York was something else entirely.”\u003c/p>\n\u003cp>As the location of Bowie’s earliest musical inspirations (see the test-pressing of \u003cem>Velvet Underground & Nico\u003c/em> that Andy Warhol gifted to Bowie’s first manager in 1966) and the place he called home for his last 24 years, the city was a major character in the artist’s life. “New York was always to be [the exhibit’s] final venue,” adds Broackes. “That was a real opportunity for Matthew to add material.”\u003c/p>\n\u003cfigure id=\"attachment_13827481\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_27_ps11_wide-10f8c0d94ff3a3d037153e5f15410adae6c4b430-800x450.jpg\" alt=\"David Bowie Is.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13827481\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_27_ps11_wide-10f8c0d94ff3a3d037153e5f15410adae6c4b430-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_27_ps11_wide-10f8c0d94ff3a3d037153e5f15410adae6c4b430-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_27_ps11_wide-10f8c0d94ff3a3d037153e5f15410adae6c4b430-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_27_ps11_wide-10f8c0d94ff3a3d037153e5f15410adae6c4b430-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_27_ps11_wide-10f8c0d94ff3a3d037153e5f15410adae6c4b430-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_27_ps11_wide-10f8c0d94ff3a3d037153e5f15410adae6c4b430-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_27_ps11_wide-10f8c0d94ff3a3d037153e5f15410adae6c4b430-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_27_ps11_wide-10f8c0d94ff3a3d037153e5f15410adae6c4b430-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_27_ps11_wide-10f8c0d94ff3a3d037153e5f15410adae6c4b430-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_27_ps11_wide-10f8c0d94ff3a3d037153e5f15410adae6c4b430-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_27_ps11_wide-10f8c0d94ff3a3d037153e5f15410adae6c4b430.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">David Bowie Is. \u003ccite>(Jonathan Dorado/Courtesy of the Brooklyn Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Matthew” is Matthew Yokobosky, Brooklyn’s director of exhibition design, who curated the museum’s \u003cem>David Bowie Is\u003c/em> experience. Listening to him speak, you hear a desire to bring a specific focus to “parts of the show that were about America” and deliver a “big New York emphasis,” as well as injecting the “excitement and intrigue” of a Bowie concert into the Brooklyn Museum. It’s a more visceral interpretation of Bowie’s legacy — and could be construed as a particularly American-pop take on art exhibits — replacing orthodoxy with spectacle, linear history for the cut-up.\u003c/p>\n\u003cp>In Brooklyn, it begins from the jump. Approaching its entrance, long-time (New York-based) Bowie producer Tony Visconti’s specially created mega-mix vibrates the headphones; a classic Aladdin Sane black vinyl bodysuit designed by Kansai Yamamoto stands guard; bright, soft-white flashing lights (that originated at his New York City Marathon tour in 2002, which had him playing in each of the five boroughs) spelling out B-O-W-I-E. “I spent two months with a conservator and a lighting designer trying to re-lamp the original letters and replicating how they were programmed,” Yokobosky says. Glam, in the service of a novel headspace.\u003c/p>\n\u003cp>An entire wall of a new section, entitled “David Bowie Is A Success in New York,” is devoted to the singer’s relationship with Andy Warhol. It opens with a silent black-and-white film, “David Bowie and his group visit the Factory [Warhol’s studio], September 14, 1971” and ends with memorabilia and private photos from the 1996 motion picture \u003cem>Basquiat\u003c/em>, in which Bowie played Andy. It’s a surreal transition, a remixing of roles, of artist and subject. Who is the bigger translator of cool, the more adept pop futurist – Bowie or Warhol? Depends on who you ask – but where once their canonical rankings were assured, that wall begs you to question them anew.\u003c/p>\n\u003cfigure id=\"attachment_13827482\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_01_ps11_wide-66e0a1a94a26460646ced93bc165dc71c938ad55-800x450.jpg\" alt=\"David Bowie Is.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13827482\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_01_ps11_wide-66e0a1a94a26460646ced93bc165dc71c938ad55-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_01_ps11_wide-66e0a1a94a26460646ced93bc165dc71c938ad55-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_01_ps11_wide-66e0a1a94a26460646ced93bc165dc71c938ad55-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_01_ps11_wide-66e0a1a94a26460646ced93bc165dc71c938ad55-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_01_ps11_wide-66e0a1a94a26460646ced93bc165dc71c938ad55-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_01_ps11_wide-66e0a1a94a26460646ced93bc165dc71c938ad55-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_01_ps11_wide-66e0a1a94a26460646ced93bc165dc71c938ad55-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_01_ps11_wide-66e0a1a94a26460646ced93bc165dc71c938ad55-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_01_ps11_wide-66e0a1a94a26460646ced93bc165dc71c938ad55-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_01_ps11_wide-66e0a1a94a26460646ced93bc165dc71c938ad55-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_01_ps11_wide-66e0a1a94a26460646ced93bc165dc71c938ad55.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">David Bowie Is. \u003ccite>(Jonathan Dorado/Courtesy of the Brooklyn Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Elsewhere you’ll find “LINE,” a series of 20 drawings made by Bowie and composer Laurie Anderson for a 1998 exhibit titled “I Love New York,” at the Ludwig Museum in Cologne. Yakobosky explains: “David had this idea that Laurie possessed telekinesis and could communicate without speaking, so David proposed they do a drawing project where they call each other on the telephone, but instead of talking they would draw together. After they did it, they would fax the drawings to each other.” It’s not nearly as crazy as it sounds. And if Bowie’s musical ’90s felt like a step backward for fans of Ziggy Stardust or Major Tom, works like “LINE” were proof that his art-school instincts were as sharp as ever.\u003c/p>\n\u003cp>The pieces are examples of the strategic way Bowie intertwined his cutting-edge artistic impulses with living showmanship. It may be a cliché to say that \u003cem>David Bowie Is\u003c/em> presents his existence as a canvas — but in the wake of his passing, the very meaning of the show takes on a new dimension. Does it, after all, not seem strange that a person who spent his final decade in self-imposed seclusion opened his entire world to a museum during that time? If \u003cem>Blackstar\u003c/em>, the album he unexpectedly released two days before his death and a treatise on mortality, is the final scene in a life well-played, might the exhibit been created to serve as a knowing epilogue?\u003c/p>\n\u003cp>“At the time, [putting together \u003cem>David Bowie Is\u003c/em>] did not strike me particularly odd,” says Victoria Broackes. “But the more I got into the way he worked, the more everything he did seemed to have both a purpose and a prescience, an understanding the way the world is going.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_45_ps11_custom-d587b8818cc246198702e6b496e67f86bdf85970-800x1432.jpg\" alt=\"\" width=\"800\" height=\"1432\" class=\"alignright size-medium wp-image-13827483\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_45_ps11_custom-d587b8818cc246198702e6b496e67f86bdf85970-800x1432.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_45_ps11_custom-d587b8818cc246198702e6b496e67f86bdf85970-160x286.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_45_ps11_custom-d587b8818cc246198702e6b496e67f86bdf85970-768x1374.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_45_ps11_custom-d587b8818cc246198702e6b496e67f86bdf85970-1020x1825.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_45_ps11_custom-d587b8818cc246198702e6b496e67f86bdf85970-1920x3436.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_45_ps11_custom-d587b8818cc246198702e6b496e67f86bdf85970-1180x2111.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_45_ps11_custom-d587b8818cc246198702e6b496e67f86bdf85970-960x1718.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_45_ps11_custom-d587b8818cc246198702e6b496e67f86bdf85970-240x429.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_45_ps11_custom-d587b8818cc246198702e6b496e67f86bdf85970-375x671.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_45_ps11_custom-d587b8818cc246198702e6b496e67f86bdf85970-520x930.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_45_ps11_custom-d587b8818cc246198702e6b496e67f86bdf85970.jpg 1145w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>And even if Bowie’s health and personal history did not reflect a deeper intent that the exhibit has taken on since his death, a confluence of global circumstances has brought the values and the societal outlook he clearly explored throughout his work, into a new light.\u003c/p>\n\u003cp>“The thing that strikes me now,” Broackes says, “is that the sort of liberal values which Bowie stood for and held out to us all — and that changed so many people’s lives, on a very personal level and for the better — have really come under threat in the years since \u003cem>David Bowie Is\u003c/em> opened, in ways we could never foresee in 2013. In that sense, I think Bowie has a real importance and significance for many of us now.”