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_13961034": {
"type": "attachments",
"id": "arts_13961034",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13961034",
"found": true
},
"title": "by-Carlo-Velasquez_2000",
"publishDate": 1720734604,
"status": "inherit",
"parent": 13961027,
"modified": 1720734680,
"caption": "Josh Cheon in the Dark Entries record shop at 910 Larkin Street, which he opened in 2022.",
"credit": "Carlo Velasquez",
"altTag": "Man stands leaning on bins of records with display of covers on wall behind",
"description": null,
"imgSizes": {
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/by-Carlo-Velasquez_2000-800x533.jpg",
"width": 800,
"height": 533,
"mimeType": "image/jpeg"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/by-Carlo-Velasquez_2000-1020x680.jpg",
"width": 1020,
"height": 680,
"mimeType": "image/jpeg"
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/by-Carlo-Velasquez_2000-160x107.jpg",
"width": 160,
"height": 107,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/by-Carlo-Velasquez_2000-768x512.jpg",
"width": 768,
"height": 512,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/by-Carlo-Velasquez_2000-1536x1024.jpg",
"width": 1536,
"height": 1024,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/by-Carlo-Velasquez_2000-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/by-Carlo-Velasquez_2000-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/by-Carlo-Velasquez_2000-1920x1280.jpg",
"width": 1920,
"height": 1280,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/by-Carlo-Velasquez_2000.jpg",
"width": 2000,
"height": 1333
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13960607": {
"type": "attachments",
"id": "arts_13960607",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13960607",
"found": true
},
"title": "DSC_8502 (1)",
"publishDate": 1719856553,
"status": "inherit",
"parent": 13960603,
"modified": 1720459258,
"caption": "Marin-raised EDM producer and DJ Jauz, aka Sam Vogel, returns to the Bay Area on July 11 and 12.",
"credit": "Matt Calloway",
"altTag": "A white man in a baseball cap and black clothing stands in front of a cloudy sky and stares into the distance.",
"description": null,
"imgSizes": {
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/DSC_8502-1-800x533.jpg",
"width": 800,
"height": 533,
"mimeType": "image/jpeg"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/DSC_8502-1-1020x680.jpg",
"width": 1020,
"height": 680,
"mimeType": "image/jpeg"
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/DSC_8502-1-160x107.jpg",
"width": 160,
"height": 107,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/DSC_8502-1-768x512.jpg",
"width": 768,
"height": 512,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/DSC_8502-1-1536x1024.jpg",
"width": 1536,
"height": 1024,
"mimeType": "image/jpeg"
},
"2048x2048": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/DSC_8502-1-2048x1365.jpg",
"width": 2048,
"height": 1365,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/DSC_8502-1-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/DSC_8502-1-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/DSC_8502-1-1920x1280.jpg",
"width": 1920,
"height": 1280,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/DSC_8502-1-scaled.jpg",
"width": 2560,
"height": 1707
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13956749": {
"type": "attachments",
"id": "arts_13956749",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13956749",
"found": true
},
"parent": 13956734,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3kelves-jakarta-photo-1-Dylan-Greene-cropped-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3kelves-jakarta-photo-1-Dylan-Greene-cropped-160x107.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 107
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3kelves-jakarta-photo-1-Dylan-Greene-cropped-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3kelves-jakarta-photo-1-Dylan-Greene-cropped.jpg",
"width": 2075,
"height": 1383
},
"2048x2048": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3kelves-jakarta-photo-1-Dylan-Greene-cropped-2048x1365.jpg",
"width": 2048,
"mimeType": "image/jpeg",
"height": 1365
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3kelves-jakarta-photo-1-Dylan-Greene-cropped-1020x680.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 680
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3kelves-jakarta-photo-1-Dylan-Greene-cropped-1536x1024.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 1024
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3kelves-jakarta-photo-1-Dylan-Greene-cropped-1920x1280.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1280
},
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3kelves-jakarta-photo-1-Dylan-Greene-cropped-800x533.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 533
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3kelves-jakarta-photo-1-Dylan-Greene-cropped-768x512.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 512
}
},
"publishDate": 1714411588,
"modified": 1714412303,
"caption": "On his EP 'lucas,' 3kelves takes inspiration from the 2000s indie pop that became his soundtrack when he immigrated to the U.S. from Korea. ",
"description": null,
"title": "3kelves jakarta photo 1 - Dylan Greene- cropped",
"credit": "Dylan C. Greene",
"status": "inherit",
"altTag": "A music producer poses, looking into the camera, in a tropical setting with scooters driving by behind him.",
"isLoading": false,
"fetchFailed": false
},
"arts_13931066": {
"type": "attachments",
"id": "arts_13931066",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13931066",
"found": true
},
"parent": 13931062,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/06/audium-v-crowd-pt-2-edited-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/06/audium-v-crowd-pt-2-edited-160x106.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 106
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/06/audium-v-crowd-pt-2-edited-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/06/audium-v-crowd-pt-2-edited-scaled.jpg",
"width": 2560,
"height": 1701
},
"2048x2048": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/06/audium-v-crowd-pt-2-edited-2048x1361.jpg",
"width": 2048,
"mimeType": "image/jpeg",
"height": 1361
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/06/audium-v-crowd-pt-2-edited-1020x678.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 678
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/06/audium-v-crowd-pt-2-edited-1536x1021.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 1021
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/06/audium-v-crowd-pt-2-edited-1920x1276.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1276
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/06/audium-v-crowd-pt-2-edited-800x532.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 532
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/06/audium-v-crowd-pt-2-edited-768x510.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 510
}
},
"publishDate": 1688078113,
"modified": 1688078807,
"caption": "Audium is a sound theater where attendees sit in darkness as an electronic composition plays from 176 speakers, all around the room.",
"description": null,
"title": "audium v crowd 2023",
"credit": "Kristie Song/KQED",
"status": "inherit",
"altTag": "Shadowy figures are gathered in a dark sound theater.",
"isLoading": false,
"fetchFailed": false
},
"arts_13919652": {
"type": "attachments",
"id": "arts_13919652",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13919652",
"found": true
},
"parent": 13919671,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.-006-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.-006-160x107.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 107
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.-006-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.-006.jpg",
"width": 1920,
"height": 1280
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.-006-1020x680.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 680
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.-006-1536x1024.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 1024
},
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.-006-800x533.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 533
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/The-crowd-at-Portola-Music-Festival-in-San-Francisco-on-Sunday-Sept.-25-2022.-006-768x512.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 512
}
},
"publishDate": 1664180463,
"modified": 1715643857,
"caption": "The crowd at Portola Music Festival in San Francisco on Sunday, Sept. 25, 2022.",
"description": "The crowd at Portola Music Festival in San Francisco on Sunday, Sept. 25, 2022.",
"title": "The crowd at Portola Music Festival in San Francisco on Sunday, Sept. 25, 2022.",
"credit": "Estefany Gonzalez for KQED",
"status": "inherit",
"altTag": null,
"isLoading": false,
"fetchFailed": false
},
"arts_13928892": {
"type": "attachments",
"id": "arts_13928892",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13928892",
"found": true
},
"parent": 13928887,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/05/LucyLiyou_-_Rewire_20230408_-_Stephan_C_Kaffa_008-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/05/LucyLiyou_-_Rewire_20230408_-_Stephan_C_Kaffa_008-160x107.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 107
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/05/LucyLiyou_-_Rewire_20230408_-_Stephan_C_Kaffa_008-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/05/LucyLiyou_-_Rewire_20230408_-_Stephan_C_Kaffa_008-scaled.jpg",
"width": 2560,
"height": 1707
},
"2048x2048": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/05/LucyLiyou_-_Rewire_20230408_-_Stephan_C_Kaffa_008-2048x1365.jpg",
"width": 2048,
"mimeType": "image/jpeg",
"height": 1365
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/05/LucyLiyou_-_Rewire_20230408_-_Stephan_C_Kaffa_008-1020x680.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 680
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/05/LucyLiyou_-_Rewire_20230408_-_Stephan_C_Kaffa_008-1536x1024.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 1024
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/05/LucyLiyou_-_Rewire_20230408_-_Stephan_C_Kaffa_008-1920x1280.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1280
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/05/LucyLiyou_-_Rewire_20230408_-_Stephan_C_Kaffa_008-800x533.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 533
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/05/LucyLiyou_-_Rewire_20230408_-_Stephan_C_Kaffa_008-768x512.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 512
}
},
"publishDate": 1683657374,
"modified": 1683661958,
"caption": "Lucy Liyou performs at Rewire Festival in The Hague, Netherlands on April 8, 2023.",
"description": null,
"title": "Lucy Liyou",
"credit": "Stephan C. Kaffa",
"status": "inherit",
"altTag": null,
"isLoading": false,
"fetchFailed": false
},
"arts_13926280": {
"type": "attachments",
"id": "arts_13926280",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13926280",
"found": true
},
"parent": 13926181,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/03/Dorothy_COVER-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/03/Dorothy_COVER-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/03/Dorothy_COVER-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/03/Dorothy_COVER.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/03/Dorothy_COVER-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/03/Dorothy_COVER-1536x864.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 864
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/03/Dorothy_COVER-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/03/Dorothy_COVER-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1678903068,
"modified": 1678904782,
"caption": "The album 'Under an Endless Sky' from Dorothy Moskowitz and The United States of Alchemy (her collaboration with Paolo Paladino and Luca Chino Ferrari) comes out March 17 on Tompkins Square Records.",
"description": null,
"title": "Dorothy_COVER",
"credit": "Portrait courtesy of Tompkins Square; background by Serg_Velusceac / iStock; collage by Sarah Hotchkiss",
"status": "inherit",
"altTag": "Image of smiling older woman overlaid on clouds with album cover beside her",
"isLoading": false,
"fetchFailed": false
},
"arts_13924750": {
"type": "attachments",
"id": "arts_13924750",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13924750",
"found": true
},
"parent": 13924749,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/02/gettyimages-1463293152_wide-27571b905131c015193e1e0d8a409c183d2b7821-scaled-e1675661399606-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/02/gettyimages-1463293152_wide-27571b905131c015193e1e0d8a409c183d2b7821-scaled-e1675661399606-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/02/gettyimages-1463293152_wide-27571b905131c015193e1e0d8a409c183d2b7821-scaled-e1675661399606-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/02/gettyimages-1463293152_wide-27571b905131c015193e1e0d8a409c183d2b7821-scaled-e1675661399606.jpg",
"width": 1920,
"height": 1080
},
"2048x2048": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/02/gettyimages-1463293152_wide-27571b905131c015193e1e0d8a409c183d2b7821-2048x1152.jpg",
"width": 2048,
"mimeType": "image/jpeg",
"height": 1152
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/02/gettyimages-1463293152_wide-27571b905131c015193e1e0d8a409c183d2b7821-scaled-e1675661399606-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/02/gettyimages-1463293152_wide-27571b905131c015193e1e0d8a409c183d2b7821-scaled-e1675661399606-1536x864.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 864
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/02/gettyimages-1463293152_wide-27571b905131c015193e1e0d8a409c183d2b7821-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/02/gettyimages-1463293152_wide-27571b905131c015193e1e0d8a409c183d2b7821-scaled-e1675661399606-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2023/02/gettyimages-1463293152_wide-27571b905131c015193e1e0d8a409c183d2b7821-scaled-e1675661399606-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1675660690,
"modified": 1675661496,
"caption": "Beyoncé accepts best dance/electronic music album for ‘RENAISSANCE’ during the 65th Grammy Awards in Los Angeles Sunday. The prize gave her 32 Grammys, the most of any artist in the awards' history.",
"description": null,
"title": "Beyoncé accepts best dance/electronic music album for ‘RENAISSANCE’ during the 65th Grammy Awards in Los Angeles Sunday. The prize gave her 32 Grammys, the most of any artist in the awards' history.",
"credit": "Emma McIntyre/Getty Images for The Recording Academy",
"status": "inherit",
"altTag": "A beautiful Black woman with long wavy hair smiles broadly behind a podium microphone, award in hand.",
"isLoading": false,
"fetchFailed": false
},
"arts_13913643": {
"type": "attachments",
"id": "arts_13913643",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13913643",
"found": true
},
"parent": 13913639,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/05/VANGELIS.Main_-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/05/VANGELIS.Main_-160x100.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 100
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/05/VANGELIS.Main_-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/05/VANGELIS.Main_.jpg",
"width": 1600,
"height": 1000
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/05/VANGELIS.Main_-1020x638.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 638
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/05/VANGELIS.Main_-1536x960.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 960
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/05/VANGELIS.Main_-800x500.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 500
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/05/VANGELIS.Main_-768x480.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 480
}
},
"publishDate": 1652985218,
"modified": 1652985305,
"caption": "Greek musician and composer Vangelis Papathanassiou, known as Vangelis, posing at the French Culture Ministry after receiving a decoration. Vangelis, the Greek composer of soundtracks for \"Blade Runner\" and \"Chariots of Fire\" has died aged 79, Prime Minister Kyriakos Mitsotakis said on May 19, 2022. \"Vangelis Papathanassiou is no longer with us,\" the prime minister tweeted. \"The world of music has lost the international (artist) Vangelis.\" The popular composer died in a hospital in Paris of heart failure.",
"description": null,
"title": "VANGELIS.Main",
"credit": "Georges Bendrihem/AFP via Getty Images",
"status": "inherit",
"altTag": null,
"isLoading": false,
"fetchFailed": false
},
"arts_13912310": {
"type": "attachments",
"id": "arts_13912310",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13912310",
"found": true
},
"parent": 13912307,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/04/BlueNoteJazzFestival.Collage-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/04/BlueNoteJazzFestival.Collage-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/04/BlueNoteJazzFestival.Collage-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/04/BlueNoteJazzFestival.Collage.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/04/BlueNoteJazzFestival.Collage-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/04/BlueNoteJazzFestival.Collage-1536x864.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 864
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/04/BlueNoteJazzFestival.Collage-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/04/BlueNoteJazzFestival.Collage-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1650615448,
"modified": 1650615614,
"caption": "Artists at the Blue Note Jazz festival in Napa include Robert Glasper, Thundercat, Flying Lotus, Erykah Badu, Maxwell and many other stars, pushing face-value ticket fees up to $385 for general admission for the two-day event at Charles Krug Winery.",
"description": null,
"title": "BlueNoteJazzFestival.Collage",
"credit": "Blue Note Jazz Festival",
"status": "inherit",
"altTag": "A collage of headliners' headshots",
"isLoading": false,
"fetchFailed": false
},
"arts_13912037": {
"type": "attachments",
"id": "arts_13912037",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13912037",
"found": true
},
"parent": 13911905,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/04/AnthonyBraxton1987-1024x576.jpg",
"width": 1024,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/04/AnthonyBraxton1987-160x108.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 108
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/04/AnthonyBraxton1987-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/04/AnthonyBraxton1987.jpg",
"width": 1024,
"height": 690
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/04/AnthonyBraxton1987-1020x687.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 687
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/04/AnthonyBraxton1987-800x539.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 539
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/04/AnthonyBraxton1987-768x518.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 518
}
},
"publishDate": 1650271858,
"modified": 1650271977,
"caption": "Amidst his time teaching at Mills College, jazz musician Anthony Braxton performs with Misha Mengelberg and the ICP Orchestra in Amsterdam, Netherlands, in 1987.",
"description": null,
"title": "Anthony Braxton 1987",
"credit": "Frans Schellekens/Redferns",
"status": "inherit",
"altTag": "A middle-aged Black man plays the alto saxophone on a dimly lit stage",
"isLoading": false,
"fetchFailed": false
},
"arts_13909230": {
"type": "attachments",
"id": "arts_13909230",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13909230",
"found": true
},
"parent": 13909188,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/02/Audium.COMposers-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/02/Audium.COMposers-160x100.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 100
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/02/Audium.COMposers-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/02/Audium.COMposers.jpg",
"width": 1920,
"height": 1200
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/02/Audium.COMposers-1020x638.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 638
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/02/Audium.COMposers-1536x960.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 960
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/02/Audium.COMposers-800x500.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 500
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/02/Audium.COMposers-768x480.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 480
}
},
"publishDate": 1644534847,
"modified": 1644534998,
"caption": "Victoria Shen, Alexa Burrell and Noah Berrie (L–R) are Audium's first residency artists in the San Francisco institution's 55-year history. ",
"description": null,
"title": "Audium.COMposers",
"credit": "Gabe Meline/KQED",
"status": "inherit",
"altTag": null,
"isLoading": false,
"fetchFailed": false
}
},
"audioPlayerReducer": {
"postId": "stream_live",
"isPaused": true,
"isPlaying": false,
"pfsActive": false,
"pledgeModalIsOpen": true,
"playerDrawerIsOpen": false,
"liveAudioPlayStartedAt": 0,
"liveAudioPlayContext": ""
},
"authorsReducer": {
"byline_arts_13928887": {
"type": "authors",
"id": "byline_arts_13928887",
"meta": {
"override": true
},
"slug": "byline_arts_13928887",
"name": "Daniel Bromfield",
"isLoading": false
},
"byline_arts_13924749": {
"type": "authors",
"id": "byline_arts_13924749",
"meta": {
"override": true
},
"slug": "byline_arts_13924749",
"name": "Hazel Cills",
"isLoading": false
},
"byline_arts_13913639": {
"type": "authors",
"id": "byline_arts_13913639",
"meta": {
"override": true
},
"slug": "byline_arts_13913639",
"name": "Andrew Limbong",
"isLoading": false
},
"shotchkiss": {
"type": "authors",
"id": "61",
"meta": {
"index": "authors_1716337520",
"id": "61",
"found": true
},
"name": "Sarah Hotchkiss",
"firstName": "Sarah",
"lastName": "Hotchkiss",
"slug": "shotchkiss",
"email": "shotchkiss@kqed.org",
"display_author_email": true,
"staff_mastheads": [
"arts"
],
"title": "Senior Editor",
"bio": "Sarah Hotchkiss is a San Francisco \u003ca href=\"http://www.sarahhotchkiss.com\">artist\u003c/a> and arts writer. In 2019, she received the Dorothea & Leo Rabkin Foundation grant for visual art journalism and in 2020 she received a Society of Professional Journalists, Northern California award for excellence in arts and culture reporting.",
"avatar": "https://secure.gravatar.com/avatar/bc662df144b3d27fd8b1b6f1c2a420d34e91e53154d411bb7ad353cc8b6cea8d?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "",
"roles": [
"editor"
]
},
{
"site": "arts",
"roles": [
"Contributor",
"administrator"
]
},
{
"site": "artschool",
"roles": [
"administrator"
]
},
{
"site": "news",
"roles": [
"editor"
]
},
{
"site": "pop",
"roles": [
"administrator"
]
},
{
"site": "bayareabites",
"roles": [
"editor"
]
},
{
"site": "spark",
"roles": [
"editor"
]
},
{
"site": "checkplease",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Sarah Hotchkiss | KQED",
"description": "Senior Editor",
"ogImgSrc": "https://secure.gravatar.com/avatar/bc662df144b3d27fd8b1b6f1c2a420d34e91e53154d411bb7ad353cc8b6cea8d?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/bc662df144b3d27fd8b1b6f1c2a420d34e91e53154d411bb7ad353cc8b6cea8d?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/shotchkiss"
},
"agilbert": {
"type": "authors",
"id": "86",
"meta": {
"index": "authors_1716337520",
"id": "86",
"found": true
},
"name": "Andrew Gilbert",
"firstName": "Andrew",
"lastName": "Gilbert",
"slug": "agilbert",
"email": "jazzscribe@aol.com",
"display_author_email": false,
"staff_mastheads": [],
"title": "KQED Contributor",
"bio": "A Los Angeles native based in the Berkeley area since 1996, Andrew Gilbert covers jazz, international music and dance for KQED's \u003ci>California Report, \u003c/i>the\u003ci> Mercury News\u003c/i>, \u003ci>San Francisco Chronicle\u003c/i>, \u003ci>Berkeleyside.com\u003c/i>, and other publications. He is available for weddings and bar and bat mitzvahs. #jazzscribe",
"avatar": "https://secure.gravatar.com/avatar/d7bcafdbefdd39e9a68f88724ca616eb4e7a5a6bff9cdfb62de652a1e1751471?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"Contributor",
"author"
]
},
{
"site": "news",
"roles": [
"author"
]
}
],
"headData": {
"title": "Andrew Gilbert | KQED",
"description": "KQED Contributor",
"ogImgSrc": "https://secure.gravatar.com/avatar/d7bcafdbefdd39e9a68f88724ca616eb4e7a5a6bff9cdfb62de652a1e1751471?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/d7bcafdbefdd39e9a68f88724ca616eb4e7a5a6bff9cdfb62de652a1e1751471?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/agilbert"
},
"gmeline": {
"type": "authors",
"id": "185",
"meta": {
"index": "authors_1716337520",
"id": "185",
"found": true
},
"name": "Gabe Meline",
"firstName": "Gabe",
"lastName": "Meline",
"slug": "gmeline",
"email": "gmeline@kqed.org",
"display_author_email": true,
"staff_mastheads": [
"arts"
],
"title": "Senior Editor, KQED Arts & Culture",
"bio": "Gabe Meline entered journalism at age 15 making photocopied zines, and has since earned awards from the Edward R. Murrow Awards, the Society for Professional Journalists, the Online Journalism Awards, the Association of Alternative Newsweeklies and the California Newspaper Publishers Association. Prior to KQED, he was the editor of the \u003cem>North Bay Bohemian\u003c/em> and a touring musician. He lives with his wife and daughter in his hometown of Santa Rosa, CA.",
"avatar": "https://secure.gravatar.com/avatar/5bebe57be0d8bc2dd318934feb47299e2d2d10cba28d09d8d7afb389a2ce2bdd?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "",
"roles": [
"editor"
]
},
{
"site": "arts",
"roles": [
"administrator"
]
},
{
"site": "artschool",
"roles": [
"editor"
]
},
{
"site": "news",
"roles": [
"author"
]
},
{
"site": "pop",
"roles": [
"editor"
]
},
{
"site": "bayareabites",
"roles": [
"editor"
]
},
{
"site": "food",
"roles": [
"editor"
]
},
{
"site": "liveblog",
"roles": [
"editor"
]
},
{
"site": "hiphop",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Gabe Meline | KQED",
"description": "Senior Editor, KQED Arts & Culture",
"ogImgSrc": "https://secure.gravatar.com/avatar/5bebe57be0d8bc2dd318934feb47299e2d2d10cba28d09d8d7afb389a2ce2bdd?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/5bebe57be0d8bc2dd318934feb47299e2d2d10cba28d09d8d7afb389a2ce2bdd?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/gmeline"
},
"aproehl": {
"type": "authors",
"id": "11296",
"meta": {
"index": "authors_1716337520",
"id": "11296",
"found": true
},
"name": "Ariana Proehl",
"firstName": "Ariana",
"lastName": "Proehl",
"slug": "aproehl",
"email": "aproehl@KQED.org",
"display_author_email": true,
"staff_mastheads": [
"news"
],
"title": "Culture Reporter, KQED",
"bio": "Ariana Proehl is a Culture Reporter and Host.",
"avatar": "https://secure.gravatar.com/avatar/c96b24567eb5bb3a4f8bb295ed53e232?s=600&d=blank&r=g",
"twitter": "ArianaProehl",
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": []
},
{
"site": "news",
"roles": []
},
{
"site": "education",
"roles": []
},
{
"site": "forum",
"roles": []
}
],
"headData": {
"title": "Ariana Proehl | KQED",
"description": "Culture Reporter, KQED",
"ogImgSrc": "https://secure.gravatar.com/avatar/c96b24567eb5bb3a4f8bb295ed53e232?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/c96b24567eb5bb3a4f8bb295ed53e232?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/aproehl"
},
"nvoynovskaya": {
"type": "authors",
"id": "11387",
"meta": {
"index": "authors_1716337520",
"id": "11387",
"found": true
},
"name": "Nastia Voynovskaya",
"firstName": "Nastia",
"lastName": "Voynovskaya",
"slug": "nvoynovskaya",
"email": "nvoynovskaya@kqed.org",
"display_author_email": false,
"staff_mastheads": [
"arts"
],
"title": "Editor and reporter",
"bio": "Nastia Voynovskaya is a reporter and editor at KQED Arts & Culture. She's been covering the arts in the Bay Area for over a decade, with a focus on music, queer culture, labor issues and grassroots organizing. She has edited KQED story series such as Trans Bay: A History of San Francisco's Gender-Diverse Community, and co-created KQED's Bay Area hip-hop history project, That's My Word. Nastia's work has been recognized by the Society of Professional Journalists and San Francisco Press Club. She holds a BA in comparative literature from UC Berkeley.",
"avatar": "https://secure.gravatar.com/avatar/5025ee460e5a85d69ca20ea6c6f2f80d7e17795c828f61ea3aecfcd924e9042e?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": "https://www.instagram.com/nananastia/",
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"administrator"
]
},
{
"site": "news",
"roles": [
"editor"
]
},
{
"site": "pop",
"roles": [
"administrator"
]
},
{
"site": "bayareabites",
"roles": [
"editor"
]
},
{
"site": "podcasts",
"roles": [
"editor"
]
},
{
"site": "hiphop",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Nastia Voynovskaya | KQED",
"description": "Editor and reporter",
"ogImgSrc": "https://secure.gravatar.com/avatar/5025ee460e5a85d69ca20ea6c6f2f80d7e17795c828f61ea3aecfcd924e9042e?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/5025ee460e5a85d69ca20ea6c6f2f80d7e17795c828f61ea3aecfcd924e9042e?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/nvoynovskaya"
},
"ksong": {
"type": "authors",
"id": "11813",
"meta": {
"index": "authors_1716337520",
"id": "11813",
"found": true
},
"name": "Kristie Song",
"firstName": "Kristie",
"lastName": "Song",
"slug": "ksong",
"email": "ksong@kqed.org",
"display_author_email": false,
"staff_mastheads": [],
"title": "Editorial Intern ",
"bio": "Kristie Song is an Arts & Culture Intern at KQED. She is currently a graduate student at UC Berkeley, where she studies audio and multimedia journalism. Previously, she covered the local community for Oakland North, produced episodes for The Science of Happiness, and served as news director for KUCI, UC Irvine’s radio station. Outside of reporting, she likes drawing comics, listening to angsty rock, and practicing the guitar.",
"avatar": "https://secure.gravatar.com/avatar/c1149e78c3c44f92d4945a8ab0711af6?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Kristie Song | KQED",
"description": "Editorial Intern ",
"ogImgSrc": "https://secure.gravatar.com/avatar/c1149e78c3c44f92d4945a8ab0711af6?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/c1149e78c3c44f92d4945a8ab0711af6?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/ksong"
}
},
"pagesReducer": {
"arts_tag_electronic-music": {
"type": "terms",
"id": "arts_1501",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1501",
"score": 9.889647
},
"featImg": null,
"name": "electronic music",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "electronic music Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1513,
"slug": "electronic-music",
"isLoading": false,
"title": "electronic music",
"pageMeta": {
"site": "arts",
"WpPageTemplate": "page-topic-editorial",
"currentPage": 2
},
"blocks": [
{
"blockName": "kqed/post-list",
"attrs": {
"layout": "cardArticle2",
"query": "posts/arts?tag=electronic-music",
"seeMore": false,
"paginated": true,
"page": 2
}
},
{
"blockName": "kqed/ad"
}
]
}
},
"pfsSessionReducer": {},
"postsReducer": {
"stream_live": {
"type": "live",
"id": "stream_live",
"audioUrl": "https://streams.kqed.org/kqedradio",
"title": "Live Stream",
"excerpt": "Live Stream information currently unavailable.",
"link": "/radio",
"featImg": "",
"label": {
"name": "KQED Live",
"link": "/"
}
},
"stream_kqedNewscast": {
"type": "posts",
"id": "stream_kqedNewscast",
"audioUrl": "https://www.kqed.org/.stream/anon/radio/RDnews/newscast.mp3?_=1",
"title": "KQED Newscast",
"featImg": "",
"label": {
"name": "88.5 FM",
"link": "/"
}
},
"arts_13961027": {
"type": "posts",
"id": "arts_13961027",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13961027",
"score": null,
"sort": [
1720743763000
]
},
"guestAuthors": [],
"slug": "dark-entries-records-15th-anniversary-parties-san-francisco",
"title": "Dark Entries Records Celebrates 15 Years with Two SF Parties",
"publishDate": 1720743763,
"format": "standard",
"headTitle": "Dark Entries Records Celebrates 15 Years with Two SF Parties | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003cp>Dark Entries, the record label and Tenderloin shop that specializes in out-of-print and unreleased archival material, especially underground ’80s music, has reached a milestone 15 years. \u003c/p>\n\u003cp>Josh Cheon says he didn’t launch the label in 2009 thinking this far into the future. “But I think I always was a little overambitious,” he says. “I had a list of projects that I wanted to work on.”\u003c/p>\n\u003cp>Over the years, Dark Entries has put out more than 100 albums, including \u003ca href=\"https://www.darkentriesrecords.com/store/music/cd/patrick-cowley-mechanical-fantasy-box/\">unreleased electronic dance music\u003c/a> and \u003ca href=\"https://www.darkentriesrecords.com/store/music/vinyl/lp/patrick-cowley-afternooners-2xlp/\">gay porn soundtracks\u003c/a> from Patrick Cowley; and \u003ca href=\"https://www.darkentriesrecords.com/store/music/vinyl/lp/sylvester-private-recordings-august-1970/\">private jazz, blues and gospel recordings\u003c/a> by disco star Sylvester. Now, to celebrate that unexpected but entirely welcome longevity, he’s organized two anniversary parties in San Francisco — one a concert at the \u003ca href=\"https://wl.seetickets.us/event/topographies-brontez-purnell/608898?afflky=GreatAmericanMusicHall\">Great American Music Hall on July 13\u003c/a> and another at the \u003ca href=\"https://www.tixr.com/groups/midwaysf/events/dark-entries-anniversary-party-107882?utm_source=themidway&utm_medium=venuewebsite\">Midway on July 20\u003c/a>.\u003c/p>\n\u003cp>The lineups for both nights are pulled together from musicians Cheon has worked with on Dark Entries releases, but each has a distinct flavor. \u003c/p>\n\u003cp>The Great American show, headlined by \u003ca href=\"https://www.darkentriesrecords.com/store/music/vinyl/lp/topographies-interior-spring/\">Topographies\u003c/a>, will be more post-punk and ’80s leaning, with sets from \u003ca href=\"https://www.darkentriesrecords.com/store/music/vinyl/lp/brontez-purnell-no-jack-swing/\">Brontez Purnell\u003c/a>, \u003ca href=\"https://www.darkentriesrecords.com/store/music/vinyl/lp/loveshadow-ii-lp/\">Loveshadow\u003c/a> and Topazu. Topographies, formed in 2018 by Justin Oronos, Jeremie Ruest and Gray Tolhurst, put out their sophomore album earlier this year with Dark Entries, channeling cold wave forebears with impeccably moody, synthy shoegaze.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Purnell may be best known for his punk and garage rock (or his books, \u003ci>Since I Laid My Burden Down\u003c/i> and \u003ci>100 Boyfriends\u003c/i>), but on July 13 he’ll be performing electronic music he’s never played live before. “That’s definitely a good reason to come out,” Cheon chuckles, “because you might never see this again!”\u003c/p>\n\u003cp>Cheon describes Loveshadow, a Bay Area pop duo, as having “soulful Kate Bush kind of vibes,” and hints that there might be a secret guest joining them on vocals.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" allow=\"autoplay\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/1663667625&color=%23ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>At the Midway, analog guru and underground Midwest rave hero \u003ca href=\"https://www.darkentriesrecords.com/store/music/vinyl/lp/bill-converse-take-parts/\">Bill Converse\u003c/a> is playing his live set in San Francisco for the first time ever. “It’s going to be a pretty intense, fun dance party,” says Cheon, who caught Converse’s show in San Diego. This night, he says, will be “definitely more techno, house kind of vibes.” Also performing are \u003ca href=\"https://www.darkentriesrecords.com/store/music/vinyl/lp/group-rhoda-passing-shades/\">Group Rhoda\u003c/a>, \u003ca href=\"https://www.darkentriesrecords.com/store/music/vinyl/lp/dax-pierson-nerve-bumps-a-queer-divine-disappointment/\">Dax Pierson\u003c/a>, \u003ca href=\"https://www.instagram.com/carlossouffront/?hl=en\">Carlos Souffront\u003c/a> and \u003ca href=\"https://soundcloud.com/pre-optrans\">Pre Op Trans\u003c/a>. \u003c/p>\n\u003cp>With acts coming from as far away as Texas and Washington, Cheon is excited for it all to come together. “I’m glad they all said yes and that I was able to get them all to perform here,” he says. “Everyone’s kind of traveling to make this happen, which is really nice.” \u003c/p>\n\u003cp>The July 20 night also doubles as an unofficial afterparty for the \u003ca href=\"https://sfartbookfair.com/\">San Francisco Art Book Fair\u003c/a>, which runs July 18–21 at Minnesota Street Project. Dark Entries will have a table at the fair with a new publication presenting work by in-house designer \u003ca href=\"http://eloiseleigh.com/\">Eloise Leigh\u003c/a>, along with DIY typography and logos from bands featured on reissues.\u003c/p>\n\u003cp>Fifteen years in, can Cheon now envision a 30-year anniversary? “I don’t see me stopping this anytime soon,” he says. “And I have so much stuff I need to get out — there’s still a backlog of releases that are waiting in the queue. I literally just signed a contract today with an artist.”\u003c/p>\n\u003cp>As long as he’s having fun, he says, he’ll keep it going. Or, he adds: “As long as people keep buying records.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Dark Entries’ 15th anniversary parties are $18 presale, $25 at the door for both the July 13 \u003ca href=\"https://wl.seetickets.us/event/topographies-brontez-purnell/608898?afflky=GreatAmericanMusicHall\">Great American Music Hall\u003c/a> show and the July 20 \u003ca href=\"https://www.tixr.com/groups/midwaysf/events/dark-entries-anniversary-party-107882?utm_source=themidway&utm_medium=venuewebsite\">Midway\u003c/a> show.\u003c/i>\u003c/p>\n\n",
"blocks": [],
"excerpt": "A July 13 show at Great American Music Hall and a July 20 show at the Midway bring together artists from the label.",
"status": "publish",
"parent": 0,
"modified": 1720743763,
"stats": {
"hasAudio": true,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 16,
"wordCount": 643
},
"headData": {
"title": "Dark Entries Records Celebrates 15 Years with Two SF Parties | KQED",
"description": "A July 13 show at Great American Music Hall and a July 20 show at the Midway bring together artists from the label.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Dark Entries Records Celebrates 15 Years with Two SF Parties",
"datePublished": "2024-07-11T17:22:43-07:00",
"dateModified": "2024-07-11T17:22:43-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprStoryId": "kqed-13961027",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13961027/dark-entries-records-15th-anniversary-parties-san-francisco",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Dark Entries, the record label and Tenderloin shop that specializes in out-of-print and unreleased archival material, especially underground ’80s music, has reached a milestone 15 years. \u003c/p>\n\u003cp>Josh Cheon says he didn’t launch the label in 2009 thinking this far into the future. “But I think I always was a little overambitious,” he says. “I had a list of projects that I wanted to work on.”\u003c/p>\n\u003cp>Over the years, Dark Entries has put out more than 100 albums, including \u003ca href=\"https://www.darkentriesrecords.com/store/music/cd/patrick-cowley-mechanical-fantasy-box/\">unreleased electronic dance music\u003c/a> and \u003ca href=\"https://www.darkentriesrecords.com/store/music/vinyl/lp/patrick-cowley-afternooners-2xlp/\">gay porn soundtracks\u003c/a> from Patrick Cowley; and \u003ca href=\"https://www.darkentriesrecords.com/store/music/vinyl/lp/sylvester-private-recordings-august-1970/\">private jazz, blues and gospel recordings\u003c/a> by disco star Sylvester. Now, to celebrate that unexpected but entirely welcome longevity, he’s organized two anniversary parties in San Francisco — one a concert at the \u003ca href=\"https://wl.seetickets.us/event/topographies-brontez-purnell/608898?afflky=GreatAmericanMusicHall\">Great American Music Hall on July 13\u003c/a> and another at the \u003ca href=\"https://www.tixr.com/groups/midwaysf/events/dark-entries-anniversary-party-107882?utm_source=themidway&utm_medium=venuewebsite\">Midway on July 20\u003c/a>.\u003c/p>\n\u003cp>The lineups for both nights are pulled together from musicians Cheon has worked with on Dark Entries releases, but each has a distinct flavor. \u003c/p>\n\u003cp>The Great American show, headlined by \u003ca href=\"https://www.darkentriesrecords.com/store/music/vinyl/lp/topographies-interior-spring/\">Topographies\u003c/a>, will be more post-punk and ’80s leaning, with sets from \u003ca href=\"https://www.darkentriesrecords.com/store/music/vinyl/lp/brontez-purnell-no-jack-swing/\">Brontez Purnell\u003c/a>, \u003ca href=\"https://www.darkentriesrecords.com/store/music/vinyl/lp/loveshadow-ii-lp/\">Loveshadow\u003c/a> and Topazu. Topographies, formed in 2018 by Justin Oronos, Jeremie Ruest and Gray Tolhurst, put out their sophomore album earlier this year with Dark Entries, channeling cold wave forebears with impeccably moody, synthy shoegaze.\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>Purnell may be best known for his punk and garage rock (or his books, \u003ci>Since I Laid My Burden Down\u003c/i> and \u003ci>100 Boyfriends\u003c/i>), but on July 13 he’ll be performing electronic music he’s never played live before. “That’s definitely a good reason to come out,” Cheon chuckles, “because you might never see this again!”\u003c/p>\n\u003cp>Cheon describes Loveshadow, a Bay Area pop duo, as having “soulful Kate Bush kind of vibes,” and hints that there might be a secret guest joining them on vocals.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" allow=\"autoplay\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/1663667625&color=%23ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>At the Midway, analog guru and underground Midwest rave hero \u003ca href=\"https://www.darkentriesrecords.com/store/music/vinyl/lp/bill-converse-take-parts/\">Bill Converse\u003c/a> is playing his live set in San Francisco for the first time ever. “It’s going to be a pretty intense, fun dance party,” says Cheon, who caught Converse’s show in San Diego. This night, he says, will be “definitely more techno, house kind of vibes.” Also performing are \u003ca href=\"https://www.darkentriesrecords.com/store/music/vinyl/lp/group-rhoda-passing-shades/\">Group Rhoda\u003c/a>, \u003ca href=\"https://www.darkentriesrecords.com/store/music/vinyl/lp/dax-pierson-nerve-bumps-a-queer-divine-disappointment/\">Dax Pierson\u003c/a>, \u003ca href=\"https://www.instagram.com/carlossouffront/?hl=en\">Carlos Souffront\u003c/a> and \u003ca href=\"https://soundcloud.com/pre-optrans\">Pre Op Trans\u003c/a>. \u003c/p>\n\u003cp>With acts coming from as far away as Texas and Washington, Cheon is excited for it all to come together. “I’m glad they all said yes and that I was able to get them all to perform here,” he says. “Everyone’s kind of traveling to make this happen, which is really nice.” \u003c/p>\n\u003cp>The July 20 night also doubles as an unofficial afterparty for the \u003ca href=\"https://sfartbookfair.com/\">San Francisco Art Book Fair\u003c/a>, which runs July 18–21 at Minnesota Street Project. Dark Entries will have a table at the fair with a new publication presenting work by in-house designer \u003ca href=\"http://eloiseleigh.com/\">Eloise Leigh\u003c/a>, along with DIY typography and logos from bands featured on reissues.\u003c/p>\n\u003cp>Fifteen years in, can Cheon now envision a 30-year anniversary? “I don’t see me stopping this anytime soon,” he says. “And I have so much stuff I need to get out — there’s still a backlog of releases that are waiting in the queue. I literally just signed a contract today with an artist.”\u003c/p>\n\u003cp>As long as he’s having fun, he says, he’ll keep it going. Or, he adds: “As long as people keep buying records.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Dark Entries’ 15th anniversary parties are $18 presale, $25 at the door for both the July 13 \u003ca href=\"https://wl.seetickets.us/event/topographies-brontez-purnell/608898?afflky=GreatAmericanMusicHall\">Great American Music Hall\u003c/a> show and the July 20 \u003ca href=\"https://www.tixr.com/groups/midwaysf/events/dark-entries-anniversary-party-107882?utm_source=themidway&utm_medium=venuewebsite\">Midway\u003c/a> show.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13961027/dark-entries-records-15th-anniversary-parties-san-francisco",
"authors": [
"61"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_69"
],
"tags": [
"arts_22212",
"arts_1501",
"arts_10278",
"arts_585",
"arts_3741"
],
"featImg": "arts_13961034",
"label": "arts_140"
},
"arts_13960603": {
"type": "posts",
"id": "arts_13960603",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13960603",
"score": null,
"sort": [
1720459296000
]
},
"guestAuthors": [],
"slug": "jauz-wicked-wise-san-francisco-1015-folsom",
"title": "Jauz Brings His ‘Wicked’ and ‘Wise’ EDM to San Francisco",
"publishDate": 1720459296,
"format": "standard",
"headTitle": "Jauz Brings His ‘Wicked’ and ‘Wise’ EDM to San Francisco | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003cp>\u003cspan style=\"font-weight: 400\">Sam Vogel — an EDM DJ and producer known professionally as \u003c/span>\u003ca href=\"https://www.instagram.com/jauzofficial/?hl=en\">\u003cspan style=\"font-weight: 400\">Jauz\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> — regularly performs at electronic music festivals around the world, including meccas like Belgium’s Tomorrowland and New York’s Electric Zoo. And now he’s set to return to the Bay Area, his home turf, when he brings his current tour to 1015 Folsom in San Francisco.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Vogel, who grew up in Marin, will play two different shows on July 11 and 12. First up is \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Jauz Presents: The Wicked\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, or “Bass Night” featuring his more aggressive, drum and bass sounds, followed by \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Jauz Presents: The Wise\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, or “House Night,” featuring his more melodic, progressive house music.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The tour is inspired by a dystopian narrative he created for his 2018 concept album, \u003c/span>\u003ca href=\"https://www.billboard.com/music/music-news/jauz-the-wise-and-the-wicked-album-breakdown-8473042/\">\u003ci>\u003cspan style=\"font-weight: 400\">The Wise and the Wicked\u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\">. In it, the “Wise” members of society have a more uplifting outlook and want to improve the world, representing the house side of his music, while the “Wicked” are more destructive and anarchic, representing the drum and bass side. He delved deeper into the story with his 2023 albums \u003c/span>\u003ca href=\"https://www.youtube.com/playlist?list=OLAK5uy_n4bwjUiXXf-xL_7cK919M2zbGsoMjporU\">\u003ci>\u003cspan style=\"font-weight: 400\">WRATH OF THE WICKED\u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\"> and \u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=D87Uw6pEjJs&list=OLAK5uy_nclXF9j0y9PakkaRAllXaC2j1QFwdhVgI\">\u003ci>\u003cspan style=\"font-weight: 400\">Rise of the Wise\u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=PDACKf0eoYU\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“My motto since day one has always been ‘music has no boundaries,’ which has kind of represented the idea that one artist can have all these different faces, and that should be something that’s celebrated,” explained Vogel, who founded his own record label, \u003ca href=\"https://www.heybitethis.com/\">Bite This\u003c/a>, in 2017. “That’s why I wanted to create these worlds.” \u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Growing up in Marin, Vogel actually favored the heavy metal scene over EDM. He started playing guitar at age 11, inspired by Metallica and other bands coming out of the Bay Area. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I\u003c/span> \u003cspan style=\"font-weight: 400\">used to go just about every Tuesday or Wednesday to the Regency Ballroom [in San Francisco]. That was where all the metal bands that I loved were playing,” Vogel recalled. \u003c/span>\u003c/p>\n\u003cp>https://youtu.be/aC7LPL6Mvrk?si=2xNTjCl_ti_AkDFQ\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">At first, he wanted to become a professional guitarist. “I’d tried starting so many bands that never really came to anything,” Vogel said. “I [also] tried to record myself as a one man band and that didn’t go very well.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Then he had a “light bulb moment” while putting together a short film as part of the \u003c/span>\u003ca href=\"https://www.youtube.com/channel/UCFU-CXRzr5Huj4_bC3USa4Q\">\u003cspan style=\"font-weight: 400\">Academy of Integrated Humanities and New Media (AIM)\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> documentary film program at Tamalpais High School.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I was putting together different pieces of audio — whether it was Foley background music or whatever,” Vogel said. “I looked at one of my friends and said, ‘Man, I wish I could make music like this. Just laying things together, like putting Lego pieces together.’” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">His friend pointed across the room to another student making hip-hop beats on his computer. Vogel realized he didn’t have to play guitar or the drums to make music — his computer could be his instrument.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13960604\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13960604\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Jauz-Outside-Lands-2016-800x567.jpg\" alt=\"A male DJ in a white shirt and backwards baseball cap uses DJ equipment on a stage in front of a sea of people.\" width=\"800\" height=\"567\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Jauz-Outside-Lands-2016-800x567.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Jauz-Outside-Lands-2016-1020x723.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Jauz-Outside-Lands-2016-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Jauz-Outside-Lands-2016-768x544.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Jauz-Outside-Lands-2016-1536x1089.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Jauz-Outside-Lands-2016-2048x1451.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Jauz-Outside-Lands-2016-1920x1361.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jauz spins on the Twin Peaks Stage during the 2016 Outside Lands Music and Arts Festival at Golden Gate Park on August 6, 2016 in San Francisco. \u003ccite>(FilmMagic via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Four albums and many popular remixes and singles later, Vogel has racked up over 600,000 followers on Instagram and fans from all over the world. Still, nothing compares to his hometown crowd. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I’ve talked to so many of my peers and we all feel the same way: the crowds in San Francisco are on a completely different level to just about anywhere else in the country,” Vogel said. “And I don’t know what’s in the water, but they’re really just extra special.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">So when he hits the stage at 1015 Folsom for his two-night run, it’ll be with a lot of pride.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“It’s so cool because I get to be like, ‘Yeah, these are my people.’ Like, how rad is that — that where I came from [has] some of the best fans in the world — not just of me, but of all electronic music.”\u003c/span>\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">‘Jauz Presents: The Wicked’ takes place July 11 at 1015 Folsom in San Francisco, followed by ‘The Wise’ on July 12. \u003c/span>\u003c/i>\u003ca href=\"https://jauzofficial.com/tour#music\">\u003ci>\u003cspan style=\"font-weight: 400\">Tickets and details here\u003c/span>\u003c/i>\u003c/a>\u003ci>\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003c/i>\u003c/p>\n\n",
"blocks": [],
"excerpt": "The Marin-bred producer explores human nature's duality through house and drum and bass at 1015 Folsom.",
"status": "publish",
"parent": 0,
"modified": 1720722523,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 17,
"wordCount": 752
},
"headData": {
"title": "Jauz Brings His ‘Wicked’ and ‘Wise’ EDM to San Francisco | KQED",
"description": "The Marin-bred producer explores human nature's duality through house and drum and bass at 1015 Folsom.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Jauz Brings His ‘Wicked’ and ‘Wise’ EDM to San Francisco",
"datePublished": "2024-07-08T10:21:36-07:00",
"dateModified": "2024-07-11T11:28:43-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"audioUrl": "https://traffic.omny.fm/d/clips/0af137ef-751e-4b19-a055-aaef00d2d578/ffca7e9f-6831-4[…]f-aaef00f5a073/8a56c68e-a0cf-4291-bac5-b1aa010b3df7/audio.mp3",
"sticky": false,
"nprStoryId": "kqed-13960603",
"templateType": "standard",
"featuredImageType": "standard",
"subhead": "The producer and DJ reflects on his Bay Area roots in the metal scene and loving hometown fans.",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13960603/jauz-wicked-wise-san-francisco-1015-folsom",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">Sam Vogel — an EDM DJ and producer known professionally as \u003c/span>\u003ca href=\"https://www.instagram.com/jauzofficial/?hl=en\">\u003cspan style=\"font-weight: 400\">Jauz\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> — regularly performs at electronic music festivals around the world, including meccas like Belgium’s Tomorrowland and New York’s Electric Zoo. And now he’s set to return to the Bay Area, his home turf, when he brings his current tour to 1015 Folsom in San Francisco.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Vogel, who grew up in Marin, will play two different shows on July 11 and 12. First up is \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Jauz Presents: The Wicked\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, or “Bass Night” featuring his more aggressive, drum and bass sounds, followed by \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Jauz Presents: The Wise\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, or “House Night,” featuring his more melodic, progressive house music.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The tour is inspired by a dystopian narrative he created for his 2018 concept album, \u003c/span>\u003ca href=\"https://www.billboard.com/music/music-news/jauz-the-wise-and-the-wicked-album-breakdown-8473042/\">\u003ci>\u003cspan style=\"font-weight: 400\">The Wise and the Wicked\u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\">. In it, the “Wise” members of society have a more uplifting outlook and want to improve the world, representing the house side of his music, while the “Wicked” are more destructive and anarchic, representing the drum and bass side. He delved deeper into the story with his 2023 albums \u003c/span>\u003ca href=\"https://www.youtube.com/playlist?list=OLAK5uy_n4bwjUiXXf-xL_7cK919M2zbGsoMjporU\">\u003ci>\u003cspan style=\"font-weight: 400\">WRATH OF THE WICKED\u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\"> and \u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=D87Uw6pEjJs&list=OLAK5uy_nclXF9j0y9PakkaRAllXaC2j1QFwdhVgI\">\u003ci>\u003cspan style=\"font-weight: 400\">Rise of the Wise\u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\">.\u003c/span>\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/PDACKf0eoYU'\n title='//www.youtube.com/embed/PDACKf0eoYU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">“My motto since day one has always been ‘music has no boundaries,’ which has kind of represented the idea that one artist can have all these different faces, and that should be something that’s celebrated,” explained Vogel, who founded his own record label, \u003ca href=\"https://www.heybitethis.com/\">Bite This\u003c/a>, in 2017. “That’s why I wanted to create these worlds.” \u003c/span>\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>\u003cspan style=\"font-weight: 400\">Growing up in Marin, Vogel actually favored the heavy metal scene over EDM. He started playing guitar at age 11, inspired by Metallica and other bands coming out of the Bay Area. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I\u003c/span> \u003cspan style=\"font-weight: 400\">used to go just about every Tuesday or Wednesday to the Regency Ballroom [in San Francisco]. That was where all the metal bands that I loved were playing,” Vogel recalled. \u003c/span>\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/aC7LPL6Mvrk'\n title='//www.youtube.com/embed/aC7LPL6Mvrk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">At first, he wanted to become a professional guitarist. “I’d tried starting so many bands that never really came to anything,” Vogel said. “I [also] tried to record myself as a one man band and that didn’t go very well.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Then he had a “light bulb moment” while putting together a short film as part of the \u003c/span>\u003ca href=\"https://www.youtube.com/channel/UCFU-CXRzr5Huj4_bC3USa4Q\">\u003cspan style=\"font-weight: 400\">Academy of Integrated Humanities and New Media (AIM)\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> documentary film program at Tamalpais High School.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I was putting together different pieces of audio — whether it was Foley background music or whatever,” Vogel said. “I looked at one of my friends and said, ‘Man, I wish I could make music like this. Just laying things together, like putting Lego pieces together.’” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">His friend pointed across the room to another student making hip-hop beats on his computer. Vogel realized he didn’t have to play guitar or the drums to make music — his computer could be his instrument.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13960604\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13960604\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Jauz-Outside-Lands-2016-800x567.jpg\" alt=\"A male DJ in a white shirt and backwards baseball cap uses DJ equipment on a stage in front of a sea of people.\" width=\"800\" height=\"567\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Jauz-Outside-Lands-2016-800x567.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Jauz-Outside-Lands-2016-1020x723.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Jauz-Outside-Lands-2016-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Jauz-Outside-Lands-2016-768x544.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Jauz-Outside-Lands-2016-1536x1089.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Jauz-Outside-Lands-2016-2048x1451.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/Jauz-Outside-Lands-2016-1920x1361.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jauz spins on the Twin Peaks Stage during the 2016 Outside Lands Music and Arts Festival at Golden Gate Park on August 6, 2016 in San Francisco. \u003ccite>(FilmMagic via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Four albums and many popular remixes and singles later, Vogel has racked up over 600,000 followers on Instagram and fans from all over the world. Still, nothing compares to his hometown crowd. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I’ve talked to so many of my peers and we all feel the same way: the crowds in San Francisco are on a completely different level to just about anywhere else in the country,” Vogel said. “And I don’t know what’s in the water, but they’re really just extra special.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">So when he hits the stage at 1015 Folsom for his two-night run, it’ll be with a lot of pride.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“It’s so cool because I get to be like, ‘Yeah, these are my people.’ Like, how rad is that — that where I came from [has] some of the best fans in the world — not just of me, but of all electronic music.”\u003c/span>\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">‘Jauz Presents: The Wicked’ takes place July 11 at 1015 Folsom in San Francisco, followed by ‘The Wise’ on July 12. \u003c/span>\u003c/i>\u003ca href=\"https://jauzofficial.com/tour#music\">\u003ci>\u003cspan style=\"font-weight: 400\">Tickets and details here\u003c/span>\u003c/i>\u003c/a>\u003ci>\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13960603/jauz-wicked-wise-san-francisco-1015-folsom",
"authors": [
"11296"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_69"
],
"tags": [
"arts_1501",
"arts_10278",
"arts_1146",
"arts_585"
],
"featImg": "arts_13960607",
"label": "arts_140"
},
"arts_13956734": {
"type": "posts",
"id": "arts_13956734",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13956734",
"score": null,
"sort": [
1714422110000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1714422110,
"format": "standard",
"title": "From San Francisco to Jakarta, 3kelves Makes Borderless Indie Pop",
"headTitle": "From San Francisco to Jakarta, 3kelves Makes Borderless Indie Pop | KQED",