\u003c/p>\n\u003cp>Yakobosky brought up that the show isn’t the first time Bowie collaborated with the Brooklyn Museum. In 1999, the singer was an official sponsor and the audio-guide voice of a group-exhibit by a collection of young British artists called \u003cem>Sensation\u003c/em>. The exhibit is now best remembered as a battle in the co-called culture wars, sparking a national controversy about art, obscenity, and freedom of expression. Then-New York mayor Rudy Giuliani took religious offense at one of the exhibit’s paintings, Chris Offili’s “The Holy Virgin Mary,” despite the fact that Ofili was a practicing catholic and an altar boy. Giuliani claimed the painting — which depicted a black Madonna amidst a collage of cut-out female buttocks from porn magazines, set upon balls of dried elephant dung — to be “desecrating somebody else’s religion.” Giuliani’s administration sued to defund the museum (it lost).\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Since then, Rudy Giuliani has, of course, gone on to be a courtier of the current American president. Chris Ofili, whose work Bowie had singled out in a \u003cem>Sensation\u003c/em> press release, has won the prestigious Turner Prize for painting and received an Order of the British Empire. \u003cem>David Bowie Is\u003c/em> has been seen by nearly 1.8 million people on four continents and will close at the Brooklyn Museum on July 15th. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=What+You+Could+Take+Away+From+%27David+Bowie+Is%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1925,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 22
},
"modified": 1713289281,
"excerpt": "When the exhibit was first conceived, in tandem with Bowie's own collection, its success was far from guaranteed. In the five years since, its outlived its subject and changed as much as he once did.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "When the exhibit was first conceived, in tandem with Bowie's own collection, its success was far from guaranteed. In the five years since, its outlived its subject and changed as much as he once did.",
"title": "What You Could Take Away From 'David Bowie Is' | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "What You Could Take Away From 'David Bowie Is'",
"datePublished": "2018-03-18T09:12:07-07:00",
"dateModified": "2024-04-16T10:41:21-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "what-you-could-take-away-from-david-bowie-is",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=594326984&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprStoryDate": "Sat, 17 Mar 2018 06:00:41 -0400",
"excludeFromSiteSearch": "Include",
"nprLastModifiedDate": "Sat, 17 Mar 2018 06:00:41 -0400",
"featuredImageType": "standard",
"nprHtmlLink": "https://www.npr.org/sections/therecord/2018/03/17/594326984/what-you-could-take-away-from-david-bowie-is?ft=nprml&f=594326984",
"nprImageAgency": "Courtesy of Brooklyn Museum",
"nprStoryId": "594326984",
"nprByline": "Piotr Orlov",
"sticky": false,
"nprImageCredit": "Jonathan Dorado",
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"nprRetrievedStory": "1",
"nprPubDate": "Sat, 17 Mar 2018 06:00:00 -0400",
"path": "/arts/13827478/what-you-could-take-away-from-david-bowie-is",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There is a wonderful irony in a career retrospective of a living artist that becomes so popular it outlives its subject. In 2010 — long before \u003cem>David Bowie Is\u003c/em> travelled to ten other locations around the world, before it landed in Brooklyn earlier this month — London’s Victoria & Albert Museum was approached by the rock icon’s management to create an exhibit out of the singer’s archives. At the time, the idea that such a show would be taken seriously, much less prove to be a success, were hardly foregone conclusions. Music exhibitions of its type were practically non-existent outside of specialty institutions such as the Rock & Roll Hall of Fame. The barrier between high and low cultures was, even such a short time in the past, still sturdy.\u003c/p>\n\u003cp>Nevertheless, says Victoria Broackes, senior curator of the V&A’s theater and performance department, Bowie was “quite literally top of the museum’s list” of potential single-artist exhibition subjects, and when offered the show, she did not hesitate to say yes — “though I did not really have the authority to say that, given that we’re a traditional, 150-year-old museum. I reckoned that people would get how important this opportunity was, and indeed they did.” Even as the show opened, its blockbuster appeal in the global museum market was hardly obvious: “We only had one additional venue that was possibly interested [in taking the exhibit]. It was only after the first couple of weeks that we realized, ‘God, we sort of have a big hit on our hands.'” \u003c/p>\n\u003cp>Launched in March of 2013 and co-curated by Broackes and Geoffrey Marsh, \u003cem>David Bowie Is\u003c/em> treats its subject not merely as a pop star, but as an artist who, in the spot-on words of the curators’ preface, “channeled the avant-garde into the populist mainstream without compromising its subversive liberating power.”\u003c/p>\n\u003cp>The exhibit is stacked with the things that super-fans expect: costumes, photos, posters, lyric sheets, art mock-ups, videos, music, film and live clips (delivered by a relatively seamless audio-visual headphone experience), framed by pieces that place Bowie in a historical and cultural context. That context, the post-war slipstream of art and fashion, social ideas and human progress, is the origin story of his unquenchable inquisitiveness. The through-line of how a 17 year-old from a London suburb who founded the Society for the Prevention of Cruelty to Men with Long Hair (an interview with young David Jones pontificating on the subject is an early highlight) became a grizzled cyberpunk (developing dawn-of-the-digital-age software for cutting up words and pages in the manner of his heroes Brion Gysin and William Burroughs) is direct and unmistakable.\u003c/p>\n\u003cfigure id=\"attachment_13827480\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_58_ps11_wide-f83c943c12bafb2f11490e8e5d68c4b2cfca81f5-800x450.jpg\" alt=\"'David Bowie Is.'\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13827480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_58_ps11_wide-f83c943c12bafb2f11490e8e5d68c4b2cfca81f5-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_58_ps11_wide-f83c943c12bafb2f11490e8e5d68c4b2cfca81f5-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_58_ps11_wide-f83c943c12bafb2f11490e8e5d68c4b2cfca81f5-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_58_ps11_wide-f83c943c12bafb2f11490e8e5d68c4b2cfca81f5-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_58_ps11_wide-f83c943c12bafb2f11490e8e5d68c4b2cfca81f5-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_58_ps11_wide-f83c943c12bafb2f11490e8e5d68c4b2cfca81f5-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_58_ps11_wide-f83c943c12bafb2f11490e8e5d68c4b2cfca81f5-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_58_ps11_wide-f83c943c12bafb2f11490e8e5d68c4b2cfca81f5-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_58_ps11_wide-f83c943c12bafb2f11490e8e5d68c4b2cfca81f5-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_58_ps11_wide-f83c943c12bafb2f11490e8e5d68c4b2cfca81f5-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_58_ps11_wide-f83c943c12bafb2f11490e8e5d68c4b2cfca81f5.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘David Bowie Is.’ \u003ccite>(Jonathan Dorado/Courtesy of the Brooklyn Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It isn’t only the material that demonstrates Bowie’s prolific mutation — according to Broackes, it was purposefully built into the show’s skeletal structure, which left room for the exhibition to change, at least a little, at each stop. Walking through the Brooklyn Museum, reveals distinctions great and small to the one installed at Chicago’s Museum of Contemporary Art in late 2014; a different order to parts of his story or ulterior emphasis, new set-pieces and items, and shorter, re-imagined functions for some of the programming. A room of in-concert clips that showed hours of footage in Chicago has, for instance, been reduced to five hand-picked performances.\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>“Part of the story of Bowie and of the exhibition was not to stand still,” says Broackes. “The core of the exhibition was to remain the same — we worked hard with Bowie’s people to develop a narrative that everyone was happy with. But when it [travelled] to a place that had local significance in Bowie’s life — Japan, Berlin, to a lesser extent almost everywhere — the show would be able to adapt.”\u003c/p>\n\u003cp>These adjustments took place, in part, because the local curators and designers overseeing the exhibit at each institution had access to other collections, which they used to augment Bowie’s story at every stop. If part of Bowie’s appeal was an elasticity of his meaning — of the humane, perceptive usefulness that his mercurial creativity brought to audiences — the difference in the stories that each new presentation told served to mirror it.\u003c/p>\n\u003cp>“All that being said,” adds Broackes, “New York was something else entirely.”\u003c/p>\n\u003cp>As the location of Bowie’s earliest musical inspirations (see the test-pressing of \u003cem>Velvet Underground & Nico\u003c/em> that Andy Warhol gifted to Bowie’s first manager in 1966) and the place he called home for his last 24 years, the city was a major character in the artist’s life. “New York was always to be [the exhibit’s] final venue,” adds Broackes. “That was a real opportunity for Matthew to add material.”\u003c/p>\n\u003cfigure id=\"attachment_13827481\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_27_ps11_wide-10f8c0d94ff3a3d037153e5f15410adae6c4b430-800x450.jpg\" alt=\"David Bowie Is.