"content": "\u003cp>Sure, a lot of artists connect on Instagram. But for the producer 3kelves, it all started in a more niche corner of the internet: the \u003ca href=\"https://discord.gg/CEUEjH5\">Disclosure Discord\u003c/a> server. That’s where he discovered he might be good at music production, and that it could take him all over the world.\u003c/p>\n\u003cp>Bored in his San Francisco apartment during pandemic lockdowns, the Korean American artist began frequenting the Grammy-winning English dance music duo’s Discord, where they had taken to sharing their creative process. When Disclosure hosted a remix contest, 3kelves tried his hand and won. Twice.\u003c/p>\n\u003cp>It set him on an upward trajectory that allowed him to quit his tech job and meet his closest collaborators: \u003ca href=\"https://www.instagram.com/dylancgreene/\">Dylan C. Greene\u003c/a> from the Netherlands, and Indonesian group \u003ca href=\"https://www.instagram.com/weareneurotic/\">We Are Neurotic\u003c/a>, all of whom are now partners in their new record label, \u003ca href=\"https://www.instagram.com/c3do.recordings/\">C3DO\u003c/a>. [aside postid='arts_13956373']\u003c/p>\n\u003cp>Once the world reopened, the friends began traveling to see one another in person. It was in Jakarta that they began working on tracks that became part of 3kelves’ new EP \u003ci>lucas 루카스\u003c/i>, which also features production from San Diego’s Memery and Germany’s Axel Steinbiss.\u003c/p>\n\u003cp>“When we met each other, there were no barriers,” says 3kelves, whose real name is Taewook Lucas Kang, in a video call from a hotel lobby in New York during a mini-tour earlier this month. “It’s just like, straight into it because we’ve been hanging out so much online. The only difference we didn’t notice was [each other’s] heights.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=118698841/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>In the years prior, 3kelves had made a name for himself with nu-disco releases whose ecstatic melodies and pulsing beats beckoned listeners to the dance floor, landing him opening gigs for big names in house music like Purple Disco Machine, Duck Sauce and SG Lewis. \u003ci>lucas 루카스\u003c/i> (which came out March 29 via Brooklyn label \u003ca href=\"https://toucansounds.com/\">toucan sounds\u003c/a>) is his most personal project yet, one where his lyrical abilities come into clear focus as he excavates the intricacies of turbulent relationships.\u003c/p>\n\u003cp>The EP dips into 2000s nostalgia, taking inspiration from the indie pop music 3kelves immersed himself in when he and his family first arrived from Korea to the United States (Irvine, Calif., to be exact) when he was in middle school.\u003c/p>\n\u003cp>Because of the language barrier, it was hard at first to connect with peers. “But my friend gave me this mixtape that had the later side of Beatles, Radiohead, Arcade Fire and The Shins — the earlier indie stuff, even before it was that popular,” 3kelves recalls. “That mixtape really changed my life.”\u003c/p>\n\u003cfigure id=\"attachment_13956746\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956746\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3kelves-sf-photo-2-Kiara-Gil-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1874\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3kelves-sf-photo-2-Kiara-Gil-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3kelves-sf-photo-2-Kiara-Gil-800x585.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3kelves-sf-photo-2-Kiara-Gil-1020x746.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3kelves-sf-photo-2-Kiara-Gil-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3kelves-sf-photo-2-Kiara-Gil-768x562.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3kelves-sf-photo-2-Kiara-Gil-1536x1124.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3kelves-sf-photo-2-Kiara-Gil-2048x1499.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3kelves-sf-photo-2-Kiara-Gil-1920x1405.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">3kelves in San Francisco. \u003ccite>(Kiara Gil)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Music became his way of finding community, and in high school and college in New York state, 3kelves immersed himself in the playful and experimental sounds of the Dirty Projectors, Passion Pit and Danny Brown. \u003ci>lucas 루카스\u003c/i> calls back to that era of music blogs and technological optimism. Funky bass lines bubble up from undercurrents of dreamy, reflective synth melodies as 3kelves delivers lyrics with the intensity of a psychological thriller.\u003c/p>\n\u003cp>\u003ci>lucas 루카스\u003c/i> might have a nostalgic sound, but this isn’t background music for tuning out in a coffee shop. “Squint your eyes but there’s nothing to see / Tangled up, I’m dying in your basement / Reach your hands down and carried me out / Blood naked to the cross alone,” 3kelves sings on the unsettling yet upbeat opening track “Tides,” about a codependent relationship.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=2388264227/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>When asked how he keeps his pen so sharp, 3kelves reveals that he’s a huge poetry fan. Poet and memoirist Saeed Jones (who is also a reliable source for whip-smart cultural commentary on his podcast, \u003ca href=\"https://podcasts.apple.com/us/podcast/vibe-check/id1637476174\">\u003ci>Vibe Check\u003c/i>\u003c/a>) is an inspiration, as is U.S. Poet Laureate Ada Limón, specifically her meditation on love and loss, \u003ci>The Hurting Kind\u003c/i>.\u003c/p>\n\u003cp>“I look at the poetry books and how they organize things — it’s kind of incredible. Like the cadence of the words and the impact of certain words,” 3kelves says. “I take a lot of inspiration from that. Not that I’m taking any lines straight from the book, but just looking at the word choice and how it flows.”\u003c/p>\n\u003cp>https://youtu.be/kmWpeD48yg0?si=dWW0IZV8GcHMekP8\u003c/p>\n\u003cp>Musical partner in crime Dylan C. Greene (“Someone described our dynamic as a couple that’s about to divorce at any moment,” says 3kelves) is quick to praise 3kelves’ songwriting.\u003c/p>\n\u003cp>“His speed and skill for writing non-corny lyrics is very good,” says Greene, who permanently joined 3kelves in San Francisco about a year ago. “I’ve never heard a line come out of his pen that I’m just like, ‘Oh no, I don’t think that’s a good idea.’ It’s always an interesting take on something or a nice turn of phrase. That’s a skill that’s very rare, and that hopefully we can start using for other people’s projects.”\u003c/p>\n\u003cp>The two friends have a music studio downtown that they share with a crew of collaborators — mostly electronic musicians and one trombone player who makes disco. Their ambitions are global, but they have no plans of leaving San Francisco, an electronic music destination that still has a small-city pace.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“In New York City, I think if I moved here,” 3kelves laughs, “I would have lost my mind and lost all my money.”\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": true,
"hasAudio": false,
"hasPolis": false,
"wordCount": 953,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [
"https://bandcamp.com/EmbeddedPlayer/album=118698841/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/",
"https://bandcamp.com/EmbeddedPlayer/album=2388264227/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/"
],
"paragraphCount": 20
},
"modified": 1714493742,
"excerpt": "Music has taken the Korean American producer across the globe, and it all started on Discord. ",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Music has taken the Korean American producer across the globe, and it all started on Discord. ",
"title": "From San Francisco to Jakarta, 3kelves Makes Borderless Indie Pop | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "From San Francisco to Jakarta, 3kelves Makes Borderless Indie Pop",
"datePublished": "2024-04-29T13:21:50-07:00",
"dateModified": "2024-04-30T09:15:42-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "3kelves-lucas-electronic-music-san-francisco-c3do",
"status": "publish",
"templateType": "standard",
"excludeFromSiteSearch": "Include",
"featuredImageType": "standard",
"sticky": false,
"articleAge": "0",
"nprStoryId": "kqed-13956734",
"path": "/arts/13956734/3kelves-lucas-electronic-music-san-francisco-c3do",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Sure, a lot of artists connect on Instagram. But for the producer 3kelves, it all started in a more niche corner of the internet: the \u003ca href=\"https://discord.gg/CEUEjH5\">Disclosure Discord\u003c/a> server. That’s where he discovered he might be good at music production, and that it could take him all over the world.\u003c/p>\n\u003cp>Bored in his San Francisco apartment during pandemic lockdowns, the Korean American artist began frequenting the Grammy-winning English dance music duo’s Discord, where they had taken to sharing their creative process. When Disclosure hosted a remix contest, 3kelves tried his hand and won. Twice.\u003c/p>\n\u003cp>It set him on an upward trajectory that allowed him to quit his tech job and meet his closest collaborators: \u003ca href=\"https://www.instagram.com/dylancgreene/\">Dylan C. Greene\u003c/a> from the Netherlands, and Indonesian group \u003ca href=\"https://www.instagram.com/weareneurotic/\">We Are Neurotic\u003c/a>, all of whom are now partners in their new record label, \u003ca href=\"https://www.instagram.com/c3do.recordings/\">C3DO\u003c/a>. \u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13956373",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Once the world reopened, the friends began traveling to see one another in person. It was in Jakarta that they began working on tracks that became part of 3kelves’ new EP \u003ci>lucas 루카스\u003c/i>, which also features production from San Diego’s Memery and Germany’s Axel Steinbiss.\u003c/p>\n\u003cp>“When we met each other, there were no barriers,” says 3kelves, whose real name is Taewook Lucas Kang, in a video call from a hotel lobby in New York during a mini-tour earlier this month. “It’s just like, straight into it because we’ve been hanging out so much online. The only difference we didn’t notice was [each other’s] heights.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=118698841/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>In the years prior, 3kelves had made a name for himself with nu-disco releases whose ecstatic melodies and pulsing beats beckoned listeners to the dance floor, landing him opening gigs for big names in house music like Purple Disco Machine, Duck Sauce and SG Lewis. \u003ci>lucas 루카스\u003c/i> (which came out March 29 via Brooklyn label \u003ca href=\"https://toucansounds.com/\">toucan sounds\u003c/a>) is his most personal project yet, one where his lyrical abilities come into clear focus as he excavates the intricacies of turbulent relationships.\u003c/p>\n\u003cp>The EP dips into 2000s nostalgia, taking inspiration from the indie pop music 3kelves immersed himself in when he and his family first arrived from Korea to the United States (Irvine, Calif., to be exact) when he was in middle school.\u003c/p>\n\u003cp>Because of the language barrier, it was hard at first to connect with peers. “But my friend gave me this mixtape that had the later side of Beatles, Radiohead, Arcade Fire and The Shins — the earlier indie stuff, even before it was that popular,” 3kelves recalls. “That mixtape really changed my life.”\u003c/p>\n\u003cfigure id=\"attachment_13956746\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13956746\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3kelves-sf-photo-2-Kiara-Gil-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1874\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3kelves-sf-photo-2-Kiara-Gil-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3kelves-sf-photo-2-Kiara-Gil-800x585.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3kelves-sf-photo-2-Kiara-Gil-1020x746.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3kelves-sf-photo-2-Kiara-Gil-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3kelves-sf-photo-2-Kiara-Gil-768x562.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3kelves-sf-photo-2-Kiara-Gil-1536x1124.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3kelves-sf-photo-2-Kiara-Gil-2048x1499.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/3kelves-sf-photo-2-Kiara-Gil-1920x1405.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">3kelves in San Francisco. \u003ccite>(Kiara Gil)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Music became his way of finding community, and in high school and college in New York state, 3kelves immersed himself in the playful and experimental sounds of the Dirty Projectors, Passion Pit and Danny Brown. \u003ci>lucas 루카스\u003c/i> calls back to that era of music blogs and technological optimism. Funky bass lines bubble up from undercurrents of dreamy, reflective synth melodies as 3kelves delivers lyrics with the intensity of a psychological thriller.\u003c/p>\n\u003cp>\u003ci>lucas 루카스\u003c/i> might have a nostalgic sound, but this isn’t background music for tuning out in a coffee shop. “Squint your eyes but there’s nothing to see / Tangled up, I’m dying in your basement / Reach your hands down and carried me out / Blood naked to the cross alone,” 3kelves sings on the unsettling yet upbeat opening track “Tides,” about a codependent relationship.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=2388264227/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>When asked how he keeps his pen so sharp, 3kelves reveals that he’s a huge poetry fan. Poet and memoirist Saeed Jones (who is also a reliable source for whip-smart cultural commentary on his podcast, \u003ca href=\"https://podcasts.apple.com/us/podcast/vibe-check/id1637476174\">\u003ci>Vibe Check\u003c/i>\u003c/a>) is an inspiration, as is U.S. Poet Laureate Ada Limón, specifically her meditation on love and loss, \u003ci>The Hurting Kind\u003c/i>.\u003c/p>\n\u003cp>“I look at the poetry books and how they organize things — it’s kind of incredible. Like the cadence of the words and the impact of certain words,” 3kelves says. “I take a lot of inspiration from that. Not that I’m taking any lines straight from the book, but just looking at the word choice and how it flows.”\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/kmWpeD48yg0'\n title='//www.youtube.com/embed/kmWpeD48yg0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Musical partner in crime Dylan C. Greene (“Someone described our dynamic as a couple that’s about to divorce at any moment,” says 3kelves) is quick to praise 3kelves’ songwriting.\u003c/p>\n\u003cp>“His speed and skill for writing non-corny lyrics is very good,” says Greene, who permanently joined 3kelves in San Francisco about a year ago. “I’ve never heard a line come out of his pen that I’m just like, ‘Oh no, I don’t think that’s a good idea.’ It’s always an interesting take on something or a nice turn of phrase. That’s a skill that’s very rare, and that hopefully we can start using for other people’s projects.”\u003c/p>\n\u003cp>The two friends have a music studio downtown that they share with a crew of collaborators — mostly electronic musicians and one trombone player who makes disco. Their ambitions are global, but they have no plans of leaving San Francisco, an electronic music destination that still has a small-city pace.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“In New York City, I think if I moved here,” 3kelves laughs, “I would have lost my mind and lost all my money.”\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13956734/3kelves-lucas-electronic-music-san-francisco-c3do",
"authors": [
"11387"
],
"categories": [
"arts_1",
"arts_69"
],
"tags": [
"arts_2852",
"arts_1501",
"arts_10278",
"arts_1146"
],
"featImg": "arts_13956749",
"label": "arts"
},
"arts_13931062": {
"type": "posts",
"id": "arts_13931062",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13931062",
"score": null,
"sort": [
1688130015000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 140
},
"blocks": [],
"publishDate": 1688130015,
"format": "standard",
"title": "‘Audium V: Rewind’ Revives the Chaotic Electronic Music of the 1960s",
"headTitle": "‘Audium V: Rewind’ Revives the Chaotic Electronic Music of the 1960s | KQED",
"content": "\u003cp>When I first learned about the 1960s in elementary school, the peeling textbook pages and grainy documentary footage couldn’t possibly capture the time period’s full, unrestrained creativity. The decade, ripe with social change and revolution, was a booming period of experimentation — where an unfettered desire to rebel against tradition coursed through various rising subcultures. LSD-laced music and sensibilities, maximalistic and unapologetic, grew in popularity. Most of all, the ’60s were \u003ci>loud\u003c/i>, as people searched for a new sense of self and way of being. \u003c/p>\n\u003cp>In the music world, electronic musicians were also exploring in unprecedented ways. With analog equipment like oscillators, tape recorders, filters and fuzz units, composers tinkered with manmade and environmental noise to create immersive and disorienting soundscapes. The momentum of this electronic innovation soon took over the Bay Area, leading to the founding of the Center for Contemporary Music at now-defunct Mills College, the now-defunct San Francisco Tape Music Center, and the still-standing San Francisco institution known as \u003ca href=\"https://www.audium.org/\">Audium\u003c/a>.\u003c/p>\n\u003cp>First opened in 1967, Audium is an intimate sound theater nestled between Pacific Heights and Nob Hill, where for over a half-century co-founder and musician Stan Shaff performed compositions that bounced up, down and across the dark space for curious crowds.\u003c/p>\n\u003cfigure id=\"attachment_13931064\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931064\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/Audium-board-edited-800x497.jpg\" alt=\"A board is filled with different notes, brochures and notices at Audium.\" width=\"800\" height=\"497\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Audium-board-edited-800x497.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Audium-board-edited-1020x634.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Audium-board-edited-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Audium-board-edited-768x477.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Audium-board-edited-1536x955.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Audium-board-edited-2048x1273.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Audium-board-edited-1920x1194.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A board sits in the lobby at Audium, filled with announcements and tidbits about the theater. \u003ccite>(Kristie Song/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Today, electronic music composer \u003ca href=\"https://www.daveshaff.com/\">David Shaff\u003c/a> is both continuing and revamping his father’s legacy at Audium. When I call him, he is cleaning his trumpet as he recounts his initial reluctance in being part of the sound theater. “I was always kind of like, ‘No, Audium — that’s Dad’s thing. It’s not me,’” says Shaff. But after noticing a lack of experimental art spaces geared towards immersive, spatial sound work, he saw the importance of keeping Audium alive, both as a place to archive his father’s work and to create a collaborative environment for new musicians to work on experimental sound projects. \u003c/p>\n\u003cp>From now until July 22, Audium is presenting Shaff’s performances of \u003ca href=\"https://www.audium.org/audium-v/\">\u003ci>Audium V: Rewind\u003c/i>\u003c/a>, a reworking of a composition that his father created in 1969. The first in a new series of the senior Shaff’s digitized classic works, \u003ci>Audium V: Rewind\u003c/i> began as a puzzle. Stan Shaff’s basement contains various boxes with old tapes, and when David found one labeled “Audium V,” he set out to organize the tapes and play the mix from start to finish. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postID='arts_12248119']“It’s funny because Dad never was trying to preserve these things for posterity or anything like that,” says Shaff, who had to search for missing tapes and figure out an order according to each tape’s time length. It wasn’t a matter of just digging up the tapes to play together — he had to make sense of what they must have sounded like in 1969. When he had finished his work, he played the composition for his father. “He was like, ‘I don’t remember a damn thing,’” says Shaff. \u003c/p>\n\u003cp>When his father asked him who was playing on the tapes, David exclaimed: “That’s you, Dad!” Unable to remember how exactly he had composed the piece so many years ago, the senior Shaff encouraged David to make the piece his own — to transform it how he saw fit. Working on \u003ci>Audium V: Rewind\u003c/i>, then, became more than just historical preservation: it became an act of love that combined past and future, and a way to experiment with a work that was always meant to be experimented with. \u003c/p>\n\u003cp>“We have totally different technology now than when they were doing it back in the day,” says Shaff. “So it’s his work, but it’s also kind of my work as well.” \u003c/p>\n\u003cfigure id=\"attachment_13931065\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931065\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/Audium-V-crowd-edited-800x620.jpg\" alt=\"Four figures huddle around a large sound sculpture. They are bathed in blue light.\" width=\"800\" height=\"620\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Audium-V-crowd-edited-800x620.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Audium-V-crowd-edited-1020x791.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Audium-V-crowd-edited-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Audium-V-crowd-edited-768x595.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Audium-V-crowd-edited-1536x1191.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Audium-V-crowd-edited-2048x1587.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Audium-V-crowd-edited-1920x1488.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Attendees surround a sound sculpture in Audium’s lobby space created by artist Ava Koohbor. \u003ccite>(Kristie Song/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When I arrive for a recent Thursday evening show, I enter a dark lobby lit by various sound sculptures made by artist \u003ca href=\"https://avakoohborarts.com/\">Ava Koohbor\u003c/a>. Twenty other people mingle in the room, wandering from object to object, before we’re ushered through a narrow pathway that leads to the main theater. Several chairs are arranged in a large circle, and my eyes struggle to adjust to the absence of light. Then the scattering of dim floor lights fades and we’re plunged into pitch-black darkness.\u003c/p>\n\u003cp>As for the performance, here are some notes I wrote:\u003c/p>\n\u003cp>\u003ci>The sound of seagulls, foghorns, it feels like you’re enshrouded in mist at the ocean.\u003c/i>\u003c/p>\n\u003cp>\u003ci>I imagine dark skies, a lighthouse. Whispering dies down, people move in their seats. \u003c/i>\u003c/p>\n\u003cp>\u003ci>There’s the sound of droplets, a leaky faucet or crack in the ceiling, plop plop plop. \u003c/i>\u003c/p>\n\u003cp>\u003ci>A machine comes to life, beeping. Whirring voraciously, the plops become violent trickles. The sounds grow louder, echoing across the entire room. \u003c/i>\u003c/p>\n\u003cp>There were times, especially in the first act, where I was overtaken with anxiety. A sound would begin as a faint murmur before it suddenly erupted in front of me. It could surge from the ground, or fall from above, moving chaotically and unpredictably. In utter darkness, I felt trapped. I even pondered crawling out of the theater just to escape all the noise. \u003c/p>\n\u003cp>[aside postID='arts_13909188']“Dad talks about how, back in the day, audiences were much less prepared for something like this,” Shaff explained to me afterward. “But even so, I feel like this work in particular is quite overwhelming even by today’s standards.”\u003c/p>\n\u003cp>Each iteration of \u003ci>Audium V: Rewind\u003c/i> is different, and Shaff adjusts his live mix based on the audience’s response. Listening for chatter or silence, Shaff will amplify and experiment with the room’s 176 speakers to jolt and stir something in attendees. The piece is not static, and each performance is just as irreplaceable as it was in 1969: a container of that exact audience’s experiences that will never again be the same. “The energy that was happening at that time in the ’60s is still resonating to this day in the Bay in various ways,” says Shaff.\u003c/p>\n\u003cp>In other words: It resonates and reverberates, glitching and warping, intertwining itself with a dynamic history that centers individuality, liberation and defying conventions. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/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>\u003ci>David Shaff’s performances of ‘Audium V: Rewind’ run Thursdays, Fridays and Saturdays through July 22 at Audium in San Francisco. Tickets are $30. \u003ca href=\"https://www.cityboxoffice.com/eventperformances.asp?evt=1760\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1148,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 22
},
"modified": 1705005325,
"excerpt": "An archival soundscape from 1969 returns to San Francisco’s famous immersive listening pod.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "An archival soundscape from 1969 returns to San Francisco’s famous immersive listening pod.",
"title": "‘Audium V: Rewind’ Revives the Chaotic Electronic Music of the 1960s | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "‘Audium V: Rewind’ Revives the Chaotic Electronic Music of the 1960s",
"datePublished": "2023-06-30T06:00:15-07:00",
"dateModified": "2024-01-11T12:35:25-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "audium-v-rewind-revives-the-chaotic-electronic-music-of-the-1960s",
"status": "publish",
"templateType": "standard",
"excludeFromSiteSearch": "Include",
"featuredImageType": "standard",
"sticky": false,
"articleAge": "0",
"path": "/arts/13931062/audium-v-rewind-revives-the-chaotic-electronic-music-of-the-1960s",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When I first learned about the 1960s in elementary school, the peeling textbook pages and grainy documentary footage couldn’t possibly capture the time period’s full, unrestrained creativity. The decade, ripe with social change and revolution, was a booming period of experimentation — where an unfettered desire to rebel against tradition coursed through various rising subcultures. LSD-laced music and sensibilities, maximalistic and unapologetic, grew in popularity. Most of all, the ’60s were \u003ci>loud\u003c/i>, as people searched for a new sense of self and way of being. \u003c/p>\n\u003cp>In the music world, electronic musicians were also exploring in unprecedented ways. With analog equipment like oscillators, tape recorders, filters and fuzz units, composers tinkered with manmade and environmental noise to create immersive and disorienting soundscapes. The momentum of this electronic innovation soon took over the Bay Area, leading to the founding of the Center for Contemporary Music at now-defunct Mills College, the now-defunct San Francisco Tape Music Center, and the still-standing San Francisco institution known as \u003ca href=\"https://www.audium.org/\">Audium\u003c/a>.\u003c/p>\n\u003cp>First opened in 1967, Audium is an intimate sound theater nestled between Pacific Heights and Nob Hill, where for over a half-century co-founder and musician Stan Shaff performed compositions that bounced up, down and across the dark space for curious crowds.\u003c/p>\n\u003cfigure id=\"attachment_13931064\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931064\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/Audium-board-edited-800x497.jpg\" alt=\"A board is filled with different notes, brochures and notices at Audium.\" width=\"800\" height=\"497\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Audium-board-edited-800x497.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Audium-board-edited-1020x634.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Audium-board-edited-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Audium-board-edited-768x477.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Audium-board-edited-1536x955.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Audium-board-edited-2048x1273.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Audium-board-edited-1920x1194.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A board sits in the lobby at Audium, filled with announcements and tidbits about the theater. \u003ccite>(Kristie Song/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Today, electronic music composer \u003ca href=\"https://www.daveshaff.com/\">David Shaff\u003c/a> is both continuing and revamping his father’s legacy at Audium. When I call him, he is cleaning his trumpet as he recounts his initial reluctance in being part of the sound theater. “I was always kind of like, ‘No, Audium — that’s Dad’s thing. It’s not me,’” says Shaff. But after noticing a lack of experimental art spaces geared towards immersive, spatial sound work, he saw the importance of keeping Audium alive, both as a place to archive his father’s work and to create a collaborative environment for new musicians to work on experimental sound projects. \u003c/p>\n\u003cp>From now until July 22, Audium is presenting Shaff’s performances of \u003ca href=\"https://www.audium.org/audium-v/\">\u003ci>Audium V: Rewind\u003c/i>\u003c/a>, a reworking of a composition that his father created in 1969. The first in a new series of the senior Shaff’s digitized classic works, \u003ci>Audium V: Rewind\u003c/i> began as a puzzle. Stan Shaff’s basement contains various boxes with old tapes, and when David found one labeled “Audium V,” he set out to organize the tapes and play the mix from start to finish. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_12248119",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>“It’s funny because Dad never was trying to preserve these things for posterity or anything like that,” says Shaff, who had to search for missing tapes and figure out an order according to each tape’s time length. It wasn’t a matter of just digging up the tapes to play together — he had to make sense of what they must have sounded like in 1969. When he had finished his work, he played the composition for his father. “He was like, ‘I don’t remember a damn thing,’” says Shaff. \u003c/p>\n\u003cp>When his father asked him who was playing on the tapes, David exclaimed: “That’s you, Dad!” Unable to remember how exactly he had composed the piece so many years ago, the senior Shaff encouraged David to make the piece his own — to transform it how he saw fit. Working on \u003ci>Audium V: Rewind\u003c/i>, then, became more than just historical preservation: it became an act of love that combined past and future, and a way to experiment with a work that was always meant to be experimented with. \u003c/p>\n\u003cp>“We have totally different technology now than when they were doing it back in the day,” says Shaff. “So it’s his work, but it’s also kind of my work as well.” \u003c/p>\n\u003cfigure id=\"attachment_13931065\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931065\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/Audium-V-crowd-edited-800x620.jpg\" alt=\"Four figures huddle around a large sound sculpture. They are bathed in blue light.\" width=\"800\" height=\"620\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Audium-V-crowd-edited-800x620.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Audium-V-crowd-edited-1020x791.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Audium-V-crowd-edited-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Audium-V-crowd-edited-768x595.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Audium-V-crowd-edited-1536x1191.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Audium-V-crowd-edited-2048x1587.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Audium-V-crowd-edited-1920x1488.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Attendees surround a sound sculpture in Audium’s lobby space created by artist Ava Koohbor. \u003ccite>(Kristie Song/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When I arrive for a recent Thursday evening show, I enter a dark lobby lit by various sound sculptures made by artist \u003ca href=\"https://avakoohborarts.com/\">Ava Koohbor\u003c/a>. Twenty other people mingle in the room, wandering from object to object, before we’re ushered through a narrow pathway that leads to the main theater. Several chairs are arranged in a large circle, and my eyes struggle to adjust to the absence of light. Then the scattering of dim floor lights fades and we’re plunged into pitch-black darkness.\u003c/p>\n\u003cp>As for the performance, here are some notes I wrote:\u003c/p>\n\u003cp>\u003ci>The sound of seagulls, foghorns, it feels like you’re enshrouded in mist at the ocean.\u003c/i>\u003c/p>\n\u003cp>\u003ci>I imagine dark skies, a lighthouse. Whispering dies down, people move in their seats. \u003c/i>\u003c/p>\n\u003cp>\u003ci>There’s the sound of droplets, a leaky faucet or crack in the ceiling, plop plop plop. \u003c/i>\u003c/p>\n\u003cp>\u003ci>A machine comes to life, beeping. Whirring voraciously, the plops become violent trickles. The sounds grow louder, echoing across the entire room. \u003c/i>\u003c/p>\n\u003cp>There were times, especially in the first act, where I was overtaken with anxiety. A sound would begin as a faint murmur before it suddenly erupted in front of me. It could surge from the ground, or fall from above, moving chaotically and unpredictably. In utter darkness, I felt trapped. I even pondered crawling out of the theater just to escape all the noise. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13909188",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>“Dad talks about how, back in the day, audiences were much less prepared for something like this,” Shaff explained to me afterward. “But even so, I feel like this work in particular is quite overwhelming even by today’s standards.”\u003c/p>\n\u003cp>Each iteration of \u003ci>Audium V: Rewind\u003c/i> is different, and Shaff adjusts his live mix based on the audience’s response. Listening for chatter or silence, Shaff will amplify and experiment with the room’s 176 speakers to jolt and stir something in attendees. The piece is not static, and each performance is just as irreplaceable as it was in 1969: a container of that exact audience’s experiences that will never again be the same. “The energy that was happening at that time in the ’60s is still resonating to this day in the Bay in various ways,” says Shaff.\u003c/p>\n\u003cp>In other words: It resonates and reverberates, glitching and warping, intertwining itself with a dynamic history that centers individuality, liberation and defying conventions. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/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>\u003ci>David Shaff’s performances of ‘Audium V: Rewind’ run Thursdays, Fridays and Saturdays through July 22 at Audium in San Francisco. Tickets are $30. \u003ca href=\"https://www.cityboxoffice.com/eventperformances.asp?evt=1760\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13931062/audium-v-rewind-revives-the-chaotic-electronic-music-of-the-1960s",
"authors": [
"11813"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_69"
],
"tags": [
"arts_5426",
"arts_11374",
"arts_16655",
"arts_16679",
"arts_1501",
"arts_3607",
"arts_16678",
"arts_585"
],
"featImg": "arts_13931066",
"label": "arts_140"
},
"arts_13929389": {
"type": "posts",
"id": "arts_13929389",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13929389",
"score": null,
"sort": [
1684516445000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 140
},
"blocks": [],
"publishDate": 1684516445,
"format": "standard",
"title": "Portola Festival Lineup: Skrillex, Thundercat, Labrinth, Rina Sawayame, Jai Paul and More",
"headTitle": "Portola Festival Lineup: Skrillex, Thundercat, Labrinth, Rina Sawayame, Jai Paul and More | KQED",
"content": "\u003cp>When \u003ca href=\"https://twitter.com/PortolaFestival\">Portola Festival\u003c/a> debuted last year in San Francisco, \u003ca href=\"https://www.kqed.org/arts/13919671/portola-festival-san-francisco-pier-80-goldenvoice-crowd-management-safety\">concerns over crowd control and safety\u003c/a> quickly overtook talk of the electronic music event. As it heads into its second year, the two-day festival at Pier 80 on Sept. 30 and Oct. 1 returns with a packed lineup of notable DJs, groups, singers and other experimental artists toying with electronic sound. \u003c/p>\n\u003cp>[aside postID='arts_13919671']With an exciting blend of newcomers and established performers alike, Portola’s lineup includes various genres within electronic music to create dynamic environments swept up in loud, euphoric beats and dance. (I don’t think I’ll ever forget last year’s rush of swaying amongst strangers under fluorescent lights as house legend Peggy Gou mixed the night away.) \u003c/p>\n\u003cp>Portola Festival is 21 and over. Two-day general admission passes start at $339.95, and presale begins Monday, May 22, at 10 a.m. \u003ca href=\"https://portolamusicfestival.com/\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/portola-800x509.jpg\" alt=\"\" width=\"800\" height=\"509\" class=\"aligncenter size-medium wp-image-13929393\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/portola-800x509.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/portola-1020x649.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/portola-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/portola-768x488.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/portola.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Full Portola Festival lineup: \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Saturday, Sept. 30 \u003c/strong>\u003c/p>\n\u003cp>Eric Prydz\u003cbr>\nPolo & Pan\u003cbr>\nFKJ\u003cbr>\nNelly Furtado\u003cbr>\nJai Paul\u003cbr>\nUnderworld\u003cbr>\nMajor Lazer\u003cbr>\nMajor League DJZ\u003cbr>\nPurple Disco Machine\u003cbr>\nDom Dolla\u003cbr>\nHot Chip\u003cbr>\nChromeo\u003cbr>\nTokischa\u003cbr>\nFlying Lotus\u003cbr>\nSbtrkt\u003cbr>\nDJ Koze\u003cbr>\nJon Hopkins\u003cbr>\nOvermono\u003cbr>\nTotally Enormous Extinct Dinosaurs\u003cbr>\nYoung Fathers\u003cbr>\nTwo Shell\u003cbr>\nThe Dare\u003cbr>\nsalute\u003cbr>\nBarry Can’t Swim\u003cbr>\nEliza Rose\u003cbr>\nModel/Actriz\u003cbr>\nLF System\u003cbr>\nELIO\u003cbr>\nMaddy Maia\u003cbr>\nChris Lake\u003cbr>\nArmand Van Helden \u003c/p>\n\u003cp>\u003cstrong>Sunday, Oct. 1 \u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Skrillex\u003cbr>\nLabrinth\u003cbr>\nThundercat\u003cbr>\nRina Sawayama\u003cbr>\nCarl Cox\u003cbr>\nCharlotte de Witte\u003cbr>\nThe Blaze\u003cbr>\nBonobo\u003cbr>\nMasego\u003cbr>\nBasement Jaxx\u003cbr>\nLittle Dragon\u003cbr>\nKenny Beats\u003cbr>\nLittle Simz\u003cbr>\nTodd Terje\u003cbr>\nRóisín Murphy\u003cbr>\n2manydjs\u003cbr>\nKavinsky\u003cbr>\nPabllo Vittar\u003cbr>\nJockstrap\u003cbr>\nCOBRAH\u003cbr>\nAvalon Emerson\u003cbr>\nJayda G\u003cbr>\nSam Gellaitry\u003cbr>\nSkin on Skin\u003cbr>\nChaos In The CBD\u003cbr>\nCharlotte Adigéry & Bolis Pupul\u003cbr>\nYeule\u003cbr>\nJyoty\u003cbr>\nYung Singh\u003cbr>\nWinston Surfshirt\u003cbr>\nAzzecca\u003cbr>\nVery Nice Person\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 295,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 11
},
"modified": 1705005478,
"excerpt": "With veterans like Basement Jaxx, Nelly Furtado and Bonobo alongside young newcomers, Portola Festival returns Sept. 30–Oct. 1 in San Francisco. ",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "With veterans like Basement Jaxx, Nelly Furtado and Bonobo alongside young newcomers, Portola Festival returns Sept. 30–Oct. 1 in San Francisco. ",
"title": "Portola Festival Lineup: Skrillex, Thundercat, Labrinth, Rina Sawayame, Jai Paul and More | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Portola Festival Lineup: Skrillex, Thundercat, Labrinth, Rina Sawayame, Jai Paul and More",
"datePublished": "2023-05-19T10:14:05-07:00",
"dateModified": "2024-01-11T12:37:58-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "portola-festival-lineup-skrillex-thundercat-labrinth-rina-sawayame-jai-paul-and-more",
"status": "publish",
"templateType": "standard",
"excludeFromSiteSearch": "Include",
"featuredImageType": "standard",
"sticky": false,
"articleAge": "0",
"path": "/arts/13929389/portola-festival-lineup-skrillex-thundercat-labrinth-rina-sawayame-jai-paul-and-more",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When \u003ca href=\"https://twitter.com/PortolaFestival\">Portola Festival\u003c/a> debuted last year in San Francisco, \u003ca href=\"https://www.kqed.org/arts/13919671/portola-festival-san-francisco-pier-80-goldenvoice-crowd-management-safety\">concerns over crowd control and safety\u003c/a> quickly overtook talk of the electronic music event. As it heads into its second year, the two-day festival at Pier 80 on Sept. 30 and Oct. 1 returns with a packed lineup of notable DJs, groups, singers and other experimental artists toying with electronic sound. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13919671",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>With an exciting blend of newcomers and established performers alike, Portola’s lineup includes various genres within electronic music to create dynamic environments swept up in loud, euphoric beats and dance. (I don’t think I’ll ever forget last year’s rush of swaying amongst strangers under fluorescent lights as house legend Peggy Gou mixed the night away.) \u003c/p>\n\u003cp>Portola Festival is 21 and over. Two-day general admission passes start at $339.95, and presale begins Monday, May 22, at 10 a.m. \u003ca href=\"https://portolamusicfestival.com/\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/portola-800x509.jpg\" alt=\"\" width=\"800\" height=\"509\" class=\"aligncenter size-medium wp-image-13929393\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/portola-800x509.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/portola-1020x649.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/portola-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/portola-768x488.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/portola.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Full Portola Festival lineup: \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>\u003cstrong>Saturday, Sept. 30 \u003c/strong>\u003c/p>\n\u003cp>Eric Prydz\u003cbr>\nPolo & Pan\u003cbr>\nFKJ\u003cbr>\nNelly Furtado\u003cbr>\nJai Paul\u003cbr>\nUnderworld\u003cbr>\nMajor Lazer\u003cbr>\nMajor League DJZ\u003cbr>\nPurple Disco Machine\u003cbr>\nDom Dolla\u003cbr>\nHot Chip\u003cbr>\nChromeo\u003cbr>\nTokischa\u003cbr>\nFlying Lotus\u003cbr>\nSbtrkt\u003cbr>\nDJ Koze\u003cbr>\nJon Hopkins\u003cbr>\nOvermono\u003cbr>\nTotally Enormous Extinct Dinosaurs\u003cbr>\nYoung Fathers\u003cbr>\nTwo Shell\u003cbr>\nThe Dare\u003cbr>\nsalute\u003cbr>\nBarry Can’t Swim\u003cbr>\nEliza Rose\u003cbr>\nModel/Actriz\u003cbr>\nLF System\u003cbr>\nELIO\u003cbr>\nMaddy Maia\u003cbr>\nChris Lake\u003cbr>\nArmand Van Helden \u003c/p>\n\u003cp>\u003cstrong>Sunday, Oct. 1 \u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Skrillex\u003cbr>\nLabrinth\u003cbr>\nThundercat\u003cbr>\nRina Sawayama\u003cbr>\nCarl Cox\u003cbr>\nCharlotte de Witte\u003cbr>\nThe Blaze\u003cbr>\nBonobo\u003cbr>\nMasego\u003cbr>\nBasement Jaxx\u003cbr>\nLittle Dragon\u003cbr>\nKenny Beats\u003cbr>\nLittle Simz\u003cbr>\nTodd Terje\u003cbr>\nRóisín Murphy\u003cbr>\n2manydjs\u003cbr>\nKavinsky\u003cbr>\nPabllo Vittar\u003cbr>\nJockstrap\u003cbr>\nCOBRAH\u003cbr>\nAvalon Emerson\u003cbr>\nJayda G\u003cbr>\nSam Gellaitry\u003cbr>\nSkin on Skin\u003cbr>\nChaos In The CBD\u003cbr>\nCharlotte Adigéry & Bolis Pupul\u003cbr>\nYeule\u003cbr>\nJyoty\u003cbr>\nYung Singh\u003cbr>\nWinston Surfshirt\u003cbr>\nAzzecca\u003cbr>\nVery Nice Person\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13929389/portola-festival-lineup-skrillex-thundercat-labrinth-rina-sawayame-jai-paul-and-more",
"authors": [
"11813"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_69"
],
"tags": [
"arts_1501",
"arts_1694",
"arts_1146",
"arts_585"
],
"featImg": "arts_13919652",
"label": "arts_140"
},
"arts_13928887": {
"type": "posts",
"id": "arts_13928887",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13928887",
"score": null,
"sort": [
1683734405000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1683734405,
"format": "standard",
"title": "Rising Experimental Musician Lucy Liyou Channels Her Inner Songbird Supreme",
"headTitle": "Rising Experimental Musician Lucy Liyou Channels Her Inner Songbird Supreme | KQED",
"content": "\u003cp>One of Lucy Liyou’s formative musical experiences came upon hearing Mariah Carey for the first time as a child. At the time, the San Francisco-based experimental musician mostly listened to her dad’s classic rock and the Chopin nocturnes she practiced as a piano student. But when her cousins played her Mariah, she knew she was hearing something special.\u003c/p>\n\u003cp>“It was just like an explosion,” Liyou recalls over Zoom from Switzerland during her April European tour. “Imagine I’m listening to \u003cem>Hotel California\u003c/em> or whatever, and then suddenly you hear somebody just use the elasticity of their voice in such crazy ways. It changed so much for me.”\u003c/p>\n\u003cp>This might be surprising if you came to Liyou’s music through her 2020 debut \u003cem>Welfare\u003c/em>, sung entirely by a text-to-speech app that sounds like a malevolent robot. But for her new album \u003cem>Dog Dreams (개꿈)\u003c/em>, the 25-year-old sought a more intimate feeling, one that required getting in touch with her inner Songbird Supreme.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=2603181734/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Scheduled to release May 12 via Chicago label \u003ca href=\"https://american-dreams.zone/\">American Dreams\u003c/a>, \u003cem>Dog Dreams\u003c/em> is Liyou’s first album to foreground her own vocals. It’s no less outré than her past work, eschewing drums almost entirely on songs that flirt with or surpass the 10-minute mark. In the record’s best moments, Liyou makes a case for herself as an avant-garde answer to elegant, inspirational divas like Mariah.\u003c/p>\n\u003cp>Sometimes she’s belting grand, theatrical exhortations of desire. The rest of the time, she’s whispering mere inches from the microphone, and her vocals are sometimes mixed so quietly they become as much of a textural element as her piano and synth.\u003c/p>\n\u003cfigure id=\"attachment_13928906\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13928906\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/LucyLiyou_-_Rewire_20230408_-_Stephan_C_Kaffa_001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/LucyLiyou_-_Rewire_20230408_-_Stephan_C_Kaffa_001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/LucyLiyou_-_Rewire_20230408_-_Stephan_C_Kaffa_001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/LucyLiyou_-_Rewire_20230408_-_Stephan_C_Kaffa_001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/LucyLiyou_-_Rewire_20230408_-_Stephan_C_Kaffa_001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/LucyLiyou_-_Rewire_20230408_-_Stephan_C_Kaffa_001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/LucyLiyou_-_Rewire_20230408_-_Stephan_C_Kaffa_001-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/LucyLiyou_-_Rewire_20230408_-_Stephan_C_Kaffa_001-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lucy Liyou performs at Rewire Festival in The Hague, Netherlands on April 8, 2023. \u003ccite>(Stephan C. Kaffa)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I think I realized from a young age what singing could do,” she says. “I just think it took a really long time for me to realize that that was something I could do, too.”\u003c/p>\n\u003cp>Liyou identifies desire as one of the album’s primary themes — for a lover, for a friend, or more broadly “to understand what it means to truly feel at home with who I am.” Liyou, who identifies as transgender, says that these desires are “interconnected and woven together for a lot of people who are trans.”\u003c/p>\n\u003cp>At its best, \u003cem>Dog Dreams\u003c/em> creates an alternate plane of reality where those desires can become real. In contrast to the alienness of \u003cem>Welfare\u003c/em> or the slice-of-life sound collages on her 2021 follow-up, \u003cem>Practice\u003c/em>, \u003cem>Dog Dreams\u003c/em> sounds opulent, glassy, luxurious. There’s a moment where Liyou wishes for “Disney strings” and immediately receives them.\u003c/p>\n\u003cfigure id=\"attachment_13928909\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13928909\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/LucyLiyou_-_Rewire_20230408_-_Stephan_C_Kaffa_010-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/LucyLiyou_-_Rewire_20230408_-_Stephan_C_Kaffa_010-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/LucyLiyou_-_Rewire_20230408_-_Stephan_C_Kaffa_010-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/LucyLiyou_-_Rewire_20230408_-_Stephan_C_Kaffa_010-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/LucyLiyou_-_Rewire_20230408_-_Stephan_C_Kaffa_010-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/LucyLiyou_-_Rewire_20230408_-_Stephan_C_Kaffa_010-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/LucyLiyou_-_Rewire_20230408_-_Stephan_C_Kaffa_010-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/LucyLiyou_-_Rewire_20230408_-_Stephan_C_Kaffa_010-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lucy Liyou performs at Rewire Festival in The Hague, Netherlands on April 8, 2023. \u003ccite>(Stephan C. Kaffa)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mariah Carey’s voice appears twice on the album, once in recognizable form and once abstracted, but the sense of aspirational glamor through which the “Fantasy” singer enchants her legions of “lambs” is present in every moment of this very experimental music. Though \u003cem>Dog Dreams\u003c/em> is Liyou’s most accessible release thanks to its quiet textures and foregrounding of vocals, it’s still a formidable package: three songs in 35 minutes, two of them over 10 minutes long, proportions more akin to a prog-rock or free jazz album than \u003cem>The Emancipation of Mimi\u003c/em>.\u003c/p>\n\u003cp>“I think there’s something really powerful about consolidating so many different ideas and emotions into a succinct three minutes,” says Liyou. “But I didn’t really think too much about it.”\u003c/p>\n\u003cp>The only part of the album where Liyou was “adamant about the length of something” was the 14-minute title track, which takes up the entire first side of the LP version and opens with a long passage composed primarily of the distorted sound of the musician’s own saliva. [aside postid='arts_13928718']\u003c/p>\n\u003cp>Liyou co-produced the album with New York-based musician Nick Zanca, formerly known for his downtempo productions as Mister Lies. Zanca initially objected to the album starting with “three minutes of silence.” Liyou, by contrast, describes this passage as “three minutes of growth.”\u003c/p>\n\u003cp>“The birth of these stories and these dreams and these ideas comes from the mouth,” she explains. “The world literally builds from the saliva in that song. So that’s really, really important to me. And it takes time. Worlds don’t build in a minute.” [ad fullwidth]\u003c/p>\n\u003cp>Zanca was one of many musicians Liyou reached out to when she was a teenage artist unaware it was even in the “realm of possibility” that other people would hear her work. Another was British electronic artist Klein, who heard a draft of \u003cem>Welfare\u003c/em> and released the final album on her Ijn Inc. label. (\u003ca href=\"https://lucyliyou.bandcamp.com/album/welfare-practice\">\u003cem>Welfare\u003c/em> was recently reissued\u003c/a> by American Dreams alongside \u003cem>Practice\u003c/em> as a single album.)\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1742030360/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>The record received acclaim from both mainstream publications like \u003ca href=\"https://pitchfork.com/reviews/albums/lucy-liyou-welfare-practice/\">Pitchfork\u003c/a> and more underground, avant-leaning blogs like \u003ca href=\"https://toneglow.substack.com/p/009-lucy-liyou\">Tone Glow\u003c/a> and \u003ca href=\"https://foxydigitalis.zone/tag/lucy-liyou/\">Foxy Digitalis\u003c/a>. Since then, Liyou has established herself as part of a rising contingent of young, American, mostly LGBTQ+ musicians making diaristic, personal, experimental electronic music; her spring European tour included a show with the acclaimed, indie-beloved Texas percussionist and sound artist Claire Rousay, plus appearances at vaunted venues like London’s Cafe OTO and The Hague’s Rewire Festival.\u003c/p>\n\u003cp>\u003cem>Welfare\u003c/em>, inspired by Korean p’ansori music, deals unflinchingly with Liyou’s relationship with her parents, with whom she’s currently living in San Francisco while waiting to move to Los Angeles to study composition at University of Southern California. Anyone with a difficult relationship with their own parents might find \u003cem>Welfare\u003c/em> keenly relatable, impossible to listen to, or both. \u003cem>Dog Dreams\u003c/em> may go down a little easier, but it’s still an intensely personal record. [aside postid='arts_13927554']\u003c/p>\n\u003cp>“You gotta make stuff thinking like nobody’s gonna hear it, and you gotta make stuff just not thinking about anyone else’s opinions or anyone else’s perspective on it,” she says. “I operate, or at least I attempt to operate, with that level of fearlessness and limitlessness.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-11687704\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/06/Turntable.Break_-800x60.jpg\" alt=\"\" width=\"800\" height=\"60\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-400x30.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-768x58.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": true,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1081,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [
"https://bandcamp.com/EmbeddedPlayer/album=2603181734/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/",
"https://bandcamp.com/EmbeddedPlayer/album=1742030360/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/"
],
"paragraphCount": 21
},
"modified": 1705005520,
"excerpt": "The San Francisco artist's opulent compositions reach for connection, and are making waves internationally. ",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The San Francisco artist's opulent compositions reach for connection, and are making waves internationally. ",
"title": "Rising Experimental Musician Lucy Liyou Channels Her Inner Songbird Supreme | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Rising Experimental Musician Lucy Liyou Channels Her Inner Songbird Supreme",
"datePublished": "2023-05-10T09:00:05-07:00",
"dateModified": "2024-01-11T12:38:40-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "lucy-liyou-dog-dreams-american-experimental-music",
"status": "publish",
"templateType": "standard",
"nprByline": "Daniel Bromfield",
"excludeFromSiteSearch": "Include",
"featuredImageType": "standard",
"sticky": false,
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"path": "/arts/13928887/lucy-liyou-dog-dreams-american-experimental-music",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>One of Lucy Liyou’s formative musical experiences came upon hearing Mariah Carey for the first time as a child. At the time, the San Francisco-based experimental musician mostly listened to her dad’s classic rock and the Chopin nocturnes she practiced as a piano student. But when her cousins played her Mariah, she knew she was hearing something special.\u003c/p>\n\u003cp>“It was just like an explosion,” Liyou recalls over Zoom from Switzerland during her April European tour. “Imagine I’m listening to \u003cem>Hotel California\u003c/em> or whatever, and then suddenly you hear somebody just use the elasticity of their voice in such crazy ways. It changed so much for me.”\u003c/p>\n\u003cp>This might be surprising if you came to Liyou’s music through her 2020 debut \u003cem>Welfare\u003c/em>, sung entirely by a text-to-speech app that sounds like a malevolent robot. But for her new album \u003cem>Dog Dreams (개꿈)\u003c/em>, the 25-year-old sought a more intimate feeling, one that required getting in touch with her inner Songbird Supreme.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=2603181734/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Scheduled to release May 12 via Chicago label \u003ca href=\"https://american-dreams.zone/\">American Dreams\u003c/a>, \u003cem>Dog Dreams\u003c/em> is Liyou’s first album to foreground her own vocals. It’s no less outré than her past work, eschewing drums almost entirely on songs that flirt with or surpass the 10-minute mark. In the record’s best moments, Liyou makes a case for herself as an avant-garde answer to elegant, inspirational divas like Mariah.\u003c/p>\n\u003cp>Sometimes she’s belting grand, theatrical exhortations of desire. The rest of the time, she’s whispering mere inches from the microphone, and her vocals are sometimes mixed so quietly they become as much of a textural element as her piano and synth.\u003c/p>\n\u003cfigure id=\"attachment_13928906\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13928906\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/LucyLiyou_-_Rewire_20230408_-_Stephan_C_Kaffa_001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/LucyLiyou_-_Rewire_20230408_-_Stephan_C_Kaffa_001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/LucyLiyou_-_Rewire_20230408_-_Stephan_C_Kaffa_001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/LucyLiyou_-_Rewire_20230408_-_Stephan_C_Kaffa_001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/LucyLiyou_-_Rewire_20230408_-_Stephan_C_Kaffa_001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/LucyLiyou_-_Rewire_20230408_-_Stephan_C_Kaffa_001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/LucyLiyou_-_Rewire_20230408_-_Stephan_C_Kaffa_001-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/LucyLiyou_-_Rewire_20230408_-_Stephan_C_Kaffa_001-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lucy Liyou performs at Rewire Festival in The Hague, Netherlands on April 8, 2023. \u003ccite>(Stephan C. Kaffa)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I think I realized from a young age what singing could do,” she says. “I just think it took a really long time for me to realize that that was something I could do, too.”\u003c/p>\n\u003cp>Liyou identifies desire as one of the album’s primary themes — for a lover, for a friend, or more broadly “to understand what it means to truly feel at home with who I am.” Liyou, who identifies as transgender, says that these desires are “interconnected and woven together for a lot of people who are trans.”\u003c/p>\n\u003cp>At its best, \u003cem>Dog Dreams\u003c/em> creates an alternate plane of reality where those desires can become real. In contrast to the alienness of \u003cem>Welfare\u003c/em> or the slice-of-life sound collages on her 2021 follow-up, \u003cem>Practice\u003c/em>, \u003cem>Dog Dreams\u003c/em> sounds opulent, glassy, luxurious. There’s a moment where Liyou wishes for “Disney strings” and immediately receives them.\u003c/p>\n\u003cfigure id=\"attachment_13928909\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13928909\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/LucyLiyou_-_Rewire_20230408_-_Stephan_C_Kaffa_010-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/LucyLiyou_-_Rewire_20230408_-_Stephan_C_Kaffa_010-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/LucyLiyou_-_Rewire_20230408_-_Stephan_C_Kaffa_010-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/LucyLiyou_-_Rewire_20230408_-_Stephan_C_Kaffa_010-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/LucyLiyou_-_Rewire_20230408_-_Stephan_C_Kaffa_010-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/LucyLiyou_-_Rewire_20230408_-_Stephan_C_Kaffa_010-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/LucyLiyou_-_Rewire_20230408_-_Stephan_C_Kaffa_010-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/LucyLiyou_-_Rewire_20230408_-_Stephan_C_Kaffa_010-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lucy Liyou performs at Rewire Festival in The Hague, Netherlands on April 8, 2023. \u003ccite>(Stephan C. Kaffa)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mariah Carey’s voice appears twice on the album, once in recognizable form and once abstracted, but the sense of aspirational glamor through which the “Fantasy” singer enchants her legions of “lambs” is present in every moment of this very experimental music. Though \u003cem>Dog Dreams\u003c/em> is Liyou’s most accessible release thanks to its quiet textures and foregrounding of vocals, it’s still a formidable package: three songs in 35 minutes, two of them over 10 minutes long, proportions more akin to a prog-rock or free jazz album than \u003cem>The Emancipation of Mimi\u003c/em>.\u003c/p>\n\u003cp>“I think there’s something really powerful about consolidating so many different ideas and emotions into a succinct three minutes,” says Liyou. “But I didn’t really think too much about it.”\u003c/p>\n\u003cp>The only part of the album where Liyou was “adamant about the length of something” was the 14-minute title track, which takes up the entire first side of the LP version and opens with a long passage composed primarily of the distorted sound of the musician’s own saliva. \u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13928718",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Liyou co-produced the album with New York-based musician Nick Zanca, formerly known for his downtempo productions as Mister Lies. Zanca initially objected to the album starting with “three minutes of silence.” Liyou, by contrast, describes this passage as “three minutes of growth.”\u003c/p>\n\u003cp>“The birth of these stories and these dreams and these ideas comes from the mouth,” she explains. “The world literally builds from the saliva in that song. So that’s really, really important to me. And it takes time. Worlds don’t build in a minute.” \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>Zanca was one of many musicians Liyou reached out to when she was a teenage artist unaware it was even in the “realm of possibility” that other people would hear her work. Another was British electronic artist Klein, who heard a draft of \u003cem>Welfare\u003c/em> and released the final album on her Ijn Inc. label. (\u003ca href=\"https://lucyliyou.bandcamp.com/album/welfare-practice\">\u003cem>Welfare\u003c/em> was recently reissued\u003c/a> by American Dreams alongside \u003cem>Practice\u003c/em> as a single album.)\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1742030360/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>The record received acclaim from both mainstream publications like \u003ca href=\"https://pitchfork.com/reviews/albums/lucy-liyou-welfare-practice/\">Pitchfork\u003c/a> and more underground, avant-leaning blogs like \u003ca href=\"https://toneglow.substack.com/p/009-lucy-liyou\">Tone Glow\u003c/a> and \u003ca href=\"https://foxydigitalis.zone/tag/lucy-liyou/\">Foxy Digitalis\u003c/a>. Since then, Liyou has established herself as part of a rising contingent of young, American, mostly LGBTQ+ musicians making diaristic, personal, experimental electronic music; her spring European tour included a show with the acclaimed, indie-beloved Texas percussionist and sound artist Claire Rousay, plus appearances at vaunted venues like London’s Cafe OTO and The Hague’s Rewire Festival.\u003c/p>\n\u003cp>\u003cem>Welfare\u003c/em>, inspired by Korean p’ansori music, deals unflinchingly with Liyou’s relationship with her parents, with whom she’s currently living in San Francisco while waiting to move to Los Angeles to study composition at University of Southern California. Anyone with a difficult relationship with their own parents might find \u003cem>Welfare\u003c/em> keenly relatable, impossible to listen to, or both. \u003cem>Dog Dreams\u003c/em> may go down a little easier, but it’s still an intensely personal record. \u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13927554",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“You gotta make stuff thinking like nobody’s gonna hear it, and you gotta make stuff just not thinking about anyone else’s opinions or anyone else’s perspective on it,” she says. “I operate, or at least I attempt to operate, with that level of fearlessness and limitlessness.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-11687704\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/06/Turntable.Break_-800x60.jpg\" alt=\"\" width=\"800\" height=\"60\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-400x30.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-768x58.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13928887/lucy-liyou-dog-dreams-american-experimental-music",