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13827481\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_27_ps11_wide-10f8c0d94ff3a3d037153e5f15410adae6c4b430-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_27_ps11_wide-10f8c0d94ff3a3d037153e5f15410adae6c4b430-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_27_ps11_wide-10f8c0d94ff3a3d037153e5f15410adae6c4b430-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_27_ps11_wide-10f8c0d94ff3a3d037153e5f15410adae6c4b430-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_27_ps11_wide-10f8c0d94ff3a3d037153e5f15410adae6c4b430-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_27_ps11_wide-10f8c0d94ff3a3d037153e5f15410adae6c4b430-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_27_ps11_wide-10f8c0d94ff3a3d037153e5f15410adae6c4b430-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_27_ps11_wide-10f8c0d94ff3a3d037153e5f15410adae6c4b430-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_27_ps11_wide-10f8c0d94ff3a3d037153e5f15410adae6c4b430-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_27_ps11_wide-10f8c0d94ff3a3d037153e5f15410adae6c4b430-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_27_ps11_wide-10f8c0d94ff3a3d037153e5f15410adae6c4b430.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">David Bowie Is. \u003ccite>(Jonathan Dorado/Courtesy of the Brooklyn Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Matthew” is Matthew Yokobosky, Brooklyn’s director of exhibition design, who curated the museum’s \u003cem>David Bowie Is\u003c/em> experience. Listening to him speak, you hear a desire to bring a specific focus to “parts of the show that were about America” and deliver a “big New York emphasis,” as well as injecting the “excitement and intrigue” of a Bowie concert into the Brooklyn Museum. It’s a more visceral interpretation of Bowie’s legacy — and could be construed as a particularly American-pop take on art exhibits — replacing orthodoxy with spectacle, linear history for the cut-up.\u003c/p>\n\u003cp>In Brooklyn, it begins from the jump. Approaching its entrance, long-time (New York-based) Bowie producer Tony Visconti’s specially created mega-mix vibrates the headphones; a classic Aladdin Sane black vinyl bodysuit designed by Kansai Yamamoto stands guard; bright, soft-white flashing lights (that originated at his New York City Marathon tour in 2002, which had him playing in each of the five boroughs) spelling out B-O-W-I-E. “I spent two months with a conservator and a lighting designer trying to re-lamp the original letters and replicating how they were programmed,” Yokobosky says. Glam, in the service of a novel headspace.\u003c/p>\n\u003cp>An entire wall of a new section, entitled “David Bowie Is A Success in New York,” is devoted to the singer’s relationship with Andy Warhol. It opens with a silent black-and-white film, “David Bowie and his group visit the Factory [Warhol’s studio], September 14, 1971” and ends with memorabilia and private photos from the 1996 motion picture \u003cem>Basquiat\u003c/em>, in which Bowie played Andy. It’s a surreal transition, a remixing of roles, of artist and subject. Who is the bigger translator of cool, the more adept pop futurist – Bowie or Warhol? Depends on who you ask – but where once their canonical rankings were assured, that wall begs you to question them anew.\u003c/p>\n\u003cfigure id=\"attachment_13827482\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_01_ps11_wide-66e0a1a94a26460646ced93bc165dc71c938ad55-800x450.jpg\" alt=\"David Bowie Is.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13827482\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_01_ps11_wide-66e0a1a94a26460646ced93bc165dc71c938ad55-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_01_ps11_wide-66e0a1a94a26460646ced93bc165dc71c938ad55-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_01_ps11_wide-66e0a1a94a26460646ced93bc165dc71c938ad55-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_01_ps11_wide-66e0a1a94a26460646ced93bc165dc71c938ad55-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_01_ps11_wide-66e0a1a94a26460646ced93bc165dc71c938ad55-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_01_ps11_wide-66e0a1a94a26460646ced93bc165dc71c938ad55-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_01_ps11_wide-66e0a1a94a26460646ced93bc165dc71c938ad55-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_01_ps11_wide-66e0a1a94a26460646ced93bc165dc71c938ad55-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_01_ps11_wide-66e0a1a94a26460646ced93bc165dc71c938ad55-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_01_ps11_wide-66e0a1a94a26460646ced93bc165dc71c938ad55-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_01_ps11_wide-66e0a1a94a26460646ced93bc165dc71c938ad55.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">David Bowie Is. \u003ccite>(Jonathan Dorado/Courtesy of the Brooklyn Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Elsewhere you’ll find “LINE,” a series of 20 drawings made by Bowie and composer Laurie Anderson for a 1998 exhibit titled “I Love New York,” at the Ludwig Museum in Cologne. Yakobosky explains: “David had this idea that Laurie possessed telekinesis and could communicate without speaking, so David proposed they do a drawing project where they call each other on the telephone, but instead of talking they would draw together. After they did it, they would fax the drawings to each other.” It’s not nearly as crazy as it sounds. And if Bowie’s musical ’90s felt like a step backward for fans of Ziggy Stardust or Major Tom, works like “LINE” were proof that his art-school instincts were as sharp as ever.\u003c/p>\n\u003cp>The pieces are examples of the strategic way Bowie intertwined his cutting-edge artistic impulses with living showmanship. It may be a cliché to say that \u003cem>David Bowie Is\u003c/em> presents his existence as a canvas — but in the wake of his passing, the very meaning of the show takes on a new dimension. Does it, after all, not seem strange that a person who spent his final decade in self-imposed seclusion opened his entire world to a museum during that time? If \u003cem>Blackstar\u003c/em>, the album he unexpectedly released two days before his death and a treatise on mortality, is the final scene in a life well-played, might the exhibit been created to serve as a knowing epilogue?\u003c/p>\n\u003cp>“At the time, [putting together \u003cem>David Bowie Is\u003c/em>] did not strike me particularly odd,” says Victoria Broackes. “But the more I got into the way he worked, the more everything he did seemed to have both a purpose and a prescience, an understanding the way the world is going.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_45_ps11_custom-d587b8818cc246198702e6b496e67f86bdf85970-800x1432.jpg\" alt=\"\" width=\"800\" height=\"1432\" class=\"alignright size-medium wp-image-13827483\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_45_ps11_custom-d587b8818cc246198702e6b496e67f86bdf85970-800x1432.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_45_ps11_custom-d587b8818cc246198702e6b496e67f86bdf85970-160x286.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_45_ps11_custom-d587b8818cc246198702e6b496e67f86bdf85970-768x1374.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_45_ps11_custom-d587b8818cc246198702e6b496e67f86bdf85970-1020x1825.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_45_ps11_custom-d587b8818cc246198702e6b496e67f86bdf85970-1920x3436.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_45_ps11_custom-d587b8818cc246198702e6b496e67f86bdf85970-1180x2111.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_45_ps11_custom-d587b8818cc246198702e6b496e67f86bdf85970-960x1718.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_45_ps11_custom-d587b8818cc246198702e6b496e67f86bdf85970-240x429.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_45_ps11_custom-d587b8818cc246198702e6b496e67f86bdf85970-375x671.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_45_ps11_custom-d587b8818cc246198702e6b496e67f86bdf85970-520x930.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/dig_e_2018_david_bowie_is_45_ps11_custom-d587b8818cc246198702e6b496e67f86bdf85970.jpg 1145w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>And even if Bowie’s health and personal history did not reflect a deeper intent that the exhibit has taken on since his death, a confluence of global circumstances has brought the values and the societal outlook he clearly explored throughout his work, into a new light.\u003c/p>\n\u003cp>“The thing that strikes me now,” Broackes says, “is that the sort of liberal values which Bowie stood for and held out to us all — and that changed so many people’s lives, on a very personal level and for the better — have really come under threat in the years since \u003cem>David Bowie Is\u003c/em> opened, in ways we could never foresee in 2013. In that sense, I think Bowie has a real importance and significance for many of us now.”\u003c/p>\n\u003cp>Yakobosky brought up that the show isn’t the first time Bowie collaborated with the Brooklyn Museum. In 1999, the singer was an official sponsor and the audio-guide voice of a group-exhibit by a collection of young British artists called \u003cem>Sensation\u003c/em>. The exhibit is now best remembered as a battle in the co-called culture wars, sparking a national controversy about art, obscenity, and freedom of expression. Then-New York mayor Rudy Giuliani took religious offense at one of the exhibit’s paintings, Chris Offili’s “The Holy Virgin Mary,” despite the fact that Ofili was a practicing catholic and an altar boy. Giuliani claimed the painting — which depicted a black Madonna amidst a collage of cut-out female buttocks from porn magazines, set upon balls of dried elephant dung — to be “desecrating somebody else’s religion.” Giuliani’s administration sued to defund the museum (it lost).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Since then, Rudy Giuliani has, of course, gone on to be a courtier of the current American president. Chris Ofili, whose work Bowie had singled out in a \u003cem>Sensation\u003c/em> press release, has won the prestigious Turner Prize for painting and received an Order of the British Empire. \u003cem>David Bowie Is\u003c/em> has been seen by nearly 1.8 million people on four continents and will close at the Brooklyn Museum on July 15th. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=What+You+Could+Take+Away+From+%27David+Bowie+Is%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13827478/what-you-could-take-away-from-david-bowie-is",