"authors": [
"byline_arts_13928887"
],
"categories": [
"arts_1",
"arts_69"
],
"tags": [
"arts_1501",
"arts_3607",
"arts_10278",
"arts_3226"
],
"featImg": "arts_13928892",
"label": "arts"
},
"arts_13926181": {
"type": "posts",
"id": "arts_13926181",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13926181",
"score": null,
"sort": [
1678907372000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 140
},
"blocks": [],
"publishDate": 1678907372,
"format": "standard",
"title": "At 82, an Experimental Musician Returns to Her Roots With a Little Help from Google Translate",
"headTitle": "At 82, an Experimental Musician Returns to Her Roots With a Little Help from Google Translate | KQED",
"content": "\u003cp>When \u003ca href=\"https://dorothymoskowitz.com/\">Dorothy Moskowitz\u003c/a> first listened to work by the Italian composer \u003ca href=\"https://youtu.be/fBioxJ2ElQU\">Francesco Paolo Paladino\u003c/a>, she heard something in his music that reminded her of the sound pieces of her youth. “I was astounded at how much chaos and mischief there was,” she says.\u003c/p>\n\u003cp>Now 82, Moskowitz has been involved in composing, recording and performing music for over seven decades. She was the lead vocalist for the experimental rock band The United States of America, which put out one eponymous album in 1968 and disbanded shortly after. Over the intervening years, Moskowitz has toured with Country Joe’s All Star Band, written original pieces for children’s musical theater, taught music and maintained her own recording practice out of her Bay Area home studio.\u003c/p>\n\u003cp>On March 17, her latest effort, \u003ci>\u003ca href=\"https://www.tompkinssquare.com/under-an-endless-sky.html\">Under an Endless Sky\u003c/a>\u003c/i>, a collaboration with Paladino and the poet \u003ca href=\"https://en.wikipedia.org/wiki/Luca_Ferrari_(writer)\">Luca Chino Ferrari\u003c/a> under the name The United States of Alchemy, comes out on Tompkins Square records. Moskowitz’s voice sits delicately over the electro-acoustic compositions, singing evocative lines that originated in Italian (Ferrari is a poet). Imagine Marianne Faithfull working with minimalist composer John Adams and you can begin to grok the shape of this lovely, sometimes eerie music. The team worked back and forth via email, with most of Ferrari’s lines passing through Google translate before Moskowitz refined the words and phrases in English and set it all to melodies.\u003c/p>\n\u003cp>“It’s part of the aesthetic, as far as I’m concerned,” says Moskowitz of her preference for collaboration over email. “I think there’s something that contaminates when you see people on Zoom and they’re in their pajamas. Not seeing or hearing each other keeps it very, very pure, very elevated. It’s coming from another world.”\u003c/p>\n\u003cp>There’s definitely something otherworldly about transmitting emails back and forth across two languages and international borders that helps to explain the seven ethereal songs on \u003ci>Under an Endless Sky\u003c/i>. The album opens with a 23-minute title track of virtual keyboards, violins, a string trio (\u003ca href=\"https://www.instagram.com/trio_cavalazzi/?hl=en\">Trio Cavalazzi\u003c/a>) and horns. Moskowitz’s vocals first enter at nearly the three-minute mark, underlining the sci-fi-esque nature of our modern existence: “How strange a thing is man / A blinded lab rat in a cage / Stuck in his house, elevator or car / His eyes engulfed by screens.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=515981304/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Unlike Hamlet’s “\u003ca href=\"https://en.wikipedia.org/wiki/What_a_piece_of_work_is_a_man\">what a piece of work is man\u003c/a>” monologue, which moves from admiration to condemnation of these humans, “the paragon of animals,” “Under an Endless Sky” begins with someone trapped by their technology who still has a chance to experience all that the physical world has to offer. “We’ve lost time, but we do not despair / For there’s no other way to go / But to live in the here and now,” Moskowitz sings in her modular melody.\u003c/p>\n\u003cp>“My job was to turn these really profound and philosophical musings of Luca’s into something that could be sung that had euphony and alliteration and sometimes rhyme — if they allowed it,” she says. “I was the tailor, the dressmaker, to Luca’s fabric.”\u003c/p>\n\u003cp>The one song where she veered deeper into lyric writing is the album’s most affecting, “My Doomsday Serenade.” It’s a dense composition, full of tone shifts and overlaid vocals, with contributions from both Trio Cavalazzi and Italian electronic musician \u003ca href=\"https://www.riccardosinigaglia.com/\">Riccardo Sinigaglia\u003c/a>. Moskowitz is thrilled by this generational merger: the “kids” of Trio Cavalazzi; Sinigaglia, born in 1953; and Moskowitz in her 80s. “I think it’s really unusual that we have fused like that,” she enthuses. “Francesco pulled it all together.”\u003c/p>\n\u003cfigure id=\"attachment_13926268\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/FrancescoLuca_1200.jpg\" alt=\"Two white men pose seated, smiling with ceramic frogs in their hands\" width=\"1200\" height=\"809\" class=\"size-full wp-image-13926268\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/FrancescoLuca_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/FrancescoLuca_1200-800x539.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/FrancescoLuca_1200-1020x688.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/FrancescoLuca_1200-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/FrancescoLuca_1200-768x518.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Francesco Paolo Paladino and Luca Chino Ferrari hamming it up in Piacenza, Italy. \u003ccite>(Maria Assunta Karini)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As for the lyrics, Moskowitz says she and Ferrari went back and forth about the context of “doomsday.” For him, it was about a weighing of the soul, not just in an afterlife but as part of our everyday existence. “He really likes the luster of having ambiguity,” she says of his writing style. “You don’t know whether I’m talking about my mortality or whether I’m talking about ethics or whether I’m talking about Egyptian mythology.” The answer, she says, is “all three, yes.”\u003c/p>\n\u003cp>This song hits differently with Moskowitz on vocals than it would with a younger singer. Clear and precise, her voice carries with it the years of experience that give the words “It pounds out a reckoning / And beckons me to face up to myself” real weight — more prophetic than theoretical.\u003c/p>\n\u003cp>And for all of Moskowitz’s claims to favor traditional and direct lyrics (she cites the 15 years she spent writing original songs for the children’s theater company she co-ran in San Francisco), she also loves a well-placed evocative word, like “threnody” (a lament). During our interview, she urged me to make her sound “more folksy,” even as she referenced philosophers and listed off her many collaborators and accomplishments. As a first-generation American, she says she has a tendency to “lard my sentences with four syllables” — another delightful turn of phrase.\u003c/p>\n\u003cfigure id=\"attachment_13926267\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/Dorothy_1200.jpg\" alt=\"Sepia toned image of white woman in glasses singing into mic\" width=\"1200\" height=\"1508\" class=\"size-full wp-image-13926267\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Dorothy_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Dorothy_1200-800x1005.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Dorothy_1200-1020x1282.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Dorothy_1200-160x201.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Dorothy_1200-768x965.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">An undated photo of Dorothy Moskowitz. \u003ccite>(Tompkins Square)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Throughout, she was adamant about Paladino and Ferrari’s roles in the music-making. “Both these guys are geniuses, I will reiterate, put it in print!” she says. The dynamic between the three seems to have been effusive and full of praise, hence the moniker United States of Alchemy. What they were creating, and how they were creating it, felt magical.\u003c/p>\n\u003cp>The album closes with “Unknown to Ourselves,” a spare track with just Paladino on virtual keyboards and piano and Mauro Sambo on saxophone. Moskowitz’s vocals — about the finite nature of life and companionship — dominate for its first three minutes, until the music fades and the ambient sounds of a chirping cricket sing the whole production to sleep.\u003c/p>\n\u003cp>It might sound lonely, maybe a little bleak, but Moskowitz has a very positive take on the song, which is fueling her artistic productivity. “The way out of being unknown to ourselves is through creativity,” she says. “I think from the neck up, I’m still young. It helps keep me young to be this engaged, to be this pressured. I think it’s very, very healthy.”\u003c/p>\n\u003cp>Moskowitz is definitely busy: she has a double album, \u003ci>\u003ca href=\"https://soundcloud.com/peter-olof-fransson/the-afterlife-feat-dorothy-moskowitz\">The Afterlife\u003c/a>\u003c/i>, due soon with Swedish composer Peter Olof Fransson; a solo album called \u003ci>Rising to Eternity\u003c/i> (about the Webb telescope) coming out at the end of this year; The United States of Alchemy is working on a second album; and she also has “many songs unfinished” with her regular collaborator, the critic, novelist and songwriter \u003ca href=\"https://en.wikipedia.org/wiki/Tim_Lucas\">Tim Lucas\u003c/a>.\u003c/p>\n\u003cp>“The conventional wisdom in the industry is that you don’t put anything out until something else is absorbed, otherwise you’re competing with yourself,” she explains. “And I think that’s good if you’re under 70 years old. But in your twilight years … I want to get everything out before the marbles go.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>‘Under an Endless Sky’ comes out Friday, March 17 on Tompkins Square. There will be a “low-key record release” on April 8, 1–3 p.m. at Oakland’s Mars Records (4125 Piedmont Ave.) with Dorothy Moskowitz present to sign copies.\u003c/i>\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": true,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1312,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [
"https://bandcamp.com/EmbeddedPlayer/album=515981304/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/"
],
"paragraphCount": 21
},
"modified": 1705005738,
"excerpt": "On her new record, Bay Area music scene veteran Dorothy Moskowitz finds alchemy in an international collaboration.",
"headData": {
"twImgId": "",
"twTitle": "At 82, an Experimental Musician Returns to Her Roots With a Little Help from Google Translate",
"socialTitle": "Dorothy Moskowitz Returns With New Experimental Music %%page%% %%sep%% KQED",
"ogTitle": "At 82, an Experimental Musician Returns to Her Roots With a Little Help from Google Translate",
"ogImgId": "",
"twDescription": "",
"description": "On her new record, Bay Area music scene veteran Dorothy Moskowitz finds alchemy in an international collaboration.",
"title": "Dorothy Moskowitz Returns With New Experimental Music | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "At 82, an Experimental Musician Returns to Her Roots With a Little Help from Google Translate",
"datePublished": "2023-03-15T12:09:32-07:00",
"dateModified": "2024-01-11T12:42:18-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "dorothy-moskowitz-united-states-of-alchemy",
"status": "publish",
"templateType": "standard",
"excludeFromSiteSearch": "Include",
"featuredImageType": "standard",
"sticky": false,
"articleAge": "0",
"path": "/arts/13926181/dorothy-moskowitz-united-states-of-alchemy",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When \u003ca href=\"https://dorothymoskowitz.com/\">Dorothy Moskowitz\u003c/a> first listened to work by the Italian composer \u003ca href=\"https://youtu.be/fBioxJ2ElQU\">Francesco Paolo Paladino\u003c/a>, she heard something in his music that reminded her of the sound pieces of her youth. “I was astounded at how much chaos and mischief there was,” she says.\u003c/p>\n\u003cp>Now 82, Moskowitz has been involved in composing, recording and performing music for over seven decades. She was the lead vocalist for the experimental rock band The United States of America, which put out one eponymous album in 1968 and disbanded shortly after. Over the intervening years, Moskowitz has toured with Country Joe’s All Star Band, written original pieces for children’s musical theater, taught music and maintained her own recording practice out of her Bay Area home studio.\u003c/p>\n\u003cp>On March 17, her latest effort, \u003ci>\u003ca href=\"https://www.tompkinssquare.com/under-an-endless-sky.html\">Under an Endless Sky\u003c/a>\u003c/i>, a collaboration with Paladino and the poet \u003ca href=\"https://en.wikipedia.org/wiki/Luca_Ferrari_(writer)\">Luca Chino Ferrari\u003c/a> under the name The United States of Alchemy, comes out on Tompkins Square records. Moskowitz’s voice sits delicately over the electro-acoustic compositions, singing evocative lines that originated in Italian (Ferrari is a poet). Imagine Marianne Faithfull working with minimalist composer John Adams and you can begin to grok the shape of this lovely, sometimes eerie music. The team worked back and forth via email, with most of Ferrari’s lines passing through Google translate before Moskowitz refined the words and phrases in English and set it all to melodies.\u003c/p>\n\u003cp>“It’s part of the aesthetic, as far as I’m concerned,” says Moskowitz of her preference for collaboration over email. “I think there’s something that contaminates when you see people on Zoom and they’re in their pajamas. Not seeing or hearing each other keeps it very, very pure, very elevated. It’s coming from another world.”\u003c/p>\n\u003cp>There’s definitely something otherworldly about transmitting emails back and forth across two languages and international borders that helps to explain the seven ethereal songs on \u003ci>Under an Endless Sky\u003c/i>. The album opens with a 23-minute title track of virtual keyboards, violins, a string trio (\u003ca href=\"https://www.instagram.com/trio_cavalazzi/?hl=en\">Trio Cavalazzi\u003c/a>) and horns. Moskowitz’s vocals first enter at nearly the three-minute mark, underlining the sci-fi-esque nature of our modern existence: “How strange a thing is man / A blinded lab rat in a cage / Stuck in his house, elevator or car / His eyes engulfed by screens.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=515981304/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Unlike Hamlet’s “\u003ca href=\"https://en.wikipedia.org/wiki/What_a_piece_of_work_is_a_man\">what a piece of work is man\u003c/a>” monologue, which moves from admiration to condemnation of these humans, “the paragon of animals,” “Under an Endless Sky” begins with someone trapped by their technology who still has a chance to experience all that the physical world has to offer. “We’ve lost time, but we do not despair / For there’s no other way to go / But to live in the here and now,” Moskowitz sings in her modular melody.\u003c/p>\n\u003cp>“My job was to turn these really profound and philosophical musings of Luca’s into something that could be sung that had euphony and alliteration and sometimes rhyme — if they allowed it,” she says. “I was the tailor, the dressmaker, to Luca’s fabric.”\u003c/p>\n\u003cp>The one song where she veered deeper into lyric writing is the album’s most affecting, “My Doomsday Serenade.” It’s a dense composition, full of tone shifts and overlaid vocals, with contributions from both Trio Cavalazzi and Italian electronic musician \u003ca href=\"https://www.riccardosinigaglia.com/\">Riccardo Sinigaglia\u003c/a>. Moskowitz is thrilled by this generational merger: the “kids” of Trio Cavalazzi; Sinigaglia, born in 1953; and Moskowitz in her 80s. “I think it’s really unusual that we have fused like that,” she enthuses. “Francesco pulled it all together.”\u003c/p>\n\u003cfigure id=\"attachment_13926268\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/FrancescoLuca_1200.jpg\" alt=\"Two white men pose seated, smiling with ceramic frogs in their hands\" width=\"1200\" height=\"809\" class=\"size-full wp-image-13926268\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/FrancescoLuca_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/FrancescoLuca_1200-800x539.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/FrancescoLuca_1200-1020x688.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/FrancescoLuca_1200-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/FrancescoLuca_1200-768x518.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Francesco Paolo Paladino and Luca Chino Ferrari hamming it up in Piacenza, Italy. \u003ccite>(Maria Assunta Karini)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As for the lyrics, Moskowitz says she and Ferrari went back and forth about the context of “doomsday.” For him, it was about a weighing of the soul, not just in an afterlife but as part of our everyday existence. “He really likes the luster of having ambiguity,” she says of his writing style. “You don’t know whether I’m talking about my mortality or whether I’m talking about ethics or whether I’m talking about Egyptian mythology.” The answer, she says, is “all three, yes.”\u003c/p>\n\u003cp>This song hits differently with Moskowitz on vocals than it would with a younger singer. Clear and precise, her voice carries with it the years of experience that give the words “It pounds out a reckoning / And beckons me to face up to myself” real weight — more prophetic than theoretical.\u003c/p>\n\u003cp>And for all of Moskowitz’s claims to favor traditional and direct lyrics (she cites the 15 years she spent writing original songs for the children’s theater company she co-ran in San Francisco), she also loves a well-placed evocative word, like “threnody” (a lament). During our interview, she urged me to make her sound “more folksy,” even as she referenced philosophers and listed off her many collaborators and accomplishments. As a first-generation American, she says she has a tendency to “lard my sentences with four syllables” — another delightful turn of phrase.\u003c/p>\n\u003cfigure id=\"attachment_13926267\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/Dorothy_1200.jpg\" alt=\"Sepia toned image of white woman in glasses singing into mic\" width=\"1200\" height=\"1508\" class=\"size-full wp-image-13926267\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Dorothy_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Dorothy_1200-800x1005.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Dorothy_1200-1020x1282.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Dorothy_1200-160x201.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Dorothy_1200-768x965.jpg 768w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">An undated photo of Dorothy Moskowitz. \u003ccite>(Tompkins Square)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Throughout, she was adamant about Paladino and Ferrari’s roles in the music-making. “Both these guys are geniuses, I will reiterate, put it in print!” she says. The dynamic between the three seems to have been effusive and full of praise, hence the moniker United States of Alchemy. What they were creating, and how they were creating it, felt magical.\u003c/p>\n\u003cp>The album closes with “Unknown to Ourselves,” a spare track with just Paladino on virtual keyboards and piano and Mauro Sambo on saxophone. Moskowitz’s vocals — about the finite nature of life and companionship — dominate for its first three minutes, until the music fades and the ambient sounds of a chirping cricket sing the whole production to sleep.\u003c/p>\n\u003cp>It might sound lonely, maybe a little bleak, but Moskowitz has a very positive take on the song, which is fueling her artistic productivity. “The way out of being unknown to ourselves is through creativity,” she says. “I think from the neck up, I’m still young. It helps keep me young to be this engaged, to be this pressured. I think it’s very, very healthy.”\u003c/p>\n\u003cp>Moskowitz is definitely busy: she has a double album, \u003ci>\u003ca href=\"https://soundcloud.com/peter-olof-fransson/the-afterlife-feat-dorothy-moskowitz\">The Afterlife\u003c/a>\u003c/i>, due soon with Swedish composer Peter Olof Fransson; a solo album called \u003ci>Rising to Eternity\u003c/i> (about the Webb telescope) coming out at the end of this year; The United States of Alchemy is working on a second album; and she also has “many songs unfinished” with her regular collaborator, the critic, novelist and songwriter \u003ca href=\"https://en.wikipedia.org/wiki/Tim_Lucas\">Tim Lucas\u003c/a>.\u003c/p>\n\u003cp>“The conventional wisdom in the industry is that you don’t put anything out until something else is absorbed, otherwise you’re competing with yourself,” she explains. “And I think that’s good if you’re under 70 years old. But in your twilight years … I want to get everything out before the marbles go.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(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>\u003ci>‘Under an Endless Sky’ comes out Friday, March 17 on Tompkins Square. There will be a “low-key record release” on April 8, 1–3 p.m. at Oakland’s Mars Records (4125 Piedmont Ave.) with Dorothy Moskowitz present to sign copies.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13926181/dorothy-moskowitz-united-states-of-alchemy",
"authors": [
"61"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_69"
],
"tags": [
"arts_1501",
"arts_10278",
"arts_585"
],
"featImg": "arts_13926280",
"label": "arts_140"
},
"arts_13924749": {
"type": "posts",
"id": "arts_13924749",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13924749",
"score": null,
"sort": [
1675665840000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1675665840,
"format": "standard",
"title": "Beyoncé Sets a New Grammy Record, While Harry Styles Wins Album of the Year",
"headTitle": "Beyoncé Sets a New Grammy Record, While Harry Styles Wins Album of the Year | KQED",
"content": "\u003cdiv class=\"storyMajorUpdateDate\"> \u003cstrong>Updated February 6, 2023 at 12:53 AM ET\u003c/strong>\u003c/div>\n\u003cp>Beyoncé has now captured more Grammy awards than any other artist, thanks to a quartet of trophies for her album \u003cem>RENAISSANCE\u003c/em>. Two-thirds of the way into the evening’s live telecast, she won her fourth award of the year for a total of 32 in her career, shattering the record for the most Grammys of any artist in the prize’s 65-year history.\u003c/p>\n\u003cp>However, she failed to collect any of the evening’s biggest prizes. Instead, the Grammys divided the general categories in a typical voting split. Bonnie Raitt won the song of the year prize for “Just Like That.” Lizzo took record of the year for “About Damn Time.” Album of the year went to \u003ca href=\"https://www.npr.org/artists/531040090/harry-styles\">Harry Styles\u003c/a> for his album \u003cem>Harry’s House\u003c/em>. He also won best pop vocal album. “This is so kind,” Styles said of the album of the year award, as Beyoncé gave him a standing ovation.\u003c/p>\n\u003cp>Coming into this year’s awards, Beyoncé already owned 28 Grammys as a lead artist, though only one in the one of the awards’ general categories. She had nine nominations this year, and hit the new record just after 7 p.m. PT, when she won best electronic/dance music album. She cried upon taking the stage, saying, “I’m just trying to receive this night.” Later, she gave credit to her forebears and inspiration, adding: “I would like to thank the queer community for your love, and for inventing the genre,” referring to the house music that grounded \u003cem>RENAISSANCE\u003c/em>.\u003c/p>\n\u003cp>Faced with \u003ca href=\"https://www.npr.org/2022/01/06/1070849471/the-omicron-surge-forces-the-grammys-to-be-postponed-sundance-to-move-online\">years\u003c/a> of \u003ca href=\"https://variety.com/2022/tv/news/grammy-awards-ratings-2022-grammys-1235221012/\">declining and middling \u003c/a>viewership, the Grammys hoped to amp up the dazzle this year via this bit of history-making. What the Record Academy had clearly hoped would be an earlier, big live television moment was foiled by urban sprawl. Half an hour into the show, Beyoncé — who was reportedly late to the awards thanks to LA traffic — tied the all-time record for most Grammys won when she and a team of co-writers won best R&B song for “Cuff It.” The iconic musician and composer Nile Rogers, one of the co-writers on “Cuff It,” accepted the award for best R&B song on the team’s behalf along with another of its co-writers, The-Dream. The previous Grammy record of 31 wins was a feat set by the late Hungarian-born classical conductor Georg Solti.\u003c/p>\n\u003cp>Several of the other nine contenders for album of the year had to be satisfied with other awards. At the beginning of her acceptance speech for her win for record of the year for “About Damn Time,” Lizzo said, “Let me tell you something, Adele and I are just having a great time here.” (Adele took home took home best pop solo performance for her song “Easy on Me.”) Lizzo also paid tribute to Beyoncé, noting that she had skipped school in fifth grade to go hear the megastar perform.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/artists/166009689/kendrick-lamar\">Kendrick Lamar\u003c/a> took home the Grammy for best rap album for his \u003cem>Mr. Morale & The Big Steppers\u003c/em>; during the afternoon ceremony, Lamar also picked up Grammys for best rap performance and best rap song, both for “The Heart Part 5.” “I would like to thank the culture for allowing me to evolve,” he said in an acceptance speech in which he also thanked his family and fans. “I finally found imperfection with this album.” \u003c/p>\n\u003cp>Another artist up for album of the year, Puerto Rican rapper \u003ca href=\"https://www.npr.org/artists/656561349/bad-bunny\">Bad Bunny\u003c/a>, opened the show with a colorful performance of songs from his album \u003cem>Un Verano Sin Ti\u003c/em>, weaving in and out of the seated audience alongside brass band members before making his way to a dance party on stage for a medley that captured the vibrant, infectious energy of the hit album. \u003cem>Un Verano Sin Ti\u003c/em> dominated streaming services last year and won the rapper the prize for best música urbana album. “I made this album with love and passion and when you do things with love and passion, everything is easier — life is easier,” he said in English while accepting his award.\u003c/p>\n\u003cp>In a throwback to a very particular kind of Grammy-voter favorite, the gifted young jazz vocalist \u003ca href=\"https://www.npr.org/artists/1120541975/samara-joy\">Samara Joy\u003c/a> won the award for best new artist. The 23-year-old cried through her whole acceptance speech, marveling that she won one of the Grammy’s biggest prizes “just by being myself.”\u003c/p>\n\u003cp>One of the strongest performances of the night came in the form of a star-studded, comprehensive tribute to the history of hip-hop that followed a new “Dr. Dre Global Impact award,” given to the namesake artist himself by rapper LL Cool J. Organized by Questlove, the performance brought together some of the greatest names in hip-hop to honor the genre’s 50th anniversary this year. The set chronicled the entire history of rap, featuring early pioneers like Run-DMC, Rakim, Public Enemy and Salt-N-Pepa, all the way up to current viral stars like GloRilla. \u003c/p>\n\u003cp>“We wish we could have included every single hip-hop artist from 1973 to 2023,” LL Cool J said.\u003c/p>\n\u003cp>The show’s “In Memoriam” segment, honoring musicians and industry professionals who died in the last year, featured performances by Kacey Musgraves, Migos’ Quavo and Mick Fleetwood. The night featured multiple tributes, including Stevie Wonder honoring Berry Gordy and Smokey Robinson by playing Motown hits including The Temptations’ “The Way You Do The Things You Do” and “Tears of a Clown” alongside Robinson. \u003c/p>\n\u003cp>The night was filled with a number of excellent live performances, from longtime Grammy favorites to newcomers to the stage. Brandi Carlile, who took home three awards for best Americana album, best rock performance and best rock song, returned to the Academy’s stage for a stirring rendition of “Broken Horses,” introduced to viewers by her wife and two daughters. \u003c/p>\n\u003cp>Steve Lacy, who took home his first Grammy award earlier in the evening for best progressive R&B album for \u003cem>Gemini Rights\u003c/em>, proved his TikTok hit “Bad Habit” as magnetic a live performance as it has become in viral videos, performing the funky hit in heels alongside Thundercat on bass. \u003c/p>\n\u003cp>A brand-new honor called best song for social change was given to Iranian musician Shervin Hajipour for his protest song “Baraye,” which was written in solidarity with Iran’s \u003ca href=\"https://www.npr.org/2022/10/27/1131436766/kurdish-roots-iran-protest-slogan\">“Woman, life, freedom”\u003c/a> movement, and gained worldwide fans on social media. Hajipour was unable to attend the ceremony, as \u003ca href=\"https://variety.com/2023/global/news/iran-protest-song-baraye-grammy-amnesty-jailed-activists-1235514072/\">he has been banned from leaving Iran\u003c/a> while he awaits trial; the award was presented by First Lady Jill Biden.\u003c/p>\n\u003cp>Biden also presented the award for song of the year to Bonnie Raitt, who looked shellshocked to win this year’s prize for songwriting; she had been up against other writers such as Beyoncé, Lizzo, \u003ca href=\"https://www.npr.org/artists/728755923/steve-lacy\">Steve Lacy\u003c/a>, Kendrick Lamar and Adele. “I don’t write a lot of songs,” said Raitt.\u003c/p>\n\u003cp>In another history-making moment, 2023 marked the first time that either an openly non-binary person or an openly transgender woman won a Grammy. Both glass ceilings were smashed when Sam Smith and Kim Petras were awarded best pop duo/group performance for their song “Unholy.” (Musician Wendy Carlos won three Grammys in 1970 for her album \u003cem>Switched-On Bach\u003c/em>, but she was not yet living publicly as a woman at that point.)\u003cstrong> \u003c/strong>\u003c/p>\n\u003cp>“Sam graciously wanted me to accept this award because I’m the first transgender woman to win this award,” Petras said in her speech. “I want to thank all the incredible transgender legends before me so I could be here tonight,” she added, shouting out the late trans pop artist SOPHIE in her speech, as well as Madonna and her mother for inspiration. After winning the award, the pair put on a fiery, provocative performance with Smith dressed up as a horned devil, playing off of the sinful imagery of their hit single.\u003cstrong> \u003c/strong>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>At the so-called Grammy “premiere” show, or pre-telecast ceremony, the Recording Academy handed out nearly 80 awards. Among that sprawling array of prizes, actress Viola Davis \u003ca href=\"https://www.npr.org/2023/02/05/1154671624/viola-davis-egot-grammys\">became an EGOT\u003c/a> — the proud possessor of Emmy, Grammy, Oscar and Tony awards — Sunday afternoon when she won a Grammy for the audiobook version of her memoir, \u003cem>Finding Me\u003c/em>. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2023 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Beyonc%C3%A9+sets+a+new+Grammy+record%2C+while+Harry+Styles+wins+album+of+the+year&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1479,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 20
},
"modified": 1705005879,
"excerpt": "With four new prizes tonight, the megastar has now won more Grammys than any other artist in the awards' 65-year history. But Harry Styles took home the evening's biggest prize.",
"headData": {
"twImgId": "",
"twTitle": "",
"socialTitle": "Grammys Roundup: Beyoncé, Lizzo and Harry Styles Win %%page%% %%sep%% KQED",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "With four new prizes tonight, the megastar has now won more Grammys than any other artist in the awards' 65-year history. But Harry Styles took home the evening's biggest prize.",
"title": "Grammys Roundup: Beyoncé, Lizzo and Harry Styles Win | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Beyoncé Sets a New Grammy Record, While Harry Styles Wins Album of the Year",
"datePublished": "2023-02-05T22:44:00-08:00",
"dateModified": "2024-01-11T12:44:39-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "beyonce-sets-a-new-grammy-record-while-harry-styles-wins-album-of-the-year",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=1152837932&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprStoryDate": "Sun, 05 Feb 2023 22:44:00 -0500",
"excludeFromSiteSearch": "Include",
"nprLastModifiedDate": "Mon, 06 Feb 2023 09:59:52 -0500",
"featuredImageType": "standard",
"nprHtmlLink": "https://www.npr.org/2023/02/05/1152837932/2023-grammy-awards-winners-beyonce?ft=nprml&f=1152837932",
"nprImageAgency": "Getty Images for The Recording Academy",
"nprStoryId": "1152837932",
"nprByline": "Hazel Cills",
"sticky": false,
"nprImageCredit": "Emma McIntyre",
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"nprRetrievedStory": "1",
"nprPubDate": "Mon, 06 Feb 2023 09:59:00 -0500",
"path": "/arts/13924749/beyonce-sets-a-new-grammy-record-while-harry-styles-wins-album-of-the-year",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cdiv class=\"storyMajorUpdateDate\"> \u003cstrong>Updated February 6, 2023 at 12:53 AM ET\u003c/strong>\u003c/div>\n\u003cp>Beyoncé has now captured more Grammy awards than any other artist, thanks to a quartet of trophies for her album \u003cem>RENAISSANCE\u003c/em>. Two-thirds of the way into the evening’s live telecast, she won her fourth award of the year for a total of 32 in her career, shattering the record for the most Grammys of any artist in the prize’s 65-year history.\u003c/p>\n\u003cp>However, she failed to collect any of the evening’s biggest prizes. Instead, the Grammys divided the general categories in a typical voting split. Bonnie Raitt won the song of the year prize for “Just Like That.” Lizzo took record of the year for “About Damn Time.” Album of the year went to \u003ca href=\"https://www.npr.org/artists/531040090/harry-styles\">Harry Styles\u003c/a> for his album \u003cem>Harry’s House\u003c/em>. He also won best pop vocal album. “This is so kind,” Styles said of the album of the year award, as Beyoncé gave him a standing ovation.\u003c/p>\n\u003cp>Coming into this year’s awards, Beyoncé already owned 28 Grammys as a lead artist, though only one in the one of the awards’ general categories. She had nine nominations this year, and hit the new record just after 7 p.m. PT, when she won best electronic/dance music album. She cried upon taking the stage, saying, “I’m just trying to receive this night.” Later, she gave credit to her forebears and inspiration, adding: “I would like to thank the queer community for your love, and for inventing the genre,” referring to the house music that grounded \u003cem>RENAISSANCE\u003c/em>.\u003c/p>\n\u003cp>Faced with \u003ca href=\"https://www.npr.org/2022/01/06/1070849471/the-omicron-surge-forces-the-grammys-to-be-postponed-sundance-to-move-online\">years\u003c/a> of \u003ca href=\"https://variety.com/2022/tv/news/grammy-awards-ratings-2022-grammys-1235221012/\">declining and middling \u003c/a>viewership, the Grammys hoped to amp up the dazzle this year via this bit of history-making. What the Record Academy had clearly hoped would be an earlier, big live television moment was foiled by urban sprawl. Half an hour into the show, Beyoncé — who was reportedly late to the awards thanks to LA traffic — tied the all-time record for most Grammys won when she and a team of co-writers won best R&B song for “Cuff It.” The iconic musician and composer Nile Rogers, one of the co-writers on “Cuff It,” accepted the award for best R&B song on the team’s behalf along with another of its co-writers, The-Dream. The previous Grammy record of 31 wins was a feat set by the late Hungarian-born classical conductor Georg Solti.\u003c/p>\n\u003cp>Several of the other nine contenders for album of the year had to be satisfied with other awards. At the beginning of her acceptance speech for her win for record of the year for “About Damn Time,” Lizzo said, “Let me tell you something, Adele and I are just having a great time here.” (Adele took home took home best pop solo performance for her song “Easy on Me.”) Lizzo also paid tribute to Beyoncé, noting that she had skipped school in fifth grade to go hear the megastar perform.\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>\u003ca href=\"https://www.npr.org/artists/166009689/kendrick-lamar\">Kendrick Lamar\u003c/a> took home the Grammy for best rap album for his \u003cem>Mr. Morale & The Big Steppers\u003c/em>; during the afternoon ceremony, Lamar also picked up Grammys for best rap performance and best rap song, both for “The Heart Part 5.” “I would like to thank the culture for allowing me to evolve,” he said in an acceptance speech in which he also thanked his family and fans. “I finally found imperfection with this album.” \u003c/p>\n\u003cp>Another artist up for album of the year, Puerto Rican rapper \u003ca href=\"https://www.npr.org/artists/656561349/bad-bunny\">Bad Bunny\u003c/a>, opened the show with a colorful performance of songs from his album \u003cem>Un Verano Sin Ti\u003c/em>, weaving in and out of the seated audience alongside brass band members before making his way to a dance party on stage for a medley that captured the vibrant, infectious energy of the hit album. \u003cem>Un Verano Sin Ti\u003c/em> dominated streaming services last year and won the rapper the prize for best música urbana album. “I made this album with love and passion and when you do things with love and passion, everything is easier — life is easier,” he said in English while accepting his award.\u003c/p>\n\u003cp>In a throwback to a very particular kind of Grammy-voter favorite, the gifted young jazz vocalist \u003ca href=\"https://www.npr.org/artists/1120541975/samara-joy\">Samara Joy\u003c/a> won the award for best new artist. The 23-year-old cried through her whole acceptance speech, marveling that she won one of the Grammy’s biggest prizes “just by being myself.”\u003c/p>\n\u003cp>One of the strongest performances of the night came in the form of a star-studded, comprehensive tribute to the history of hip-hop that followed a new “Dr. Dre Global Impact award,” given to the namesake artist himself by rapper LL Cool J. Organized by Questlove, the performance brought together some of the greatest names in hip-hop to honor the genre’s 50th anniversary this year. The set chronicled the entire history of rap, featuring early pioneers like Run-DMC, Rakim, Public Enemy and Salt-N-Pepa, all the way up to current viral stars like GloRilla. \u003c/p>\n\u003cp>“We wish we could have included every single hip-hop artist from 1973 to 2023,” LL Cool J said.\u003c/p>\n\u003cp>The show’s “In Memoriam” segment, honoring musicians and industry professionals who died in the last year, featured performances by Kacey Musgraves, Migos’ Quavo and Mick Fleetwood. The night featured multiple tributes, including Stevie Wonder honoring Berry Gordy and Smokey Robinson by playing Motown hits including The Temptations’ “The Way You Do The Things You Do” and “Tears of a Clown” alongside Robinson. \u003c/p>\n\u003cp>The night was filled with a number of excellent live performances, from longtime Grammy favorites to newcomers to the stage. Brandi Carlile, who took home three awards for best Americana album, best rock performance and best rock song, returned to the Academy’s stage for a stirring rendition of “Broken Horses,” introduced to viewers by her wife and two daughters. \u003c/p>\n\u003cp>Steve Lacy, who took home his first Grammy award earlier in the evening for best progressive R&B album for \u003cem>Gemini Rights\u003c/em>, proved his TikTok hit “Bad Habit” as magnetic a live performance as it has become in viral videos, performing the funky hit in heels alongside Thundercat on bass. \u003c/p>\n\u003cp>A brand-new honor called best song for social change was given to Iranian musician Shervin Hajipour for his protest song “Baraye,” which was written in solidarity with Iran’s \u003ca href=\"https://www.npr.org/2022/10/27/1131436766/kurdish-roots-iran-protest-slogan\">“Woman, life, freedom”\u003c/a> movement, and gained worldwide fans on social media. Hajipour was unable to attend the ceremony, as \u003ca href=\"https://variety.com/2023/global/news/iran-protest-song-baraye-grammy-amnesty-jailed-activists-1235514072/\">he has been banned from leaving Iran\u003c/a> while he awaits trial; the award was presented by First Lady Jill Biden.\u003c/p>\n\u003cp>Biden also presented the award for song of the year to Bonnie Raitt, who looked shellshocked to win this year’s prize for songwriting; she had been up against other writers such as Beyoncé, Lizzo, \u003ca href=\"https://www.npr.org/artists/728755923/steve-lacy\">Steve Lacy\u003c/a>, Kendrick Lamar and Adele. “I don’t write a lot of songs,” said Raitt.\u003c/p>\n\u003cp>In another history-making moment, 2023 marked the first time that either an openly non-binary person or an openly transgender woman won a Grammy. Both glass ceilings were smashed when Sam Smith and Kim Petras were awarded best pop duo/group performance for their song “Unholy.” (Musician Wendy Carlos won three Grammys in 1970 for her album \u003cem>Switched-On Bach\u003c/em>, but she was not yet living publicly as a woman at that point.)\u003cstrong> \u003c/strong>\u003c/p>\n\u003cp>“Sam graciously wanted me to accept this award because I’m the first transgender woman to win this award,” Petras said in her speech. “I want to thank all the incredible transgender legends before me so I could be here tonight,” she added, shouting out the late trans pop artist SOPHIE in her speech, as well as Madonna and her mother for inspiration. After winning the award, the pair put on a fiery, provocative performance with Smith dressed up as a horned devil, playing off of the sinful imagery of their hit single.\u003cstrong> \u003c/strong>\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>At the so-called Grammy “premiere” show, or pre-telecast ceremony, the Recording Academy handed out nearly 80 awards. Among that sprawling array of prizes, actress Viola Davis \u003ca href=\"https://www.npr.org/2023/02/05/1154671624/viola-davis-egot-grammys\">became an EGOT\u003c/a> — the proud possessor of Emmy, Grammy, Oscar and Tony awards — Sunday afternoon when she won a Grammy for the audiobook version of her memoir, \u003cem>Finding Me\u003c/em>. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2023 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Beyonc%C3%A9+sets+a+new+Grammy+record%2C+while+Harry+Styles+wins+album+of+the+year&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13924749/beyonce-sets-a-new-grammy-record-while-harry-styles-wins-album-of-the-year",
"authors": [
"byline_arts_13924749"
],
"categories": [
"arts_1",
"arts_69",
"arts_75"
],
"tags": [
"arts_10589",
"arts_9943",
"arts_8417",
"arts_1686",
"arts_1501",
"arts_977",
"arts_1685",
"arts_9669",
"arts_1774",
"arts_2519",
"arts_2968"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13924750",
"label": "arts_137"
},
"arts_13913639": {
"type": "posts",
"id": "arts_13913639",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13913639",
"score": null,
"sort": [
1652985487000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1652985487,
"format": "standard",
"title": "Vangelis, Famed Film Composer and Synth Pioneer, Dies at 79",
"headTitle": "Vangelis, Famed Film Composer and Synth Pioneer, Dies at 79 | KQED",
"content": "\u003cp>Composer Vangelis, who gave the movie \u003cem>Chariots of Fire \u003c/em>its signature synth-driven sound, has died. He was 79 years old. According to his assistant Lefteris Zermas, Vangelis died on the May 17 in a hospital in Paris, due to heart failure. \u003c/p>\n\u003cp>Vangelis was born Evangelos Odysseas Papathanassiou in the Greek town of Agria. He was a self-taught musician who became a young piano prodigy. Then he moved to Paris and co-founded the popular prog-rock group \u003ca href=\"https://www.youtube.com/watch?v=3KCbqhJt16k\">Aphrodite’s Child\u003c/a>. The band eventually split and Vangelis got a solo record deal with RCA Records. \u003c/p>\n\u003cp>In 1981 he composed the score for \u003cem>Chariots of Fire\u003c/em>. Its opening theme, with its uplifting inspirational swell and ornate arrangement, was released as a single and reached the top of the \u003ca href=\"https://www.billboard.com/artist/vangelis/chart-history/tlp/\">Billboard Hot 100\u003c/a>. His efforts earned him a win for best original score at the Academy Awards. \u003c/p>\n\u003cp>The success led him to other film work. Notably, he composed the soundtrack for the original \u003cem>Blade Runner\u003c/em>, as well as Carl Sagan’s PBS documentary series \u003cem>Cosmos\u003c/em>. Outside of composing scores, Vangelis was prolific in his solo career, regularly releasing albums up until last year’s \u003cem>Juno to Jupiter. \u003c/em>\u003c/p>\n\u003cp>While he was most associated with the synthesizer, the instrument was also a source of frustration for him. “I’ve been using synthesizers for so many years, but they’ve never been designed properly. They create a lot of problems.” \u003ca href=\"https://www.npr.org/2016/10/17/497797809/from-composer-vangelis-a-true-story-set-in-outer-space\">he told NPR in 2016.\u003c/a> “The computers have completely different logic than the human logic.” So for his 2016 record \u003cem>Rosetta\u003c/em>, dedicated to the space probe of the same name, he simply built his own synthesizer. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Vangelis had a lifelong interest in space which was reflected in his music — in its breadth and atmosphere. He believed that there was something inherent in humans to want to discover — whether that meant up in the sky or in a studio.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For Vangelis, becoming a musician was never a conscious decision. “It’s very difficult \u003cem>not\u003c/em> to make music,” Vangelis told NPR in 1977. “It’s as natural as I eat, as I make love. Music is the same.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2022 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Vangelis%2C+famed+film+composer+and+synth+pioneer%2C+dead+at+79&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 381,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 9
},
"modified": 1705006828,
"excerpt": "Vangelis composed the music for 'Blade Runner' and 'Chariots of Fire,' which won him an Academy Award. ",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Vangelis composed the music for 'Blade Runner' and 'Chariots of Fire,' which won him an Academy Award. ",
"title": "Vangelis, Famed Film Composer and Synth Pioneer, Dies at 79 | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Vangelis, Famed Film Composer and Synth Pioneer, Dies at 79",
"datePublished": "2022-05-19T11:38:07-07:00",
"dateModified": "2024-01-11T13:00:28-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "vangelis-famed-film-composer-and-synth-pioneer-dies-at-79",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=1100133193&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprStoryDate": "Thu, 19 May 2022 14:16:43 -0400",
"excludeFromSiteSearch": "Include",
"nprLastModifiedDate": "Thu, 19 May 2022 14:16:43 -0400",
"featuredImageType": "standard",
"nprHtmlLink": "https://www.npr.org/2022/05/19/1100133193/vangelis-dead?ft=nprml&f=1100133193",
"nprImageAgency": "AFP via Getty Images",
"nprStoryId": "1100133193",
"nprByline": "Andrew Limbong",
"sticky": false,
"nprImageCredit": "Georges Bendrihem",
"showOnAuthorArchivePages": "No",
"nprRetrievedStory": "1",
"nprPubDate": "Thu, 19 May 2022 14:16:00 -0400",
"path": "/arts/13913639/vangelis-famed-film-composer-and-synth-pioneer-dies-at-79",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Composer Vangelis, who gave the movie \u003cem>Chariots of Fire \u003c/em>its signature synth-driven sound, has died. He was 79 years old. According to his assistant Lefteris Zermas, Vangelis died on the May 17 in a hospital in Paris, due to heart failure. \u003c/p>\n\u003cp>Vangelis was born Evangelos Odysseas Papathanassiou in the Greek town of Agria. He was a self-taught musician who became a young piano prodigy. Then he moved to Paris and co-founded the popular prog-rock group \u003ca href=\"https://www.youtube.com/watch?v=3KCbqhJt16k\">Aphrodite’s Child\u003c/a>. The band eventually split and Vangelis got a solo record deal with RCA Records. \u003c/p>\n\u003cp>In 1981 he composed the score for \u003cem>Chariots of Fire\u003c/em>. Its opening theme, with its uplifting inspirational swell and ornate arrangement, was released as a single and reached the top of the \u003ca href=\"https://www.billboard.com/artist/vangelis/chart-history/tlp/\">Billboard Hot 100\u003c/a>. His efforts earned him a win for best original score at the Academy Awards. \u003c/p>\n\u003cp>The success led him to other film work. Notably, he composed the soundtrack for the original \u003cem>Blade Runner\u003c/em>, as well as Carl Sagan’s PBS documentary series \u003cem>Cosmos\u003c/em>. Outside of composing scores, Vangelis was prolific in his solo career, regularly releasing albums up until last year’s \u003cem>Juno to Jupiter. \u003c/em>\u003c/p>\n\u003cp>While he was most associated with the synthesizer, the instrument was also a source of frustration for him. “I’ve been using synthesizers for so many years, but they’ve never been designed properly. They create a lot of problems.” \u003ca href=\"https://www.npr.org/2016/10/17/497797809/from-composer-vangelis-a-true-story-set-in-outer-space\">he told NPR in 2016.\u003c/a> “The computers have completely different logic than the human logic.” So for his 2016 record \u003cem>Rosetta\u003c/em>, dedicated to the space probe of the same name, he simply built his own synthesizer. \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>Vangelis had a lifelong interest in space which was reflected in his music — in its breadth and atmosphere. He believed that there was something inherent in humans to want to discover — whether that meant up in the sky or in a studio.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For Vangelis, becoming a musician was never a conscious decision. “It’s very difficult \u003cem>not\u003c/em> to make music,” Vangelis told NPR in 1977. “It’s as natural as I eat, as I make love. Music is the same.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2022 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Vangelis%2C+famed+film+composer+and+synth+pioneer%2C+dead+at+79&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13913639/vangelis-famed-film-composer-and-synth-pioneer-dies-at-79",
"authors": [
"byline_arts_13913639"
],
"categories": [
"arts_1",
"arts_69",
"arts_1564"
],
"tags": [
"arts_1501",
"arts_977"
],
"featImg": "arts_13913643",
"label": "arts"
},
"arts_13912307": {
"type": "posts",
"id": "arts_13912307",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13912307",
"score": null,
"sort": [
1650643216000
]
},
"parent": 0,
"labelTerm": {},
"blocks": [],
"publishDate": 1650643216,
"format": "standard",
"title": "Is The $385 Blue Note Festival in Napa Worth It? Yeah, Probably—But Reluctantly.",
"headTitle": "Is The $385 Blue Note Festival in Napa Worth It? Yeah, Probably—But Reluctantly. | KQED",
"content": "\u003cp>The first-ever \u003ca href=\"https://bluenotejazzfestival.com/napa/\" target=\"_blank\" rel=\"noopener noreferrer\">Blue Note Jazz Festival in Napa\u003c/a> was announced Thursday, and two things happened: my eyes widened at the incredible lineup, and then my brain fell out at the ticket price.\u003c/p>\n\u003cp>The two-day festival on July 30 and 31 hosts so many all-stars that to list just half is like a first draft for a Jazz and Hip-Hop Hall of Fame. It’s got resident artist Robert Glasper, Maxwell, Erykah Badu, Yasiin Bey & Talib Kweli as Black Star, Thundercat, Anderson .Paak, Flying Lotus, the Wu-Tang Clan’s GZA, Christian Scott, Pharaohe Monch, Ledisi, Terrace Martin, BJ the Chicago Kid and plenty more, including \u003ca href=\"https://www.youtube.com/watch?v=cxLpHCDhsTQ\" target=\"_blank\" rel=\"noopener noreferrer\">DJ Jazzy Jeff\u003c/a>, all playing solo or in different configurations.\u003c/p>\n\u003cp>Did I mention Dave Chappelle is hosting?\u003c/p>\n\u003cp>Here’s the thing: Tickets for this festival are $385 each. In line with nationwide trends in festival ticket pricing, that’s \u003cem>three hundred and eighty-five dollars\u003c/em> for one two-day, general-admission ticket, and that’s before “convenience” fees, which have \u003ca href=\"https://www.vox.com/the-goods/2019/6/12/18662992/ticket-fees-ticketmaster-stubhub-ftc-regulation\" target=\"_blank\" rel=\"noopener noreferrer\">soared astronomically\u003c/a> in recent years.\u003c/p>\n\u003cp>[aside postID='arts_13831858']For reference, the last time I bought tickets from Ticketmaster, to see Paul McCartney, my charges included a 23% service fee, a 5% facility charge, and a 3% order processing fee. Our $189.50 tickets suddenly became $250 tickets. (Because my daughter saves ticket stubs, I also willfully opted to pay an extra $10 to send them in the mail at a time when first-class postage costs 58¢).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>If equal percentages get charged on top of this Napa festival’s face value of $385, you’re looking at possibly paying $504.35 per ticket to the Blue Note Jazz Festival at Charles Krug Winery, to sip Cabernet Sauvignon while watching Black Star do “\u003ca href=\"https://www.youtube.com/watch?v=EuJaStSL0xM\" target=\"_blank\" rel=\"noopener noreferrer\">Redefinition\u003c/a>” among the vineyards, in the upscale, chi-chi confines of Napa Valley.\u003c/p>\n\u003cp>Is this really what we are doing, people?\u003c/p>\n\u003cp>If the answer’s yes—if you’ve been in this festival-pricing dilemma before, either with Outside Lands (\u003ca href=\"https://sfoutsidelands.com/tickets\" target=\"_blank\" rel=\"noopener noreferrer\">more expensive\u003c/a> than the Blue Note festival) or Coachella (\u003ca href=\"https://www.coachella.com/passes\" target=\"_blank\" rel=\"noopener noreferrer\">much more expensive\u003c/a> than the Blue Note festival)—then you’re probably used to “festival math.” You’ve already added up the acts you want to see, calculated roughly how much it would cost to catch each playing separately, in a club, theater or arena, added up all \u003cem>those\u003c/em> costs, and realized: hey, even at $385, that’s a lot of bang for my buck to see so many of my favorites in one weekend.\u003c/p>\n\u003cp>Add the cruel reality that \u003ca href=\"https://www.digitalmusicnews.com/2018/09/27/spotify-declining-royalty-payouts/\" target=\"_blank\" rel=\"noopener noreferrer\">artists’ album royalties have evaporated\u003c/a> in order to \u003ca href=\"https://www.nme.com/news/music/artists-criticise-spotify-ceo-daniel-eks-investment-in-ai-defence-tech-3107864\" target=\"_blank\" rel=\"noopener noreferrer\">make Spotify CEO Daniel Ek a multibillionaire who invests in defense technology\u003c/a>, or the \u003ca href=\"https://theconversation.com/denying-black-musicians-their-royalties-has-a-history-emerging-out-of-slavery-144397\" target=\"_blank\" rel=\"noopener noreferrer\">historic exploitation of Black musicians in America\u003c/a> which substantial festival guarantees can help repair, or the possibility that you’ve just gotten a huge tax return (just kidding, you probably didn’t—thanks, Paul Ryan!), or just that you haven’t taken your loved one out on a nice weekend getaway for the past two years, you start to say to yourself, “You know what? Why not? Let’s do it up.”\u003c/p>\n\u003cfigure id=\"attachment_13903425\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13903425\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A5194.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5194.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5194-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5194-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Erykah Badu performs at Lights On Festival at Concord Pavilion on Saturday, Sept. 18, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Not everyone is in that position, though, and certainly not your average rap fan, and certainly not the surge of younger people getting into jazz \u003ca href=\"https://lnwy.co/read/new-golden-age-jazz/\" target=\"_blank\" rel=\"noopener noreferrer\">thanks to some of the very acts on this bill\u003c/a>. Unless they were born into privilege or have a trust fund, they definitely wouldn’t throw down for VIP tickets ($850), or VIP parking (an additional $150). Having lived in Sonoma County my whole life, and for decades \u003ca href=\"https://www.kqed.org/arts/11625922/bottlerock-finds-it-footing-on-louboutin-heels-in-wine-country\" target=\"_blank\" rel=\"noopener noreferrer\">covered the region’s wine country-branded lifestyle experiences thinly veiled as music festivals\u003c/a>, I can tell you that weekend hotel and Airbnb rates are excessively high for these weekends, and concessions at festivals up here ain’t exactly $6 ballgame hot dogs, either.\u003c/p>\n\u003cp>(It’s worthy to note that there \u003cem>is\u003c/em> a free shuttle to this festival, but from an as-yet-determined parking area with an as-yet-determined parking fee, while \u003ca href=\"https://www.valleymusictravel.com/events/coachella/shuttles/\" target=\"_blank\" rel=\"noopener noreferrer\">Coachella shuttles are $75–$84\u003c/a>. And technically, public transportation to the festival exists, sort of, in the form of the Napa Valley Wine Train, which changed ownership several years ago after \u003ca href=\"https://www.theguardian.com/us-news/2015/sep/13/napa-wine-train-laughing-while-black\" target=\"_blank\" rel=\"noopener noreferrer\">kicking 10 Black women off the train mid-excursion\u003c/a> for “laughing while Black.”)\u003c/p>\n\u003cp>[aside postID='arts_11625922']If I sound like a hater, let me remind you: I hereby place my hand on a stack of Blue Note LPs and vow under oath that this festival has an incredible, historic lineup. But I’ll also remind you that the \u003ca href=\"https://www.billboard.com/music/music-news/blue-note-entertainment-group-sony-hall-new-era-8224741/\" target=\"_blank\" rel=\"noopener noreferrer\">Blue Note Entertainment Group\u003c/a> is not associated at all with the famed jazz label \u003ca href=\"https://www.bluenote.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Blue Note Records\u003c/a>, and books rock, smooth jazz, funk, fusion and folk acts at its seven Blue Note venues and other clubs and theaters around the world, aided in part by \u003ca href=\"https://www.forbes.com/sites/rebeccalerner/2017/06/15/all-that-jazz-inside-over-35-years-at-the-blue-note-jazz-club/?sh=6ab8b31e2c30\" target=\"_blank\" rel=\"noopener noreferrer\">sponsorships with corporate giants Intel, Seagram\u003c/a> and \u003ca href=\"https://www.billboard.com/music/music-news/blue-note-entertainment-group-sony-hall-new-era-8224741/\" target=\"_blank\" rel=\"noopener noreferrer\">Sony\u003c/a>.\u003c/p>\n\u003cp>And look, I accept there’s no going back to the days of events like the \u003ca href=\"https://en.wikipedia.org/wiki/Harlem_Cultural_Festival\" target=\"_blank\" rel=\"noopener noreferrer\">Harlem Cultural Festival\u003c/a>, made famous by the Oscar-wining documentary \u003cem>\u003ca href=\"https://www.kqed.org/arts/13899714/summer-of-soul-celebrates-a-1969-black-cultural-festival-eclipsed-by-woodstock\" target=\"_blank\" rel=\"noopener noreferrer\">Summer of Soul\u003c/a>\u003c/em>, where daily admission was completely free. (Unless you’re talking about an anomaly like the Hardly Strictly Bluegrass festival, which is \u003ca href=\"https://bohemian.com/banjo-banker-1/\" target=\"_blank\" rel=\"noopener noreferrer\">paid for by a finance-sector billionaire’s estate\u003c/a>). The problems inherent with today’s festival prices are not unique to the Blue Note Jazz Festival. And I firmly believe that music is a source of joy like no other, and musicians who create that joy should be paid.\u003c/p>\n\u003cp>But with festival ticket prices already out of reach for so many, especially in the communities from which jazz and hip-hop grew, and with bot-enabled instant ticket scalping an epidemic not only \u003ca href=\"https://www.theatlantic.com/technology/archive/2019/11/discord-scalpers-harry-styles-ticket-resale-verified-fan/602647/\" target=\"_blank\" rel=\"noopener noreferrer\">rampant\u003c/a> but \u003ca href=\"https://www.aei.org/carpe-diem/ticket-scalping-a-market-that-only-exists-because-musicians-under-supply-and-under-price-tickets-to-their-concerts/\" target=\"_blank\" rel=\"noopener noreferrer\">encouraged\u003c/a> and \u003ca href=\"https://www.thestar.com/news/investigations/2018/09/19/we-went-undercover-as-ticket-scalpers-and-ticketmaster-offered-to-help-us-do-business.html\" target=\"_blank\" rel=\"noopener noreferrer\">systemically enabled\u003c/a> in 2022, I have to wonder: should joy really be for sale to the highest bidder?\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The \u003ca href=\"https://bluenotejazzfestival.com/napa/\" target=\"_blank\" rel=\"noopener noreferrer\">Blue Note Jazz Festival\u003c/a> runs July 30 and 31 at Charles Krug Winery in Napa. Tickets go on sale April 26; \u003ca href=\"https://bluenotejazzfestival.com/napa-tickets/\" target=\"_blank\" rel=\"noopener noreferrer\">details here\u003c/a>. \u003c/em>\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1043,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 18