"authors": [
"byline_arts_13827478"
],
"categories": [
"arts_69",
"arts_70"
],
"tags": [
"arts_1341",
"arts_1118",
"arts_769",
"arts_901"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13827479",
"label": "arts_137"
},
"arts_12488638": {
"type": "posts",
"id": "arts_12488638",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "12488638",
"score": null,
"sort": [
1481847184000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1481847184,
"format": "standard",
"title": "'Bowie Is Forever': With Starman's Death, Seu Jorge's Covers Get New Life",
"headTitle": "‘Bowie Is Forever’: With Starman’s Death, Seu Jorge’s Covers Get New Life | KQED",
"content": "\u003cp>\u003cem>[Ed. note: The author conducted this interview in Portuguese and translated it into English for this piece.]\u003c/em>\u003c/p>\n\u003cp>Seu Jorge never thought he’d go on tour playing the Portuguese cover versions of David Bowie songs that he wrote for director Wes Anderson’s 2004 cult classic \u003cem>The Life Aquatic With Steve Zissou\u003c/em>.\u003c/p>\n\u003cp>But the album \u003cem>The Life Aquatic Studio Sessions, \u003c/em>which the Brazilian musician released in 2005, took on a new life when Bowie’s ended in January 2016. Suddenly, Jorge’s impeccable, original translations of classics like “Rebel, Rebel,” “Life on Mars,” and “Changes” became an important musical testament to Bowie’s worldwide influence and significance.\u003c/p>\n\u003cp>“The album didn’t really catch-on in Brazil at the time, so in these last 12 or 13 years, I never played these songs,” says Jorge by phone from a tour stop in Washington D.C. “I definitely wouldn’t have done the tour had he not passed, because these are his songs. They’re already established works. I’m doing this tour now as a tribute to him.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=UvhGvxuOREw\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>On his current tour, Jorge plays the covers on stage with a ship’s steering wheel at his feet, as if he were sitting on his perch atop Steve Zissou’s boat, the Belafonte. Between songs, Jorge tells anecdotes about the film’s creation, and even wears the signature red beanie that his character, Pelé dos Santos, wears in the film. A noticeable portion of the crowds have also been wearing red beanies to the shows — overwhelming evidence of both Wes Anderson’s cult following and reverence for Jorge’s Bowie interpretations.\u003c/p>\n\u003cp>With his signature quirk, Anderson conceived the idea for a Brazilian character in the film named Pelé dos Santos, to sing classic Bowie songs in Portuguese. Anderson connected with acclaimed Brazilian director Walter Salles (\u003cem>Central Station, The Motorcycle Diaries\u003c/em>), who recommended the versatile Jorge — on the heels of his breakthrough performance in \u003cem>City of God\u003c/em> — as the perfect fit.\u003c/p>\n\u003cp>“My ex-wife Mariana picked up the phone and told me this director was on the phone and wanted me to play a character called Pelé dos Santos. And I said ‘I’m not a soccer player!’” Jorge half-jokes. “I didn’t know Wes’s work, but my ex-wife did and said he was fantastic. So I watched \u003cem>Royal Tenenbaums\u003c/em> and started understanding the road this movie would take and I took an interest in the project. It was a challenge to live outside of Brazil for a while and work with some great people.”\u003c/p>\n\u003cp>Those people included Bill Murray, Owen Wilson, Willem Dafoe, Jeff Goldblum and Cate Blanchett — all playing characters who became subjects of Jorge’s song translations, which weren’t literal to the Bowie versions.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Pnkf-9sqEuc\u003c/p>\n\u003cp>“Pelé is like an observer of what happens on the boat,” Jorge says. “He doesn’t speak much, but he’s always present with an aura that everything is fine … like a hippie, playing guitar and recording. I thought about doing [straight covers], but the idea was an opportunity to comment on the characters in the universe of the film, the relationships … Zissou, Ned Plimpton and everyone who traverses the ship.”\u003c/p>\n\u003cp>Jorge says that the “Lady Stardust” cover version was about Blanchett’s character, who was pregnant with the child of the editor who assigned her the story about Zissou. The latter character, should you need a refresher, is a down-on-his-luck oceanographer who seeks revenge on a rare “jaguar shark” that ate a member of his crew.\u003c/p>\n\u003cp>Jorge’s memory of the plot minutiae is uncanny. It seems he remembers exactly what emotions from which characters went into the songs that he re-wrote in Portuguese.\u003c/p>\n\u003cp>“I had a lot of freedom to be able to do these versions. But I always looked to preserve the titles of the songs in the lyrics, like ‘Changes’ or ‘Ziggy Stardust,’ ‘Lady Stardust,'” he says of his translation philosophy for the project. “I had this liberty to talk about the film and the characters in the film.” While the majority of the songs are sung in Portuguese, Jorge sings some choruses and song titles, when they come up, in English.\u003c/p>\n\u003cp>The only song that Jorge didn’t translate originally for the film was “Starman,” which was already covered in 1989, by popular Brazilian band Nenhum de Nós. Their version, like Jorge’s album version, is called “O Astronauta de Mármore” (which literally translates as “The Marble Astronaut”) and it was very popular in Brazil into the 1990s.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ykghg4E9nzw\u003c/p>\n\u003cp>“When I played “O Astronauta de Mármore” for Wes, he loved it. So there was no need to re-translate it. It was an homage by Nenhum de Nós in the ’80s. It was them [recognizing] how big and important Bowie was back then. So keeping it like that was also a way for us to show Bowie’s place in history for Brazilians … his influence and the perception of him,” Jorge explains.\u003c/p>\n\u003cp>Jorge, who now lives in Los Angeles, was in Brazil rehearsing for the 10th anniversary of the “Ana & Jorge” tour DVD — a smash-hit artifact of his collaboration with singer Ana Carolina — when he heard of David Bowie’s passing. Jorge’s own father was also in the hospital, and the news hit him in a sensitive and pensive moment.\u003c/p>\n\u003cp>“I saw people posting all over social media, and then fans and friends kept telling me they were playing my music and my covers album, saying it was a beautiful tribute,” he says. “Mariana — who’s still my manager — came to me with this idea for a tour that would serve as a tribute. This is a privilege that film gave to me, being tied with Bowie. There’s permanence and a lasting legacy to it.”\u003c/p>\n\u003cp>Like Jorge, Bowie himself was an actor as well as a musician. Coincidentally, he played Pontius Pilate to Jorge’s \u003cem>Life Aquatic\u003c/em> castmate Willem Dafoe’s Jesus in Scorcese’s 1988 classic \u003cem>The Last Temptation of Christ\u003c/em>. “He was marvelous in it,” Jorge says of Bowie’s role in the film.\u003c/p>\n\u003cp>“I really wanted to get to know him and thank him for the music and for the opportunity to work with these songs,” says Jorge. And though he never got that chance, this tour is helping provide some closure.\u003c/p>\n\u003cp>“I wanted to end this year playing his songs for people who like him and like his music. Because Bowie \u003cem>e pra sempre\u003c/em>,” he says, in Portuguese, before quickly translating. “Forever.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1255,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 22
},
"modified": 1705032173,
"excerpt": "More than 10 years after his Portuguese covers of David Bowie songs in 'Life Aquatic,' Seu Jorge is finding new audiences with his tribute tour.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "More than 10 years after his Portuguese covers of David Bowie songs in 'Life Aquatic,' Seu Jorge is finding new audiences with his tribute tour.",
"title": "'Bowie Is Forever': With Starman's Death, Seu Jorge's Covers Get New Life | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "'Bowie Is Forever': With Starman's Death, Seu Jorge's Covers Get New Life",
"datePublished": "2016-12-15T16:13:04-08:00",
"dateModified": "2024-01-11T20:02:53-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "bowie-is-forever-with-starmans-death-seu-jorges-covers-get-new-life",
"status": "publish",
"nprByline": "Adrian Spinelli",
"sticky": false,
"path": "/arts/12488638/bowie-is-forever-with-starmans-death-seu-jorges-covers-get-new-life",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>[Ed. note: The author conducted this interview in Portuguese and translated it into English for this piece.]\u003c/em>\u003c/p>\n\u003cp>Seu Jorge never thought he’d go on tour playing the Portuguese cover versions of David Bowie songs that he wrote for director Wes Anderson’s 2004 cult classic \u003cem>The Life Aquatic With Steve Zissou\u003c/em>.\u003c/p>\n\u003cp>But the album \u003cem>The Life Aquatic Studio Sessions, \u003c/em>which the Brazilian musician released in 2005, took on a new life when Bowie’s ended in January 2016. Suddenly, Jorge’s impeccable, original translations of classics like “Rebel, Rebel,” “Life on Mars,” and “Changes” became an important musical testament to Bowie’s worldwide influence and significance.\u003c/p>\n\u003cp>“The album didn’t really catch-on in Brazil at the time, so in these last 12 or 13 years, I never played these songs,” says Jorge by phone from a tour stop in Washington D.C. “I definitely wouldn’t have done the tour had he not passed, because these are his songs. They’re already established works. I’m doing this tour now as a tribute to him.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/UvhGvxuOREw'\n title='//www.youtube.com/embed/UvhGvxuOREw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>On his current tour, Jorge plays the covers on stage with a ship’s steering wheel at his feet, as if he were sitting on his perch atop Steve Zissou’s boat, the Belafonte. Between songs, Jorge tells anecdotes about the film’s creation, and even wears the signature red beanie that his character, Pelé dos Santos, wears in the film. A noticeable portion of the crowds have also been wearing red beanies to the shows — overwhelming evidence of both Wes Anderson’s cult following and reverence for Jorge’s Bowie interpretations.\u003c/p>\n\u003cp>With his signature quirk, Anderson conceived the idea for a Brazilian character in the film named Pelé dos Santos, to sing classic Bowie songs in Portuguese. Anderson connected with acclaimed Brazilian director Walter Salles (\u003cem>Central Station, The Motorcycle Diaries\u003c/em>), who recommended the versatile Jorge — on the heels of his breakthrough performance in \u003cem>City of God\u003c/em> — as the perfect fit.\u003c/p>\n\u003cp>“My ex-wife Mariana picked up the phone and told me this director was on the phone and wanted me to play a character called Pelé dos Santos. And I said ‘I’m not a soccer player!’” Jorge half-jokes. “I didn’t know Wes’s work, but my ex-wife did and said he was fantastic. So I watched \u003cem>Royal Tenenbaums\u003c/em> and started understanding the road this movie would take and I took an interest in the project. It was a challenge to live outside of Brazil for a while and work with some great people.”\u003c/p>\n\u003cp>Those people included Bill Murray, Owen Wilson, Willem Dafoe, Jeff Goldblum and Cate Blanchett — all playing characters who became subjects of Jorge’s song translations, which weren’t literal to the Bowie versions.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Pnkf-9sqEuc'\n title='//www.youtube.com/embed/Pnkf-9sqEuc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“Pelé is like an observer of what happens on the boat,” Jorge says. “He doesn’t speak much, but he’s always present with an aura that everything is fine … like a hippie, playing guitar and recording. I thought about doing [straight covers], but the idea was an opportunity to comment on the characters in the universe of the film, the relationships … Zissou, Ned Plimpton and everyone who traverses the ship.”\u003c/p>\n\u003cp>Jorge says that the “Lady Stardust” cover version was about Blanchett’s character, who was pregnant with the child of the editor who assigned her the story about Zissou. The latter character, should you need a refresher, is a down-on-his-luck oceanographer who seeks revenge on a rare “jaguar shark” that ate a member of his crew.\u003c/p>\n\u003cp>Jorge’s memory of the plot minutiae is uncanny. It seems he remembers exactly what emotions from which characters went into the songs that he re-wrote in Portuguese.\u003c/p>\n\u003cp>“I had a lot of freedom to be able to do these versions. But I always looked to preserve the titles of the songs in the lyrics, like ‘Changes’ or ‘Ziggy Stardust,’ ‘Lady Stardust,'” he says of his translation philosophy for the project. “I had this liberty to talk about the film and the characters in the film.” While the majority of the songs are sung in Portuguese, Jorge sings some choruses and song titles, when they come up, in English.\u003c/p>\n\u003cp>The only song that Jorge didn’t translate originally for the film was “Starman,” which was already covered in 1989, by popular Brazilian band Nenhum de Nós. Their version, like Jorge’s album version, is called “O Astronauta de Mármore” (which literally translates as “The Marble Astronaut”) and it was very popular in Brazil into the 1990s.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/ykghg4E9nzw'\n title='//www.youtube.com/embed/ykghg4E9nzw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“When I played “O Astronauta de Mármore” for Wes, he loved it. So there was no need to re-translate it. It was an homage by Nenhum de Nós in the ’80s. It was them [recognizing] how big and important Bowie was back then. So keeping it like that was also a way for us to show Bowie’s place in history for Brazilians … his influence and the perception of him,” Jorge explains.\u003c/p>\n\u003cp>Jorge, who now lives in Los Angeles, was in Brazil rehearsing for the 10th anniversary of the “Ana & Jorge” tour DVD — a smash-hit artifact of his collaboration with singer Ana Carolina — when he heard of David Bowie’s passing. Jorge’s own father was also in the hospital, and the news hit him in a sensitive and pensive moment.\u003c/p>\n\u003cp>“I saw people posting all over social media, and then fans and friends kept telling me they were playing my music and my covers album, saying it was a beautiful tribute,” he says. “Mariana — who’s still my manager — came to me with this idea for a tour that would serve as a tribute. This is a privilege that film gave to me, being tied with Bowie. There’s permanence and a lasting legacy to it.”\u003c/p>\n\u003cp>Like Jorge, Bowie himself was an actor as well as a musician. Coincidentally, he played Pontius Pilate to Jorge’s \u003cem>Life Aquatic\u003c/em> castmate Willem Dafoe’s Jesus in Scorcese’s 1988 classic \u003cem>The Last Temptation of Christ\u003c/em>. “He was marvelous in it,” Jorge says of Bowie’s role in the film.\u003c/p>\n\u003cp>“I really wanted to get to know him and thank him for the music and for the opportunity to work with these songs,” says Jorge. And though he never got that chance, this tour is helping provide some closure.\u003c/p>\n\u003cp>“I wanted to end this year playing his songs for people who like him and like his music. Because Bowie \u003cem>e pra sempre\u003c/em>,” he says, in Portuguese, before quickly translating. “Forever.”\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>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/12488638/bowie-is-forever-with-starmans-death-seu-jorges-covers-get-new-life",
"authors": [
"byline_arts_12488638"
],
"categories": [
"arts_69"
],
"tags": [
"arts_1341",
"arts_1050",
"arts_596",
"arts_1589"
],
"featImg": "arts_12488851",
"label": "arts"
},
"arts_11238569": {
"type": "posts",
"id": "arts_11238569",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "11238569",
"score": null,
"sort": [
1452550696000
]
},
"guestAuthors": [],
"slug": "ziggy-stardust-was-a-star-on-screen-too",
"title": "Ziggy Stardust Was A Star On-Screen, Too",
"publishDate": 1452550696,
"format": "standard",
"headTitle": "Ziggy Stardust Was A Star On-Screen, Too | KQED",
"labelTerm": {
"term": 137,
"site": "arts"
},
"content": "\u003cp>David Bowie, who died Sunday at the age of 69, is best-known for his music — but he was also an actor of considerable gifts.\u003c/p>\n\u003cp>When he fell to Earth in 1976, an extraterrestrial seeking water for a dying planet, Bowie was persuasively otherworldly. One eye blue, the other green, hair a flaming auburn, his never-aging, British-accented alien was the first glimpse movie audiences got of a rock star who had already been a “Space Oddity,” sung about a Starman, and become internationally recognized as the glammed-up Ziggy Stardust.\u003c/p>\n\u003cp>His casting by director Nicholas Roeg was regarded by many at the time as a stunt — it would be his look, his androgyny, his weirdness audiences would be coming for. But then they saw his Man Who Fell to Earth, struggling to appear normal, to not attract suspicion, and audiences realized this enigmatic, infinitely changeable musician had acting chops as well.\u003c/p>\n\u003cp>Bowie, had, in fact, studied avant-garde theater and mime in the early 1960s before his music career took off. And as in his music, he was attracted to dramatic material that let him be a chameleon. Four years after appearing in \u003cem>The Man Who Fell To Earth,\u003c/em> he stepped into the title role on Broadway of \u003cem>The Elephant Man,\u003c/em> earning excellent reviews as Joseph Merrick, grotesque of body, eloquent of spirit. “Sometimes I think my head is so big,” Bowie keened in-character, “because it is so full of dreams.”\u003c/p>\n\u003cp>Bowie’s film choices inspired dreams. He was a vampire’s lover in \u003cem>The Hunger,\u003c/em> both a prisoner of war and an object of desire in \u003cem>Merry Christmas Mr. Lawrence,\u003c/em> the prize catch in Marlene Dietrich’s stable of escorts in \u003cem>Just a Gigolo,\u003c/em> the goblin king in \u003cem>Labyrinth,\u003c/em> and a soft-spoken Pontius Pilate in Martin Scorsese’s \u003cem>The Last Temptation of Chris\u003c/em>t. And if none of those roles required him to sing, he brought a knowing expertise to one role that did — a record exec grooming a young recording artist in \u003cem>Absolute Beginners\u003c/em>. “Why am I so exciting?” he sings. “What makes me dramatic?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Who better to ask those questions than this man who had made a career of reinvention: David Bowie, enigmatic artist who fell — all too briefly — to Earth. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Ziggy+Stardust+Was+A+Star+On-Screen%2C+Too&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"blocks": [],