},
"modified": 1705006946,
"excerpt": "The Blue Note Jazz Festival in Napa is stacked with greats, but continues a trend of soaring ticket prices.",
"headData": {
"twImgId": "",
"twTitle": "",
"socialTitle": "Is This $385 Jazz and Hip-Hop Festival in Napa Worth It? Yeah, Probably—But Reluctantly.%%page%% %%sep%% KQED",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The Blue Note Jazz Festival in Napa is stacked with greats, but continues a trend of soaring ticket prices.",
"title": "Is This $385 Jazz and Hip-Hop Festival in Napa Worth It? Yeah, Probably—But Reluctantly. | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Is The $385 Blue Note Festival in Napa Worth It? Yeah, Probably—But Reluctantly.",
"datePublished": "2022-04-22T09:00:16-07:00",
"dateModified": "2024-01-11T13:02:26-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "blue-note-festival-napa-tickets-jazz-hip-hop",
"status": "publish",
"sourceUrl": "https://www.kqed.org/artscommentary",
"templateType": "standard",
"excludeFromSiteSearch": "Include",
"featuredImageType": "standard",
"sticky": false,
"source": "Commentary",
"path": "/arts/13912307/blue-note-festival-napa-tickets-jazz-hip-hop",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The first-ever \u003ca href=\"https://bluenotejazzfestival.com/napa/\" target=\"_blank\" rel=\"noopener noreferrer\">Blue Note Jazz Festival in Napa\u003c/a> was announced Thursday, and two things happened: my eyes widened at the incredible lineup, and then my brain fell out at the ticket price.\u003c/p>\n\u003cp>The two-day festival on July 30 and 31 hosts so many all-stars that to list just half is like a first draft for a Jazz and Hip-Hop Hall of Fame. It’s got resident artist Robert Glasper, Maxwell, Erykah Badu, Yasiin Bey & Talib Kweli as Black Star, Thundercat, Anderson .Paak, Flying Lotus, the Wu-Tang Clan’s GZA, Christian Scott, Pharaohe Monch, Ledisi, Terrace Martin, BJ the Chicago Kid and plenty more, including \u003ca href=\"https://www.youtube.com/watch?v=cxLpHCDhsTQ\" target=\"_blank\" rel=\"noopener noreferrer\">DJ Jazzy Jeff\u003c/a>, all playing solo or in different configurations.\u003c/p>\n\u003cp>Did I mention Dave Chappelle is hosting?\u003c/p>\n\u003cp>Here’s the thing: Tickets for this festival are $385 each. In line with nationwide trends in festival ticket pricing, that’s \u003cem>three hundred and eighty-five dollars\u003c/em> for one two-day, general-admission ticket, and that’s before “convenience” fees, which have \u003ca href=\"https://www.vox.com/the-goods/2019/6/12/18662992/ticket-fees-ticketmaster-stubhub-ftc-regulation\" target=\"_blank\" rel=\"noopener noreferrer\">soared astronomically\u003c/a> in recent years.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13831858",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>For reference, the last time I bought tickets from Ticketmaster, to see Paul McCartney, my charges included a 23% service fee, a 5% facility charge, and a 3% order processing fee. Our $189.50 tickets suddenly became $250 tickets. (Because my daughter saves ticket stubs, I also willfully opted to pay an extra $10 to send them in the mail at a time when first-class postage costs 58¢).\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>If equal percentages get charged on top of this Napa festival’s face value of $385, you’re looking at possibly paying $504.35 per ticket to the Blue Note Jazz Festival at Charles Krug Winery, to sip Cabernet Sauvignon while watching Black Star do “\u003ca href=\"https://www.youtube.com/watch?v=EuJaStSL0xM\" target=\"_blank\" rel=\"noopener noreferrer\">Redefinition\u003c/a>” among the vineyards, in the upscale, chi-chi confines of Napa Valley.\u003c/p>\n\u003cp>Is this really what we are doing, people?\u003c/p>\n\u003cp>If the answer’s yes—if you’ve been in this festival-pricing dilemma before, either with Outside Lands (\u003ca href=\"https://sfoutsidelands.com/tickets\" target=\"_blank\" rel=\"noopener noreferrer\">more expensive\u003c/a> than the Blue Note festival) or Coachella (\u003ca href=\"https://www.coachella.com/passes\" target=\"_blank\" rel=\"noopener noreferrer\">much more expensive\u003c/a> than the Blue Note festival)—then you’re probably used to “festival math.” You’ve already added up the acts you want to see, calculated roughly how much it would cost to catch each playing separately, in a club, theater or arena, added up all \u003cem>those\u003c/em> costs, and realized: hey, even at $385, that’s a lot of bang for my buck to see so many of my favorites in one weekend.\u003c/p>\n\u003cp>Add the cruel reality that \u003ca href=\"https://www.digitalmusicnews.com/2018/09/27/spotify-declining-royalty-payouts/\" target=\"_blank\" rel=\"noopener noreferrer\">artists’ album royalties have evaporated\u003c/a> in order to \u003ca href=\"https://www.nme.com/news/music/artists-criticise-spotify-ceo-daniel-eks-investment-in-ai-defence-tech-3107864\" target=\"_blank\" rel=\"noopener noreferrer\">make Spotify CEO Daniel Ek a multibillionaire who invests in defense technology\u003c/a>, or the \u003ca href=\"https://theconversation.com/denying-black-musicians-their-royalties-has-a-history-emerging-out-of-slavery-144397\" target=\"_blank\" rel=\"noopener noreferrer\">historic exploitation of Black musicians in America\u003c/a> which substantial festival guarantees can help repair, or the possibility that you’ve just gotten a huge tax return (just kidding, you probably didn’t—thanks, Paul Ryan!), or just that you haven’t taken your loved one out on a nice weekend getaway for the past two years, you start to say to yourself, “You know what? Why not? Let’s do it up.”\u003c/p>\n\u003cfigure id=\"attachment_13903425\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13903425\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A5194.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5194.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5194-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5194-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Erykah Badu performs at Lights On Festival at Concord Pavilion on Saturday, Sept. 18, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Not everyone is in that position, though, and certainly not your average rap fan, and certainly not the surge of younger people getting into jazz \u003ca href=\"https://lnwy.co/read/new-golden-age-jazz/\" target=\"_blank\" rel=\"noopener noreferrer\">thanks to some of the very acts on this bill\u003c/a>. Unless they were born into privilege or have a trust fund, they definitely wouldn’t throw down for VIP tickets ($850), or VIP parking (an additional $150). Having lived in Sonoma County my whole life, and for decades \u003ca href=\"https://www.kqed.org/arts/11625922/bottlerock-finds-it-footing-on-louboutin-heels-in-wine-country\" target=\"_blank\" rel=\"noopener noreferrer\">covered the region’s wine country-branded lifestyle experiences thinly veiled as music festivals\u003c/a>, I can tell you that weekend hotel and Airbnb rates are excessively high for these weekends, and concessions at festivals up here ain’t exactly $6 ballgame hot dogs, either.\u003c/p>\n\u003cp>(It’s worthy to note that there \u003cem>is\u003c/em> a free shuttle to this festival, but from an as-yet-determined parking area with an as-yet-determined parking fee, while \u003ca href=\"https://www.valleymusictravel.com/events/coachella/shuttles/\" target=\"_blank\" rel=\"noopener noreferrer\">Coachella shuttles are $75–$84\u003c/a>. And technically, public transportation to the festival exists, sort of, in the form of the Napa Valley Wine Train, which changed ownership several years ago after \u003ca href=\"https://www.theguardian.com/us-news/2015/sep/13/napa-wine-train-laughing-while-black\" target=\"_blank\" rel=\"noopener noreferrer\">kicking 10 Black women off the train mid-excursion\u003c/a> for “laughing while Black.”)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_11625922",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>If I sound like a hater, let me remind you: I hereby place my hand on a stack of Blue Note LPs and vow under oath that this festival has an incredible, historic lineup. But I’ll also remind you that the \u003ca href=\"https://www.billboard.com/music/music-news/blue-note-entertainment-group-sony-hall-new-era-8224741/\" target=\"_blank\" rel=\"noopener noreferrer\">Blue Note Entertainment Group\u003c/a> is not associated at all with the famed jazz label \u003ca href=\"https://www.bluenote.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Blue Note Records\u003c/a>, and books rock, smooth jazz, funk, fusion and folk acts at its seven Blue Note venues and other clubs and theaters around the world, aided in part by \u003ca href=\"https://www.forbes.com/sites/rebeccalerner/2017/06/15/all-that-jazz-inside-over-35-years-at-the-blue-note-jazz-club/?sh=6ab8b31e2c30\" target=\"_blank\" rel=\"noopener noreferrer\">sponsorships with corporate giants Intel, Seagram\u003c/a> and \u003ca href=\"https://www.billboard.com/music/music-news/blue-note-entertainment-group-sony-hall-new-era-8224741/\" target=\"_blank\" rel=\"noopener noreferrer\">Sony\u003c/a>.\u003c/p>\n\u003cp>And look, I accept there’s no going back to the days of events like the \u003ca href=\"https://en.wikipedia.org/wiki/Harlem_Cultural_Festival\" target=\"_blank\" rel=\"noopener noreferrer\">Harlem Cultural Festival\u003c/a>, made famous by the Oscar-wining documentary \u003cem>\u003ca href=\"https://www.kqed.org/arts/13899714/summer-of-soul-celebrates-a-1969-black-cultural-festival-eclipsed-by-woodstock\" target=\"_blank\" rel=\"noopener noreferrer\">Summer of Soul\u003c/a>\u003c/em>, where daily admission was completely free. (Unless you’re talking about an anomaly like the Hardly Strictly Bluegrass festival, which is \u003ca href=\"https://bohemian.com/banjo-banker-1/\" target=\"_blank\" rel=\"noopener noreferrer\">paid for by a finance-sector billionaire’s estate\u003c/a>). The problems inherent with today’s festival prices are not unique to the Blue Note Jazz Festival. And I firmly believe that music is a source of joy like no other, and musicians who create that joy should be paid.\u003c/p>\n\u003cp>But with festival ticket prices already out of reach for so many, especially in the communities from which jazz and hip-hop grew, and with bot-enabled instant ticket scalping an epidemic not only \u003ca href=\"https://www.theatlantic.com/technology/archive/2019/11/discord-scalpers-harry-styles-ticket-resale-verified-fan/602647/\" target=\"_blank\" rel=\"noopener noreferrer\">rampant\u003c/a> but \u003ca href=\"https://www.aei.org/carpe-diem/ticket-scalping-a-market-that-only-exists-because-musicians-under-supply-and-under-price-tickets-to-their-concerts/\" target=\"_blank\" rel=\"noopener noreferrer\">encouraged\u003c/a> and \u003ca href=\"https://www.thestar.com/news/investigations/2018/09/19/we-went-undercover-as-ticket-scalpers-and-ticketmaster-offered-to-help-us-do-business.html\" target=\"_blank\" rel=\"noopener noreferrer\">systemically enabled\u003c/a> in 2022, I have to wonder: should joy really be for sale to the highest bidder?\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The \u003ca href=\"https://bluenotejazzfestival.com/napa/\" target=\"_blank\" rel=\"noopener noreferrer\">Blue Note Jazz Festival\u003c/a> runs July 30 and 31 at Charles Krug Winery in Napa. Tickets go on sale April 26; \u003ca href=\"https://bluenotejazzfestival.com/napa-tickets/\" target=\"_blank\" rel=\"noopener noreferrer\">details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13912307/blue-note-festival-napa-tickets-jazz-hip-hop",
"authors": [
"185"
],
"categories": [
"arts_1",
"arts_2303",
"arts_69"
],
"tags": [
"arts_4822",
"arts_2767",
"arts_10342",
"arts_1501",
"arts_1420",
"arts_17317",
"arts_1694",
"arts_6387"
],
"featImg": "arts_13912310",
"label": "source_arts_13912307"
},
"arts_13911905": {
"type": "posts",
"id": "arts_13911905",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13911905",
"score": null,
"sort": [
1650319219000
]
},
"guestAuthors": [],
"slug": "mills-college-music-department-experimental-avant-garde-northeastern",
"title": "With the Future Uncertain, Mills' Experimental 'Music in the Fault Zone' is Feted in Four-Day Fest",
"publishDate": 1650319219,
"format": "standard",
"headTitle": "With the Future Uncertain, Mills’ Experimental ‘Music in the Fault Zone’ is Feted in Four-Day Fest | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>The festival’s name wasn’t intended to evoke the increasingly precarious status of the Bay Area’s most celebrated outpost for new music. But it’s hard not to read a double meaning into \u003cem>\u003ca href=\"https://performingarts.mills.edu/programs/mills-music-now/fault-zone/index.php\">Music in the Fault Zone\u003c/a>: Experimental Music at Mills College (1939 to the present)\u003c/em>.\u003c/p>\n\u003cp>A program of eight concerts that runs over four days, April 21-24, \u003cem>Music in the Fault Zone\u003c/em> brings together a broad swath of the world’s most venturesome musicians, many of whom studied at Mills. Together, they’ll perform works by epochal Mills-associated composers, including Pauline Oliveros, Darius Milhaud, John Cage, Lou Harrison, Roscoe Mitchell, Robert Ashley, Anthony Braxton, Terry Riley and Henry Cowell.\u003c/p>\n\u003cp>Presented by the Mills College Music Department and the \u003ca href=\"https://www.mills.edu/academics/graduate-programs/music/center-contemporary-music/index.php\">Center for Contemporary Music\u003c/a>, the festival showcases a priceless legacy—and one that’s at risk, as seismic forces threaten to swallow a music program that’s long served as a proving ground for the future of music the world over.\u003c/p>\n\u003cfigure id=\"attachment_13912032\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912032\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/MortonSubtonick-800x547.jpg\" alt=\"An elderly man at a string of laptops on stage.\" width=\"800\" height=\"547\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/MortonSubtonick-800x547.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/MortonSubtonick-1020x697.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/MortonSubtonick-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/MortonSubtonick-768x525.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/MortonSubtonick.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Morton Subotnick, perhaps best known for his late-1960s album ‘Silver Apples of the Moon,’ co-founded the San Francisco Tape Music Center at Mills College in 1961. He is shown here in New York City in 2004. \u003ccite>(Jack Vartoogian/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Acquired last year by \u003ca href=\"https://www.kqed.org/news/11888178/mills-college-to-merge-with-northeastern-university-after-months-long-court-battle\">Northeastern University\u003c/a>, Mills is “merging” with the non-profit Boston school in a deal that’s slated for completion on July 1. Efforts by Mills alumni to halt the process haven’t gained legal traction, and much of their campaign has focused on the loss of yet another all-women undergraduate institution. (The loss of Mills leaves just under three dozen of them across the United States.)\u003c/p>\n\u003cp>While the graduate music program has always accepted men, women figured prominently in the Center for Contemporary Music long before they were welcomed at other music schools.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postID='arts_12248119']“When I first moved to the Bay Area from Fresno in 1967, I spent a lot of time there because that’s where the action was,” says composer Charles Amirkhanian, who has collaborated with, commissioned and presented dozens of musicians associated with Mills as music director at KPFA from 1969-1992 and as founder of the new music organization and festival \u003ca href=\"https://www.otherminds.org/team/charles-amirkhanian/\">Other Minds\u003c/a>.\u003c/p>\n\u003cp>Pauline Oliveros, who co-founded the San Francisco Tape Music Center in 1961 with composers Ramon Sender and Morton Subotnick, became director of the pioneering electronic music laboratory (later re-named the Center for Contemporary Music) when it moved to Mills in the fall of 1966, “which inspired a bunch of woman,” Amirkhanian says.\u003c/p>\n\u003cp>“It was a way station for people like Laurie Anderson. I remember seeing a concert she gave in the Mills cafeteria for about 10 people. We were so stunned by what she did. She couldn’t get a gig anywhere else, but Mills welcomed her. It’s sad to think such a big piece of music history is evaporating.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Gcl6dS4_HnU\u003c/p>\n\u003cp>Northeastern has revealed few details about what the campus will look like after the merger establishes what’s to be known as Mills College at Northeastern University and the overlapping Mills Institute, which is slated to focus on “advancing women’s leadership and to empowering BIPOC and first-generation students,” according to Northeastern.\u003c/p>\n\u003cp>“Mills and Northeastern are working closely together to create new programs that leverage each institution’s unique strengths,” a representative from Northeastern told KQED, when asked about plans regarding the Center for Contemporary Music and its extensive, historically important archive, which contains scores of recordings and cutting-edge instruments dating back 60 years. “Mills’ world-renowned music program remains a high priority for both institutions, and so is the preservation of the program’s historical archives. ”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=oUfd6KI90gQ\u003c/p>\n\u003cp>Featuring two concerts per day with intimate afternoon sessions in Lisser Hall, followed by evening performances in the gorgeous Littlefield Concert Hall, \u003cem>Music in the Fault Zone \u003c/em>conveys a proper sense of what’s at stake. The festival kicks off Thursday, April 21, with a celebration of the late Oliveros, titled “Pauline Dreams,” by her partner, the playwright, poet and sound artist Ione, joined by Anne Hege, Brenda Hutchinson and Jennifer Wilsey.\u003c/p>\n\u003cfigure id=\"attachment_13912040\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912040\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/Oliveros_tape.Ione_-800x345.jpg\" alt=\"A young woman with glasses sits at a tape machine; An African-American woman in her 60s or 70s smiles at the camera, wearing a black and blue patterned shirt.\" width=\"800\" height=\"345\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Oliveros_tape.Ione_-800x345.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Oliveros_tape.Ione_-1020x440.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Oliveros_tape.Ione_-160x69.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Oliveros_tape.Ione_-768x331.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Oliveros_tape.Ione_.jpg 1240w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pauline Oliveros (left) was a professor at Mills College and director of what came to be called its Center for Contemporary Music; Oliveros’ partner Ione (right) will perform a tribute to Oliveros with Anne Hege, Brenda Hutchinson and Jennifer Wilsey on April 21 as part of ‘Music in the Fault Zone.’ \u003ccite>(Oliveros Courtesy the CCM Archive, Mills College; Ione courtesy the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The opening-night program also includes the ambient Americana of Saariselka, a project by Mills graduates Marielle Jakobson and Chuck Johnson; Gamelan Encinal performing works by John Cage, Lou Harrison and Daniel Schmidt; and a closing set by feminist noise reggaeton duo Las Sucias featuring Mills alumni Danishta Rivero and Alexandra Buschman. Like all \u003cem>Fault Zone \u003c/em>concerts, it will be available for viewing via livestream.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=RDlTgY5n5_c\u003c/p>\n\u003cp>Thursday’s evening concert includes Opera Parallèle’s Nicole Paiement conducting “La création du monde” and “L’homme et son désir” by French composer Darius Milhaud, who taught at Mills from 1940-71 after fleeing the Nazis (among his many students was the future jazz star Dave Brubeck).\u003c/p>\n\u003cp>The other half of Thursday’s program features works by Art Ensemble of Chicago co-founder Roscoe Mitchell, whose influence still reverberates widely in the Bay Area after his 12-year stint as a Mills professor holding the Darius Milhaud Chair of Composition. Pianist Sarah Cahill and violinist Kate Stenberg perform the world premiere of Mitchell’s “Cards in 3D Colors,” and Steed Cowart conducts “Distant Radio Transmission” for improvisers and orchestra along with “Sustain and Run” for orchestra and solo improvisers (including Mitchell himself).\u003c/p>\n\u003cfigure id=\"attachment_13885086\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13885086\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/Roscoe-Mitchell-by-Ken-Weiss-800x535.jpg\" alt=\"\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Roscoe-Mitchell-by-Ken-Weiss-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Roscoe-Mitchell-by-Ken-Weiss-1020x683.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Roscoe-Mitchell-by-Ken-Weiss-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Roscoe-Mitchell-by-Ken-Weiss-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Roscoe-Mitchell-by-Ken-Weiss-1536x1028.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Roscoe-Mitchell-by-Ken-Weiss.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Longtime Mills College professor Roscoe Mitchell. \u003ccite>(Ken Weiss)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The sheer density of musicians and composers brought together on the festival’s stage echoes the creative frisson sparked at Mills over the decades, as adventurous musicians regularly flew into each other’s orbit. For percussionist William Winant, going to work in the Mills music building was a daily sojourn into the unknown. For some four decades, the his studio door stayed open to sonic adventures with protean artists who’d then go on to compose music for him.\u003c/p>\n\u003cp>On Friday night at \u003cem>Fault Zone\u003c/em>, as part of an improvisational trio with James Fei and David Rosenboom, Winant performs the music of the legendary composer/multi-instrumentalist Anthony Braxton, who taught at Mills from 1985 to 1990. Saturday evening’s concert concludes with a duo improvisation featuring Winant and French bass virtuoso Joëlle Léandre, who served as Milhaud Professor for several years in the aughts.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=vcBhXjCb8R8\u003c/p>\n\u003cp>“That was one of the incredible things, I never knew who would be across the hall,” Winant said. “Roscoe, Braxton, Lou Harrison, Joëlle Léandre.\u003c/p>\n\u003cp>“She would hear me practicing for hour after hour, and she would be doing her thing. We got to be good friends. When she was invited to come play the festival she asked to do a duo with me, and I was very touched. She’s one of the great artists of all time, one of the best bassists I’ve ever heard.”\u003c/p>\n\u003cp>Winant performs in two different settings Saturday. The concert opens with a work by David Behrman performed by a trio with Winant, computer music pioneer John Bischoff, and harpist Zeena Parkins, the current Darius Milhaud Chair in Composition. The final concert concludes with a performance by the William Winant Percussion Ensemble playing music by John Cage, Lou Harrison, and Steed Cowart.\u003c/p>\n\u003cp>The future of music at Mills is uncertain at best. Winant worries that \u003cem>Fault Lines\u003c/em> will bring down the boom upon an astonishing legacy.\u003c/p>\n\u003cfigure id=\"attachment_13912022\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/William-Winant.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912022\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/William-Winant-800x533.jpeg\" alt=\"A white man plays a variety of drums as a seated audience looks on.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/William-Winant-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/William-Winant-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/William-Winant-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/William-Winant.jpeg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">William Winant performs as part of ‘Music in the Fault Zone’ at Mills on April 24. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I have a feeling it’s the end of an era,” he said. “It would be good if Northeastern keeps the program going, but I’m not sure if they’re aware of the incredible history over the last 100 years, in terms of supporting innovative and creative music. For a small little college, it’s incredible. And it continues in the 21st century. Mills is still producing amazing students all the time.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cem>‘Music In the Fault Zone’ runs April 21–24 at Mills College in Oakland. \u003ca href=\"https://performingarts.mills.edu/programs/mills-music-now/fault-zone/index.php\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Correction\u003c/strong>: A previous version of this article classified Northeastern University as a for-profit college. It is a 501(c)(3), a non-profit university, and not a for-profit college. KQED regrets the error. \u003c/em>\u003c/p>\n\u003cp>\u003cem>Watch a KQED ‘Spark’ episode about Pauline Oliveros from 2004 below:\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=eQ2W42bOQxY\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp> \u003c/p>\n\n",
"blocks": [],
"excerpt": "Mills College celebrates—and perhaps eulogizes—its influential avant-garde musical legacy at an April 21–24 festival.",
"status": "publish",
"parent": 0,
"modified": 1726700658,
"stats": {
"hasAudio": false,
"hasVideo": true,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 26,
"wordCount": 1562
},
"headData": {
"title": "With the Future Uncertain, Mills' Experimental 'Music in the Fault Zone' is Feted in Four-Day Fest | KQED",
"description": "Mills College celebrates—and perhaps eulogizes—its influential avant-garde musical legacy at an April 21–24 festival.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "With the Future Uncertain, Mills' Experimental 'Music in the Fault Zone' is Feted in Four-Day Fest",
"datePublished": "2022-04-18T15:00:19-07:00",
"dateModified": "2024-09-18T16:04:18-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"path": "/arts/13911905/mills-college-music-department-experimental-avant-garde-northeastern",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The festival’s name wasn’t intended to evoke the increasingly precarious status of the Bay Area’s most celebrated outpost for new music. But it’s hard not to read a double meaning into \u003cem>\u003ca href=\"https://performingarts.mills.edu/programs/mills-music-now/fault-zone/index.php\">Music in the Fault Zone\u003c/a>: Experimental Music at Mills College (1939 to the present)\u003c/em>.\u003c/p>\n\u003cp>A program of eight concerts that runs over four days, April 21-24, \u003cem>Music in the Fault Zone\u003c/em> brings together a broad swath of the world’s most venturesome musicians, many of whom studied at Mills. Together, they’ll perform works by epochal Mills-associated composers, including Pauline Oliveros, Darius Milhaud, John Cage, Lou Harrison, Roscoe Mitchell, Robert Ashley, Anthony Braxton, Terry Riley and Henry Cowell.\u003c/p>\n\u003cp>Presented by the Mills College Music Department and the \u003ca href=\"https://www.mills.edu/academics/graduate-programs/music/center-contemporary-music/index.php\">Center for Contemporary Music\u003c/a>, the festival showcases a priceless legacy—and one that’s at risk, as seismic forces threaten to swallow a music program that’s long served as a proving ground for the future of music the world over.\u003c/p>\n\u003cfigure id=\"attachment_13912032\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912032\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/MortonSubtonick-800x547.jpg\" alt=\"An elderly man at a string of laptops on stage.\" width=\"800\" height=\"547\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/MortonSubtonick-800x547.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/MortonSubtonick-1020x697.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/MortonSubtonick-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/MortonSubtonick-768x525.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/MortonSubtonick.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Morton Subotnick, perhaps best known for his late-1960s album ‘Silver Apples of the Moon,’ co-founded the San Francisco Tape Music Center at Mills College in 1961. He is shown here in New York City in 2004. \u003ccite>(Jack Vartoogian/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Acquired last year by \u003ca href=\"https://www.kqed.org/news/11888178/mills-college-to-merge-with-northeastern-university-after-months-long-court-battle\">Northeastern University\u003c/a>, Mills is “merging” with the non-profit Boston school in a deal that’s slated for completion on July 1. Efforts by Mills alumni to halt the process haven’t gained legal traction, and much of their campaign has focused on the loss of yet another all-women undergraduate institution. (The loss of Mills leaves just under three dozen of them across the United States.)\u003c/p>\n\u003cp>While the graduate music program has always accepted men, women figured prominently in the Center for Contemporary Music long before they were welcomed at other music schools.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_12248119",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>“When I first moved to the Bay Area from Fresno in 1967, I spent a lot of time there because that’s where the action was,” says composer Charles Amirkhanian, who has collaborated with, commissioned and presented dozens of musicians associated with Mills as music director at KPFA from 1969-1992 and as founder of the new music organization and festival \u003ca href=\"https://www.otherminds.org/team/charles-amirkhanian/\">Other Minds\u003c/a>.\u003c/p>\n\u003cp>Pauline Oliveros, who co-founded the San Francisco Tape Music Center in 1961 with composers Ramon Sender and Morton Subotnick, became director of the pioneering electronic music laboratory (later re-named the Center for Contemporary Music) when it moved to Mills in the fall of 1966, “which inspired a bunch of woman,” Amirkhanian says.\u003c/p>\n\u003cp>“It was a way station for people like Laurie Anderson. I remember seeing a concert she gave in the Mills cafeteria for about 10 people. We were so stunned by what she did. She couldn’t get a gig anywhere else, but Mills welcomed her. It’s sad to think such a big piece of music history is evaporating.”\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/Gcl6dS4_HnU'\n title='//www.youtube.com/embed/Gcl6dS4_HnU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Northeastern has revealed few details about what the campus will look like after the merger establishes what’s to be known as Mills College at Northeastern University and the overlapping Mills Institute, which is slated to focus on “advancing women’s leadership and to empowering BIPOC and first-generation students,” according to Northeastern.