"excerpt": "David Bowie may have been best-known for his music, but NPR's movie critic Bob Mondello points out that he was also a gifted actor, both onstage and in movies like 'The Man Who Fell To Earth.'",
"status": "publish",
"parent": 0,
"modified": 1726771309,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 8,
"wordCount": 408
},
"headData": {
"title": "Ziggy Stardust Was A Star On-Screen, Too | KQED",
"description": "David Bowie may have been best-known for his music, but NPR's movie critic Bob Mondello points out that he was also a gifted actor, both onstage and in movies like 'The Man Who Fell To Earth.'",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Ziggy Stardust Was A Star On-Screen, Too",
"datePublished": "2016-01-11T14:18:16-08:00",
"dateModified": "2024-09-19T11:41:49-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprByline": "Bob Mondello",
"nprImageAgency": "Studiocanal Films Ltd./The Kobal Collection",
"nprStoryId": "462691030",
"nprApiLink": "http://api.npr.org/query?id=462691030&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprHtmlLink": "http://www.npr.org/2016/01/11/462691030/ziggy-stardust-was-a-star-on-screen-too?ft=nprml&f=462691030",
"nprRetrievedStory": "1",
"nprPubDate": "Mon, 11 Jan 2016 16:50:00 -0500",
"nprStoryDate": "Mon, 11 Jan 2016 16:03:00 -0500",
"nprLastModifiedDate": "Mon, 11 Jan 2016 16:45:31 -0500",
"path": "/arts/11238569/ziggy-stardust-was-a-star-on-screen-too",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>David Bowie, who died Sunday at the age of 69, is best-known for his music — but he was also an actor of considerable gifts.\u003c/p>\n\u003cp>When he fell to Earth in 1976, an extraterrestrial seeking water for a dying planet, Bowie was persuasively otherworldly. One eye blue, the other green, hair a flaming auburn, his never-aging, British-accented alien was the first glimpse movie audiences got of a rock star who had already been a “Space Oddity,” sung about a Starman, and become internationally recognized as the glammed-up Ziggy Stardust.\u003c/p>\n\u003cp>His casting by director Nicholas Roeg was regarded by many at the time as a stunt — it would be his look, his androgyny, his weirdness audiences would be coming for. But then they saw his Man Who Fell to Earth, struggling to appear normal, to not attract suspicion, and audiences realized this enigmatic, infinitely changeable musician had acting chops as well.\u003c/p>\n\u003cp>Bowie, had, in fact, studied avant-garde theater and mime in the early 1960s before his music career took off. And as in his music, he was attracted to dramatic material that let him be a chameleon. Four years after appearing in \u003cem>The Man Who Fell To Earth,\u003c/em> he stepped into the title role on Broadway of \u003cem>The Elephant Man,\u003c/em> earning excellent reviews as Joseph Merrick, grotesque of body, eloquent of spirit. “Sometimes I think my head is so big,” Bowie keened in-character, “because it is so full of dreams.”\u003c/p>\n\u003cp>Bowie’s film choices inspired dreams. He was a vampire’s lover in \u003cem>The Hunger,\u003c/em> both a prisoner of war and an object of desire in \u003cem>Merry Christmas Mr. Lawrence,\u003c/em> the prize catch in Marlene Dietrich’s stable of escorts in \u003cem>Just a Gigolo,\u003c/em> the goblin king in \u003cem>Labyrinth,\u003c/em> and a soft-spoken Pontius Pilate in Martin Scorsese’s \u003cem>The Last Temptation of Chris\u003c/em>t. And if none of those roles required him to sing, he brought a knowing expertise to one role that did — a record exec grooming a young recording artist in \u003cem>Absolute Beginners\u003c/em>. “Why am I so exciting?” he sings. “What makes me dramatic?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Who better to ask those questions than this man who had made a career of reinvention: David Bowie, enigmatic artist who fell — all too briefly — to Earth. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Ziggy+Stardust+Was+A+Star+On-Screen%2C+Too&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/11238569/ziggy-stardust-was-a-star-on-screen-too",
"authors": [
"byline_arts_11238569"
],
"categories": [
"arts_1"
],
"tags": [
"arts_1341"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_11238570",
"label": "arts_137"
}
},
"programsReducer": {
"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"
}
},
"1a": {
"id": "1a",
"title": "1A",
"info": "1A is home to the national conversation. 1A brings on great guests and frames the best debate in ways that make you think, share and engage.",
"airtime": "MON-THU 11pm-12am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/1a.jpg",
"officialWebsiteLink": "https://the1a.org/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/1a",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/RBrW",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=1188724250&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/1A-p947376/",
"rss": "https://feeds.npr.org/510316/podcast.xml"
}
},
"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": 4
},
"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",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvbmV3cy9jYXRlZ29yeS9iYXktY3VyaW91cy1wb2RjYXN0L2ZlZWQvcG9kY2FzdA",
"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"
}
},
"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": 10
},
"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"
}
},
"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"
}
},
"inside-europe": {
"id": "inside-europe",
"title": "Inside Europe",
"info": "Inside Europe, a one-hour weekly news magazine hosted by Helen Seeney and Keith Walker, explores the topical issues shaping the continent. No other part of the globe has experienced such dynamic political and social change in recent years.",
"airtime": "SAT 3am-4am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Inside-Europe-Podcast-Tile-300x300-1.jpg",
"meta": {
"site": "news",
"source": "Deutsche Welle"
},
"link": "/radio/program/inside-europe",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/inside-europe/id80106806?mt=2",
"tuneIn": "https://tunein.com/radio/Inside-Europe-p731/",
"rss": "https://partner.dw.com/xml/podcast_inside-europe"
}
},
"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"
}
},
"live-from-here-highlights": {
"id": "live-from-here-highlights",
"title": "Live from Here Highlights",
"info": "Chris Thile steps to the mic as the host of Live from Here (formerly A Prairie Home Companion), a live public radio variety show. Download Chris’s Song of the Week plus other highlights from the broadcast. Produced by American Public Media.",
"airtime": "SAT 6pm-8pm, SUN 11am-1pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Live-From-Here-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.livefromhere.org/",
"meta": {
"site": "arts",
"source": "american public media"
},
"link": "/radio/program/live-from-here-highlights",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/id1167173941",
"tuneIn": "https://tunein.com/radio/Live-from-Here-Highlights-p921744/",
"rss": "https://feeds.publicradio.org/public_feeds/a-prairie-home-companion-highlights/rss/rss"
}
},
"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"
}
},
"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": 13
},
"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": 12
},
"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"
}
},
"our-body-politic": {
"id": "our-body-politic",
"title": "Our Body Politic",
"info": "Presented by KQED, KCRW and KPCC, and created and hosted by award-winning journalist Farai Chideya, Our Body Politic is unapologetically centered on reporting on not just how women of color experience the major political events of today, but how they’re impacting those very issues.",
"airtime": "SAT 6pm-7pm, SUN 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Our-Body-Politic-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://our-body-politic.simplecast.com/",
"meta": {
"site": "news",
"source": "kcrw"
},
"link": "/radio/program/our-body-politic",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/our-body-politic/id1533069868",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5zaW1wbGVjYXN0LmNvbS9feGFQaHMxcw",
"spotify": "https://open.spotify.com/show/4ApAiLT1kV153TttWAmqmc",
"rss": "https://feeds.simplecast.com/_xaPhs1s",
"tuneIn": "https://tunein.com/podcasts/News--Politics-Podcasts/Our-Body-Politic-p1369211/"
}
},
"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",
"officialWebsiteLink": "/perspectives/",
"meta": {
"site": "radio",
"source": "kqed",
"order": 15
},
"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": 6
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/political-breakdown/id1327641087",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5Nzk2MzI2MTEx",
"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"
}
},
"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"
}
},
"says-you": {
"id": "says-you",
"title": "Says You!",
"info": "Public radio's game show of bluff and bluster, words and whimsy. The warmest, wittiest cocktail party - it's spirited and civil, brainy and boisterous, peppered with musical interludes. Fast paced and playful, it's the most fun you can have with language without getting your mouth washed out with soap. Our motto: It's not important to know the answers, it's important to like the answers!",
"airtime": "SUN 4pm-5pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Says-You-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://www.saysyouradio.com/",
"meta": {
"site": "comedy",
"source": "Pipit and Finch"
},
"link": "/radio/program/says-you",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/says-you!/id1050199826",
"tuneIn": "https://tunein.com/radio/Says-You-p480/",
"rss": "https://saysyou.libsyn.com/rss"
}
},
"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"
}
},
"selected-shorts": {
"id": "selected-shorts",
"title": "Selected Shorts",
"info": "Spellbinding short stories by established and emerging writers take on a new life when they are performed by stars of the stage and screen.",
"airtime": "SAT 8pm-9pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Selected-Shorts-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pri.org/programs/selected-shorts",
"meta": {
"site": "arts",
"source": "pri"
},
"link": "/radio/program/selected-shorts",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=253191824&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Selected-Shorts-p31792/",
"rss": "https://feeds.megaphone.fm/selectedshorts"
}
},
"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",
"officialWebsiteLink": "https://snapjudgment.org",
"meta": {
"site": "arts",
"source": "kqed",
"order": 5
},
"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": 14
},
"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/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vc29sZG91dA"
}
},
"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": "",
"officialWebsiteLink": "https://spookedpodcast.org/",
"meta": {
"site": "news",
"source": "kqed",
"order": 8
},
"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"
}
},
"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"
}
},
"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"
}
},
"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": 3
},
"link": "/podcasts/thebay",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-bay/id1350043452",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM4MjU5Nzg2MzI3",
"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"
}
},
"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": 9
},
"link": "/californiareport",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-the-california-report/id79681292",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1MDAyODE4NTgz",
"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": 11
},
"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"
}
},
"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": 2
},
"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"
}
},
"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": 7
},
"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",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM0NTcwODQ2MjY2",
"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"
}
},
"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"
}
},
"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-takeaway": {
"id": "the-takeaway",
"title": "The Takeaway",
"info": "The Takeaway is produced in partnership with its national audience. It delivers perspective and analysis to help us better understand the day’s news. Be a part of the American conversation on-air and online.",
"airtime": "MON-THU 12pm-1pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Takeaway-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/takeaway",
"meta": {
"site": "news",
"source": "WNYC"
},
"link": "/radio/program/the-takeaway",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/the-takeaway/id363143310?mt=2",
"tuneIn": "http://tunein.com/radio/The-Takeaway-p150731/",
"rss": "https://feeds.feedburner.com/takeawaypodcast"
}
},
"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"
}
},
"truthbetold": {
"id": "truthbetold",
"title": "Truth Be Told",
"tagline": "Advice by and for people of color",
"info": "We’re the friend you call after a long day, the one who gets it. Through wisdom from some of the greatest thinkers of our time, host Tonya Mosley explores what it means to grow and thrive as a Black person in America, while discovering new ways of being that serve as a portal to more love, more healing, and more joy.",
"airtime": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Truth-Be-Told-Podcast-Tile-360x360-1.jpg",
"imageAlt": "KQED Truth Be Told with Tonya Mosley",
"officialWebsiteLink": "https://www.kqed.ord/podcasts/truthbetold",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/podcasts/truthbetold",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/truth-be-told/id1462216572",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvbmV3cy9jYXRlZ29yeS90cnV0aC1iZS10b2xkLXBvZGNhc3QvZmVlZA",
"npr": "https://www.npr.org/podcasts/719210818/truth-be-told",
"stitcher": "https://www.stitcher.com/s?fid=398170&refid=stpr",
"spotify": "https://open.spotify.com/show/587DhwTBxke6uvfwDfaV5N"
}
},
"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"
}
},
"washington-week": {
"id": "washington-week",
"title": "Washington Week",
"info": "For 50 years, Washington Week has been the most intelligent and up to date conversation about the most important news stories of the week. Washington Week is the longest-running news and public affairs program on PBS and features journalists -- not pundits -- lending insight and perspective to the week's important news stories.",
"airtime": "SAT 1:30am-2am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/washington-week.jpg",
"officialWebsiteLink": "http://www.pbs.org/weta/washingtonweek/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/washington-week",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/washington-week-audio-pbs/id83324702?mt=2",
"tuneIn": "https://tunein.com/podcasts/Current-Affairs/Washington-Week-p693/",
"rss": "http://feeds.pbs.org/pbs/weta/washingtonweek-audio"
}
},
"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"
},
"world-affairs": {
"id": "world-affairs",
"title": "World Affairs",
"info": "The world as we knew it is undergoing a rapid transformation…so what's next? Welcome to WorldAffairs, your guide to a changing world. We give you the context you need to navigate across borders and ideologies. Through sound-rich stories and in-depth interviews, we break down what it means to be a global citizen on a hot, crowded planet. Our hosts, Ray Suarez, Teresa Cotsirilos and Philip Yun help you make sense of an uncertain world, one story at a time.",
"airtime": "MON 10pm, TUE 1am, SAT 3am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/World-Affairs-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.worldaffairs.org/",
"meta": {
"site": "news",
"source": "World Affairs"
},
"link": "/radio/program/world-affairs",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/world-affairs/id101215657?mt=2",
"tuneIn": "https://tunein.com/radio/WorldAffairs-p1665/",
"rss": "https://worldaffairs.libsyn.com/rss"
}
},
"on-shifting-ground": {
"id": "on-shifting-ground",
"title": "On Shifting Ground with Ray Suarez",
"info": "Geopolitical turmoil. A warming planet. Authoritarians on the rise. We live in a chaotic world that’s rapidly shifting around us. “On Shifting Ground with Ray Suarez” explores international fault lines and how they impact us all. Each week, NPR veteran Ray Suarez hosts conversations with journalists, leaders and policy experts to help us read between the headlines – and give us hope for human resilience.",
"airtime": "MON 10pm, TUE 1am, SAT 3am",
"imageSrc": "https://ww2.kqed.org/app/uploads/2022/12/onshiftingground-600x600-1.png",
"officialWebsiteLink": "https://worldaffairs.org/radio-podcast/",
"meta": {
"site": "news",
"source": "On Shifting Ground"
},
"link": "/radio/program/on-shifting-ground",
"subscribe": {
"apple": "https://podcasts.apple.com/ie/podcast/on-shifting-ground/id101215657",
"rss": "https://feeds.libsyn.com/36668/rss"
}
},
"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"
}
},
"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": 1
},
"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"
}
},
"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/"
}
},
"white-lies": {
"id": "white-lies",
"title": "White Lies",
"info": "In 1965, Rev. James Reeb was murdered in Selma, Alabama. Three men were tried and acquitted, but no one was ever held to account. Fifty years later, two journalists from Alabama return to the city where it happened, expose the lies that kept the murder from being solved and uncover a story about guilt and memory that says as much about America today as it does about the past.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/White-Lies-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/podcasts/510343/white-lies",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/white-lies",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/whitelies",
"apple": "https://podcasts.apple.com/podcast/id1462650519?mt=2&at=11l79Y&ct=nprdirectory",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM0My9wb2RjYXN0LnhtbA",
"spotify": "https://open.spotify.com/show/12yZ2j8vxqhc0QZyRES3ft?si=LfWYEK6URA63hueKVxRLAw",
"rss": "https://feeds.npr.org/510343/podcast.xml"
}
},
"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"
}
},
"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",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvbmV3cy9zZXJpZXMvamVycnlicm93bi9mZWVkL3BvZGNhc3Qv"
}
},
"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"
}
},
"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"
}
},
"racesReducer": {},
"racesGenElectionReducer": {},
"radioSchedulesReducer": {},
"listsReducer": {
"posts/arts?tag=david-bowie": {
"isFetching": false,
"latestQuery": {
"from": 0,
"postsToRender": 9
},
"tag": null,
"vitalsOnly": true,
"totalRequested": 7,
"isLoading": false,
"isLoadingMore": true,
"total": {
"value": 7,
"relation": "eq"
},
"items": [
"arts_13921584",
"arts_13907681",
"arts_13898899",
"arts_13883290",
"arts_13827478",
"arts_12488638",
"arts_11238569"
]
}
},
"recallGuideReducer": {
"intros": {},
"policy": {},
"candidates": {}
},
"savedArticleReducer": {
"articles": [],
"status": {}
},
"pfsSessionReducer": {},
"subscriptionsReducer": {},
"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"
},
"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"
},
"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_1341": {
"type": "terms",
"id": "arts_1341",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1341",
"found": true
},
"relationships": {},
"featImg": null,
"name": "David Bowie",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "David Bowie Archives | KQED Arts",
"ogDescription": null,
"imageData": {
"ogImageSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png",
"width": 1200,
"height": 630
},
"twImageSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
},
"twitterCard": "summary_large_image"
}
},
"ttid": 1353,
"slug": "david-bowie",
"isLoading": false,
"link": "/arts/tag/david-bowie"
},
"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_8355": {
"type": "terms",
"id": "arts_8355",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "8355",
"found": true
},
"relationships": {},
"featImg": null,
"name": "bay area jazz",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "bay area jazz Archives | KQED Arts",
"ogDescription": null
},
"ttid": 8367,
"slug": "bay-area-jazz",
"isLoading": false,
"link": "/arts/tag/bay-area-jazz"
},
"arts_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_1420": {
"type": "terms",
"id": "arts_1420",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1420",
"found": true
},
"relationships": {},
"featImg": null,
"name": "jazz",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "jazz Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1432,
"slug": "jazz",
"isLoading": false,
"link": "/arts/tag/jazz"
},
"arts_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_75": {
"type": "terms",
"id": "arts_75",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "75",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Pop Culture",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Pop Culture Archives | KQED Arts",
"ogDescription": null
},
"ttid": 76,
"slug": "popculture",
"isLoading": false,
"link": "/arts/category/popculture"
},
"arts_1537": {
"type": "terms",
"id": "arts_1537",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1537",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Bob Dylan",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Bob Dylan Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1549,
"slug": "bob-dylan",
"isLoading": false,
"link": "/arts/tag/bob-dylan"
},
"arts_905": {
"type": "terms",
"id": "arts_905",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "905",
"found": true
},
"relationships": {},
"featImg": null,
"name": "rock",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "rock Archives | KQED Arts",
"ogDescription": null
},
"ttid": 923,
"slug": "rock",
"isLoading": false,
"link": "/arts/tag/rock"
},
"arts_137": {
"type": "terms",
"id": "arts_137",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "137",
"found": true
},
"relationships": {},
"featImg": "https://ww2.kqed.org/app/uploads/sites/2/2014/04/logo-npr-lg1.png",
"name": "NPR",
"description": null,
"taxonomy": "affiliate",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "NPR Archives | KQED Arts",
"ogDescription": null
},
"ttid": 138,
"slug": "npr",
"isLoading": false,
"link": "/arts/affiliate/npr"
},
"arts_13737": {
"type": "terms",
"id": "arts_13737",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "13737",
"found": true
},
"relationships": {},
"featImg": null,
"name": "thrifting",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "thrifting Archives | KQED Arts",
"ogDescription": null
},
"ttid": 13749,
"slug": "thrifting",
"isLoading": false,
"link": "/arts/tag/thrifting"
},
"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_7534": {
"type": "terms",
"id": "arts_7534",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "7534",
"found": true
},
"relationships": {},
"featImg": null,
"name": "country music",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "country music Archives | KQED Arts",
"ogDescription": null
},
"ttid": 7546,
"slug": "country-music",
"isLoading": false,
"link": "/arts/tag/country-music"
},
"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_8572": {
"type": "terms",
"id": "arts_8572",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "8572",
"found": true
},
"relationships": {},
"featImg": null,
"name": "madonna",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "madonna Archives | KQED Arts",
"ogDescription": null
},
"ttid": 8584,
"slug": "madonna",
"isLoading": false,
"link": "/arts/tag/madonna"
},
"arts_4919": {
"type": "terms",
"id": "arts_4919",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "4919",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Michael Jackson",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Michael Jackson Archives | KQED Arts",
"ogDescription": null
},
"ttid": 4931,
"slug": "michael-jackson",
"isLoading": false,
"link": "/arts/tag/michael-jackson"
},
"arts_913": {
"type": "terms",
"id": "arts_913",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "913",
"found": true
},
"relationships": {},
"featImg": null,
"name": "punk",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "punk Archives | KQED Arts",
"ogDescription": null
},
"ttid": 931,
"slug": "punk",
"isLoading": false,
"link": "/arts/tag/punk"
},
"arts_10416": {
"type": "terms",
"id": "arts_10416",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "10416",
"found": true
},
"relationships": {},
"featImg": null,
"name": "shelter in place",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "shelter in place Archives | KQED Arts",
"ogDescription": null
},
"ttid": 10428,
"slug": "shelter-in-place",
"isLoading": false,
"link": "/arts/tag/shelter-in-place"
},
"arts_3026": {
"type": "terms",
"id": "arts_3026",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3026",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Taylor Swift",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Taylor Swift Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3038,
"slug": "taylor-swift",
"isLoading": false,
"link": "/arts/tag/taylor-swift"
},
"arts_2391": {
"type": "terms",
"id": "arts_2391",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2391",
"found": true
},
"relationships": {},
"featImg": null,
"name": "the internet",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "the internet Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2403,
"slug": "the-internet",
"isLoading": false,
"link": "/arts/tag/the-internet"
},
"arts_1553": {
"type": "terms",
"id": "arts_1553",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1553",
"found": true
},
"relationships": {},
"featImg": null,
"name": "twitter",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "twitter Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1565,
"slug": "twitter",
"isLoading": false,
"link": "/arts/tag/twitter"
},
"arts_70": {
"type": "terms",
"id": "arts_70",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "70",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Visual Arts",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Visual Arts Archives | KQED Arts",
"ogDescription": null
},
"ttid": 71,
"slug": "visualarts",
"isLoading": false,
"link": "/arts/category/visualarts"
},
"arts_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_769": {
"type": "terms",
"id": "arts_769",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "769",
"found": true
},
"relationships": {},
"featImg": null,
"name": "review",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "review Archives | KQED Arts",
"ogDescription": null
},
"ttid": 787,
"slug": "review",
"isLoading": false,
"link": "/arts/tag/review"
},
"arts_901": {
"type": "terms",
"id": "arts_901",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "901",
"found": true
},
"relationships": {},
"featImg": null,
"name": "visual art",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "visual art Archives | KQED Arts",
"ogDescription": null
},
"ttid": 919,
"slug": "visual-art",
"isLoading": false,
"link": "/arts/tag/visual-art"
},
"arts_1050": {
"type": "terms",
"id": "arts_1050",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1050",
"found": true
},
"relationships": {},
"featImg": null,
"name": "interview",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "interview Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1067,
"slug": "interview",
"isLoading": false,
"link": "/arts/tag/interview"
},
"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_1589": {
"type": "terms",
"id": "arts_1589",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1589",
"found": true
},
"relationships": {},
"featImg": null,
"name": "show preview",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "show preview Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1601,
"slug": "show-preview",
"isLoading": false,
"link": "/arts/tag/show-preview"
}
},
"userAgentReducer": {
"userAgent": "Mozilla/5.0 AppleWebKit/537.36 (KHTML, like Gecko; compatible; ClaudeBot/1.0; +claudebot@anthropic.com)",
"isBot": true
},
"userPermissionsReducer": {
"wpLoggedIn": false
},
"localStorageReducer": {},
"browserHistoryReducer": [],
"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
}
]
},
"authModal": {
"isOpen": false,
"view": "LANDING_VIEW"
},
"error": null
},
"youthMediaReducer": {},
"checkPleaseReducer": {
"filterData": {},
"restaurantData": []
},
"location": {
"pathname": "/arts/tag/david-bowie",
"previousPathname": "/"
}
}