\u003c/p>\n\u003cp>“Mills and Northeastern are working closely together to create new programs that leverage each institution’s unique strengths,” a representative from Northeastern told KQED, when asked about plans regarding the Center for Contemporary Music and its extensive, historically important archive, which contains scores of recordings and cutting-edge instruments dating back 60 years. “Mills’ world-renowned music program remains a high priority for both institutions, and so is the preservation of the program’s historical archives. ”\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/oUfd6KI90gQ'\n title='//www.youtube.com/embed/oUfd6KI90gQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Featuring two concerts per day with intimate afternoon sessions in Lisser Hall, followed by evening performances in the gorgeous Littlefield Concert Hall, \u003cem>Music in the Fault Zone \u003c/em>conveys a proper sense of what’s at stake. The festival kicks off Thursday, April 21, with a celebration of the late Oliveros, titled “Pauline Dreams,” by her partner, the playwright, poet and sound artist Ione, joined by Anne Hege, Brenda Hutchinson and Jennifer Wilsey.\u003c/p>\n\u003cfigure id=\"attachment_13912040\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912040\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/Oliveros_tape.Ione_-800x345.jpg\" alt=\"A young woman with glasses sits at a tape machine; An African-American woman in her 60s or 70s smiles at the camera, wearing a black and blue patterned shirt.\" width=\"800\" height=\"345\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Oliveros_tape.Ione_-800x345.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Oliveros_tape.Ione_-1020x440.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Oliveros_tape.Ione_-160x69.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Oliveros_tape.Ione_-768x331.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Oliveros_tape.Ione_.jpg 1240w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pauline Oliveros (left) was a professor at Mills College and director of what came to be called its Center for Contemporary Music; Oliveros’ partner Ione (right) will perform a tribute to Oliveros with Anne Hege, Brenda Hutchinson and Jennifer Wilsey on April 21 as part of ‘Music in the Fault Zone.’ \u003ccite>(Oliveros Courtesy the CCM Archive, Mills College; Ione courtesy the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The opening-night program also includes the ambient Americana of Saariselka, a project by Mills graduates Marielle Jakobson and Chuck Johnson; Gamelan Encinal performing works by John Cage, Lou Harrison and Daniel Schmidt; and a closing set by feminist noise reggaeton duo Las Sucias featuring Mills alumni Danishta Rivero and Alexandra Buschman. Like all \u003cem>Fault Zone \u003c/em>concerts, it will be available for viewing via livestream.\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/RDlTgY5n5_c'\n title='//www.youtube.com/embed/RDlTgY5n5_c'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Thursday’s evening concert includes Opera Parallèle’s Nicole Paiement conducting “La création du monde” and “L’homme et son désir” by French composer Darius Milhaud, who taught at Mills from 1940-71 after fleeing the Nazis (among his many students was the future jazz star Dave Brubeck).\u003c/p>\n\u003cp>The other half of Thursday’s program features works by Art Ensemble of Chicago co-founder Roscoe Mitchell, whose influence still reverberates widely in the Bay Area after his 12-year stint as a Mills professor holding the Darius Milhaud Chair of Composition. Pianist Sarah Cahill and violinist Kate Stenberg perform the world premiere of Mitchell’s “Cards in 3D Colors,” and Steed Cowart conducts “Distant Radio Transmission” for improvisers and orchestra along with “Sustain and Run” for orchestra and solo improvisers (including Mitchell himself).\u003c/p>\n\u003cfigure id=\"attachment_13885086\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13885086\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/Roscoe-Mitchell-by-Ken-Weiss-800x535.jpg\" alt=\"\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Roscoe-Mitchell-by-Ken-Weiss-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Roscoe-Mitchell-by-Ken-Weiss-1020x683.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Roscoe-Mitchell-by-Ken-Weiss-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Roscoe-Mitchell-by-Ken-Weiss-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Roscoe-Mitchell-by-Ken-Weiss-1536x1028.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Roscoe-Mitchell-by-Ken-Weiss.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Longtime Mills College professor Roscoe Mitchell. \u003ccite>(Ken Weiss)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The sheer density of musicians and composers brought together on the festival’s stage echoes the creative frisson sparked at Mills over the decades, as adventurous musicians regularly flew into each other’s orbit. For percussionist William Winant, going to work in the Mills music building was a daily sojourn into the unknown. For some four decades, the his studio door stayed open to sonic adventures with protean artists who’d then go on to compose music for him.\u003c/p>\n\u003cp>On Friday night at \u003cem>Fault Zone\u003c/em>, as part of an improvisational trio with James Fei and David Rosenboom, Winant performs the music of the legendary composer/multi-instrumentalist Anthony Braxton, who taught at Mills from 1985 to 1990. Saturday evening’s concert concludes with a duo improvisation featuring Winant and French bass virtuoso Joëlle Léandre, who served as Milhaud Professor for several years in the aughts.\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/vcBhXjCb8R8'\n title='//www.youtube.com/embed/vcBhXjCb8R8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“That was one of the incredible things, I never knew who would be across the hall,” Winant said. “Roscoe, Braxton, Lou Harrison, Joëlle Léandre.\u003c/p>\n\u003cp>“She would hear me practicing for hour after hour, and she would be doing her thing. We got to be good friends. When she was invited to come play the festival she asked to do a duo with me, and I was very touched. She’s one of the great artists of all time, one of the best bassists I’ve ever heard.”\u003c/p>\n\u003cp>Winant performs in two different settings Saturday. The concert opens with a work by David Behrman performed by a trio with Winant, computer music pioneer John Bischoff, and harpist Zeena Parkins, the current Darius Milhaud Chair in Composition. The final concert concludes with a performance by the William Winant Percussion Ensemble playing music by John Cage, Lou Harrison, and Steed Cowart.\u003c/p>\n\u003cp>The future of music at Mills is uncertain at best. Winant worries that \u003cem>Fault Lines\u003c/em> will bring down the boom upon an astonishing legacy.\u003c/p>\n\u003cfigure id=\"attachment_13912022\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/William-Winant.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912022\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/William-Winant-800x533.jpeg\" alt=\"A white man plays a variety of drums as a seated audience looks on.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/William-Winant-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/William-Winant-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/William-Winant-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/William-Winant.jpeg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">William Winant performs as part of ‘Music in the Fault Zone’ at Mills on April 24. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I have a feeling it’s the end of an era,” he said. “It would be good if Northeastern keeps the program going, but I’m not sure if they’re aware of the incredible history over the last 100 years, in terms of supporting innovative and creative music. For a small little college, it’s incredible. And it continues in the 21st century. Mills is still producing amazing students all the time.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cem>‘Music In the Fault Zone’ runs April 21–24 at Mills College in Oakland. \u003ca href=\"https://performingarts.mills.edu/programs/mills-music-now/fault-zone/index.php\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Correction\u003c/strong>: A previous version of this article classified Northeastern University as a for-profit college. It is a 501(c)(3), a non-profit university, and not a for-profit college. KQED regrets the error. \u003c/em>\u003c/p>\n\u003cp>\u003cem>Watch a KQED ‘Spark’ episode about Pauline Oliveros from 2004 below:\u003c/em>\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/eQ2W42bOQxY'\n title='//www.youtube.com/embed/eQ2W42bOQxY'\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": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13911905/mills-college-music-department-experimental-avant-garde-northeastern",
"authors": [
"86"
],
"categories": [
"arts_1",
"arts_69"
],
"tags": [
"arts_15393",
"arts_10342",
"arts_1501",
"arts_3607",
"arts_10278",
"arts_6583",
"arts_1420",
"arts_2299",
"arts_585"
],
"featImg": "arts_13912037",
"label": "arts"
},
"arts_13909188": {
"type": "posts",
"id": "arts_13909188",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13909188",
"score": null,
"sort": [
1644537464000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 140
},
"blocks": [],
"publishDate": 1644537464,
"format": "standard",
"title": "It's a New Era for Audium, San Francisco's 'Theater of Sound'",
"headTitle": "It’s a New Era for Audium, San Francisco’s ‘Theater of Sound’ | KQED",
"content": "\u003cp>It’s a Wednesday night in San Francisco, and I’m sitting in pitch-black darkness. In one minute, I’m sailing on the sea, and the next minute I’m in an airplane with loose, squeaky wings. Eventually I’m floating through a glass factory. Then the lights come up, and I’m back in a futuristic-looking room on Bush Street, snapped out of my reverie. \u003c/p>\n\u003cp>Since its opening here in 1975, this room, \u003ca href=\"https://www.audium.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Audium\u003c/a>, has been one of San Francisco’s most adventurous first dates. Billing itself as a “theater of sound,” Audium hosts attendees in a circle and pipes experimental music, noises, and soundscapes out of the walls, floor and ceiling in total darkness. Call it surround-sound gone berserk.\u003c/p>\n\u003cp>Or, in the words of Audium’s director David Shaff: “There’s 176 speakers, we turn the lights out, you listen for an hour, and hopefully it takes you somewhere.”\u003c/p>\n\u003cfigure id=\"attachment_13909229\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/Audium.Room_-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13909229\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.Room_-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.Room_-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.Room_-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.Room_-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.Room_-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.Room_.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The listening room at Audium, seen from the control booth, is outfitted with 176 speakers. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For over 50 years (the venue’s first location opened in 1967), the sound composition at Audium was programmed solely by co-founder Stan Shaff. In 2018, his son David began sharing the control booth. Now, Audium’s first-ever residency program is providing the Bay Area’s deep listeners with new work by three young Bay Area artists: Victoria Shen, Alexa Burrell, and Noah Berrie.\u003c/p>\n\u003cp>And if the final rehearsal for \u003cem>\u003ca href=\"https://www.audium.org/new-voices/\" rel=\"noopener noreferrer\" target=\"_blank\">New Voices\u003c/a>\u003c/em> is any indication, they’ve brought a fresh approach and truly imagined Audium as, in the words of Shaff, a “composable being” unto itself.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Shen’s \u003cem>Terpsichore\u003c/em> is an homage to Audium, mixing her own analog background as a builder of modular synthesizers and \u003ca href=\"https://twitter.com/evicshen/status/1403368102742532096\" rel=\"noopener noreferrer\" target=\"_blank\">turntable manipulator\u003c/a> with the space’s new digital setup. \u003cem>A(void Fire)\u003c/em> by Alexa Burrell is an “Afro-surrealist techno-horror fairytale” influenced by surviving the 2016 Ghost Ship warehouse fire, and the 2017 wildfires that burned down her mother’s house. Noah Berrie’s \u003cem>Organ Music\u003c/em> draws on voice, skin textures and other “bodily things,” with a custom-built instrument to augment the soundscape.\u003c/p>\n\u003cp>None of the three had visited Audium before applying to the residency, but all show a deep respect for the venue. Burrell calls it a “deeply emotional and spiritual” experience to sit in darkness and “sink into listening and hearing.” \u003c/p>\n\u003cfigure id=\"attachment_13909227\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/Audium.DavidSheff-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13909227\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.DavidSheff-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.DavidSheff-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.DavidSheff-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.DavidSheff-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.DavidSheff-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.DavidSheff.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">David Shaff sits at Audium’s master control. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Shaff tells me that he was intentionally looking for artists who work outside of his father’s magnetic-tape, musique-concrète style; “people who can have a conversation with this place, and figure out what works and what doesn’t,’ he says. “That was the conversation that Dad was having for 50 years, but it was just one conversation.”\u003c/p>\n\u003cp>The elder Shaff, now 92 and still involved in a consulting capacity, made Audium a destination. Musicians like Pierre Henry and members of the Grateful Dead and the Sun Ra Arkestra would come to marinate within its walls. Engineers from Dolby, Disney and Meyer Sound also visited, drawing on its pioneering approach to inform their own digital sound advances.\u003c/p>\n\u003cp>During the pandemic, Audium itself used the downtime to switch over to digital. The sound is crisp and clean now out of each speaker, Shaff says, instead of being “smudged” into certain areas of the room.\u003c/p>\n\u003cp>And while there may be longtime Audium fans dismayed that the old Ampex reel-to-reel tape console now sits unused, and the old analog board with its knobs and switches is dismantled and perched on its side, the digital shift befits Audium’s spirit of exploration and newness. (It doesn’t seem to have changed Audium’s core mission, either. On a butcher-paper brainstorm for Audium’s future hanging on the office wall, under a section titled “Values,” I notice that someone’s written, “Money: OK, if there is intent. Art + Listening = #1.”) \u003c/p>\n\u003cfigure id=\"attachment_13909294\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/Audium.Tape_.2-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13909294\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.Tape_.2-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.Tape_.2-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.Tape_.2-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.Tape_.2-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.Tape_.2-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.Tape_.2.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The old Ampex tape console at Audium. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Shaff plans to make residencies with Bay Area artists an annual tradition—along with inviting others in for a month at a time, like Amy X Neuburg’s takeover of the space this coming July. But he’s keeping one foot firmly planted in its history, and the irreplaceable legacy of the family business.\u003c/p>\n\u003cp>Before the crew takes a pizza-and-beer break out on the sidewalk beneath Audium’s distinctive \u003ca href=\"https://www.pinterest.ch/pin/53198839328553529/\" rel=\"noopener noreferrer\" target=\"_blank\">wooden facade\u003c/a>, Shen says it best: “It’s one of the last cool, weird, old-school things in San Francisco.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘New Voices’ opens Thursday, Feb. 10 and runs through April 2 at Audium (1616 Bush St., San Francisco). \u003ca href=\"https://www.audium.org/new-voices/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 838,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 17
},
"modified": 1705007208,
"excerpt": "Audium's first-ever residency program brings new sound artists to the 55-year-old institution. ",
"headData": {
"twImgId": "",
"twTitle": "It's a New Era for Audium, San Francisco's 'Theater of Sound'",
"socialTitle": "Audium’s New Residency Program in San Francisco %%page%% %%sep%% KQED",
"ogTitle": "It's a New Era for Audium, San Francisco's 'Theater of Sound'",
"ogImgId": "",
"twDescription": "Audium's first-ever residency program brings new composers into the 55-year-old institution.",
"description": "Audium's first-ever residency program brings new sound artists to the 55-year-old institution. ",
"title": "Audium’s New Residency Program in San Francisco | KQED",
"ogDescription": "Audium's first-ever residency program brings new composers into the 55-year-old institution.",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "It's a New Era for Audium, San Francisco's 'Theater of Sound'",
"datePublished": "2022-02-10T15:57:44-08:00",
"dateModified": "2024-01-11T13:06:48-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "audium-residency-san-francisco-sound",
"status": "publish",
"templateType": "standard",
"excludeFromSiteSearch": "Include",
"featuredImageType": "standard",
"sticky": false,
"path": "/arts/13909188/audium-residency-san-francisco-sound",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s a Wednesday night in San Francisco, and I’m sitting in pitch-black darkness. In one minute, I’m sailing on the sea, and the next minute I’m in an airplane with loose, squeaky wings. Eventually I’m floating through a glass factory. Then the lights come up, and I’m back in a futuristic-looking room on Bush Street, snapped out of my reverie. \u003c/p>\n\u003cp>Since its opening here in 1975, this room, \u003ca href=\"https://www.audium.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Audium\u003c/a>, has been one of San Francisco’s most adventurous first dates. Billing itself as a “theater of sound,” Audium hosts attendees in a circle and pipes experimental music, noises, and soundscapes out of the walls, floor and ceiling in total darkness. Call it surround-sound gone berserk.\u003c/p>\n\u003cp>Or, in the words of Audium’s director David Shaff: “There’s 176 speakers, we turn the lights out, you listen for an hour, and hopefully it takes you somewhere.”\u003c/p>\n\u003cfigure id=\"attachment_13909229\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/Audium.Room_-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13909229\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.Room_-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.Room_-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.Room_-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.Room_-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.Room_-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.Room_.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The listening room at Audium, seen from the control booth, is outfitted with 176 speakers. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For over 50 years (the venue’s first location opened in 1967), the sound composition at Audium was programmed solely by co-founder Stan Shaff. In 2018, his son David began sharing the control booth. Now, Audium’s first-ever residency program is providing the Bay Area’s deep listeners with new work by three young Bay Area artists: Victoria Shen, Alexa Burrell, and Noah Berrie.\u003c/p>\n\u003cp>And if the final rehearsal for \u003cem>\u003ca href=\"https://www.audium.org/new-voices/\" rel=\"noopener noreferrer\" target=\"_blank\">New Voices\u003c/a>\u003c/em> is any indication, they’ve brought a fresh approach and truly imagined Audium as, in the words of Shaff, a “composable being” unto itself.\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>Shen’s \u003cem>Terpsichore\u003c/em> is an homage to Audium, mixing her own analog background as a builder of modular synthesizers and \u003ca href=\"https://twitter.com/evicshen/status/1403368102742532096\" rel=\"noopener noreferrer\" target=\"_blank\">turntable manipulator\u003c/a> with the space’s new digital setup. \u003cem>A(void Fire)\u003c/em> by Alexa Burrell is an “Afro-surrealist techno-horror fairytale” influenced by surviving the 2016 Ghost Ship warehouse fire, and the 2017 wildfires that burned down her mother’s house. Noah Berrie’s \u003cem>Organ Music\u003c/em> draws on voice, skin textures and other “bodily things,” with a custom-built instrument to augment the soundscape.\u003c/p>\n\u003cp>None of the three had visited Audium before applying to the residency, but all show a deep respect for the venue. Burrell calls it a “deeply emotional and spiritual” experience to sit in darkness and “sink into listening and hearing.” \u003c/p>\n\u003cfigure id=\"attachment_13909227\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/Audium.DavidSheff-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13909227\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.DavidSheff-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.DavidSheff-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.DavidSheff-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.DavidSheff-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.DavidSheff-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.DavidSheff.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">David Shaff sits at Audium’s master control. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Shaff tells me that he was intentionally looking for artists who work outside of his father’s magnetic-tape, musique-concrète style; “people who can have a conversation with this place, and figure out what works and what doesn’t,’ he says. “That was the conversation that Dad was having for 50 years, but it was just one conversation.”\u003c/p>\n\u003cp>The elder Shaff, now 92 and still involved in a consulting capacity, made Audium a destination. Musicians like Pierre Henry and members of the Grateful Dead and the Sun Ra Arkestra would come to marinate within its walls. Engineers from Dolby, Disney and Meyer Sound also visited, drawing on its pioneering approach to inform their own digital sound advances.\u003c/p>\n\u003cp>During the pandemic, Audium itself used the downtime to switch over to digital. The sound is crisp and clean now out of each speaker, Shaff says, instead of being “smudged” into certain areas of the room.\u003c/p>\n\u003cp>And while there may be longtime Audium fans dismayed that the old Ampex reel-to-reel tape console now sits unused, and the old analog board with its knobs and switches is dismantled and perched on its side, the digital shift befits Audium’s spirit of exploration and newness. (It doesn’t seem to have changed Audium’s core mission, either. On a butcher-paper brainstorm for Audium’s future hanging on the office wall, under a section titled “Values,” I notice that someone’s written, “Money: OK, if there is intent. Art + Listening = #1.”) \u003c/p>\n\u003cfigure id=\"attachment_13909294\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/Audium.Tape_.2-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13909294\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.Tape_.2-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.Tape_.2-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.Tape_.2-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.Tape_.2-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.Tape_.2-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.Tape_.2.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The old Ampex tape console at Audium. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Shaff plans to make residencies with Bay Area artists an annual tradition—along with inviting others in for a month at a time, like Amy X Neuburg’s takeover of the space this coming July. But he’s keeping one foot firmly planted in its history, and the irreplaceable legacy of the family business.\u003c/p>\n\u003cp>Before the crew takes a pizza-and-beer break out on the sidewalk beneath Audium’s distinctive \u003ca href=\"https://www.pinterest.ch/pin/53198839328553529/\" rel=\"noopener noreferrer\" target=\"_blank\">wooden facade\u003c/a>, Shen says it best: “It’s one of the last cool, weird, old-school things in San Francisco.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘New Voices’ opens Thursday, Feb. 10 and runs through April 2 at Audium (1616 Bush St., San Francisco). \u003ca href=\"https://www.audium.org/new-voices/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13909188/audium-residency-san-francisco-sound",
"authors": [
"185"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_69"
],
"tags": [
"arts_16655",
"arts_16679",
"arts_1501",
"arts_3607",
"arts_10278",
"arts_1146",
"arts_16678",
"arts_585"
],
"featImg": "arts_13909230",
"label": "arts_140"
}
},
"podcastsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"podcasts": {}
},
"radioProgramsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"radioPrograms": {}
},
"programsReducer": {
"all-things-considered": {
"id": "all-things-considered",
"title": "All Things Considered",
"info": "Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. Michel Martin hosts on the weekends.",
"airtime": "MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/all-things-considered/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/all-things-considered"
},
"american-suburb-podcast": {
"id": "american-suburb-podcast",
"title": "American Suburb: The Podcast",
"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg",
"officialWebsiteLink": "/news/series/american-suburb-podcast",
"meta": {
"site": "news",
"source": "kqed",
"order": 19
},
"link": "/news/series/american-suburb-podcast/",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/RBrW",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328",
"tuneIn": "https://tunein.com/radio/American-Suburb-p1086805/",
"rss": "https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"
}
},
"baycurious": {
"id": "baycurious",
"title": "Bay Curious",
"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Bay Curious",
"officialWebsiteLink": "/news/series/baycurious",
"meta": {
"site": "news",
"source": "kqed",
"order": 3
},
"link": "/podcasts/baycurious",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/bay-curious/id1172473406",
"npr": "https://www.npr.org/podcasts/500557090/bay-curious",
"rss": "https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast",
"amazon": "https://music.amazon.com/podcasts/9a90d476-aa04-455d-9a4c-0871ed6216d4/bay-curious",
"stitcher": "https://www.stitcher.com/podcast/kqed/bay-curious",
"spotify": "https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"
}
},
"bbc-world-service": {
"id": "bbc-world-service",
"title": "BBC World Service",
"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
"airtime": "MON-FRI 9pm-10pm, TUE-FRI 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.bbc.co.uk/sounds/play/live:bbc_world_service",
"meta": {
"site": "news",
"source": "BBC World Service"
},
"link": "/radio/program/bbc-world-service",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2",
"tuneIn": "https://tunein.com/radio/BBC-World-Service-p455581/",
"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report",
"officialWebsiteLink": "/californiareport",
"meta": {
"site": "news",
"source": "kqed",
"order": 8
},
"link": "/californiareport",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-the-california-report/id79681292",
"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
"npr": "https://www.npr.org/podcasts/432285393/the-california-report",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-the-california-report-podcast-8838",
"rss": "https://ww2.kqed.org/news/tag/tcram/feed/podcast"
}
},
"californiareportmagazine": {
"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Magazine-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report Magazine",
"officialWebsiteLink": "/californiareportmagazine",
"meta": {
"site": "news",
"source": "kqed",
"order": 10
},
"link": "/californiareportmagazine",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-california-report-magazine/id1314750545",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
"npr": "https://www.npr.org/podcasts/564733126/the-california-report-magazine",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-california-report-magazine",
"rss": "https://ww2.kqed.org/news/tag/tcrmag/feed/podcast"
}
},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
"tagline": "Your irreverent guide to the trends redefining our world",
"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/02/CAT_2_Tile-scaled.jpg",
"imageAlt": "KQED Close All Tabs",
"officialWebsiteLink": "/podcasts/closealltabs",
"meta": {
"site": "news",
"source": "kqed",
"order": 1
},
"link": "/podcasts/closealltabs",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/close-all-tabs/id214663465",
"rss": "https://feeds.megaphone.fm/KQINC6993880386",
"amazon": "https://music.amazon.com/podcasts/92d9d4ac-67a3-4eed-b10a-fb45d45b1ef2/close-all-tabs",
"spotify": "https://open.spotify.com/show/6LAJFHnGK1pYXYzv6SIol6?si=deb0cae19813417c"
}
},
"code-switch-life-kit": {
"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
"airtime": "SUN 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/code-switch-life-kit",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
"spotify": "https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV",
"rss": "https://feeds.npr.org/510312/podcast.xml"
}
},
"commonwealth-club": {
"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
"tuneIn": "https://tunein.com/radio/Commonwealth-Club-of-California-p1060/"
}
},
"forum": {
"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
"officialWebsiteLink": "/forum",
"meta": {
"site": "news",
"source": "kqed",
"order": 9
},
"link": "/forum",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-forum/id73329719",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
"npr": "https://www.npr.org/podcasts/432307980/forum",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-forum-podcast",
"rss": "https://feeds.megaphone.fm/KQINC9557381633"
}
},
"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
"airtime": "MON-FRI 7pm-8pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Fresh-Air-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/fresh-air/",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/fresh-air",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Fresh-Air-p17/",
"rss": "https://feeds.npr.org/381444908/podcast.xml"
}
},
"here-and-now": {
"id": "here-and-now",
"title": "Here & Now",
"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
"airtime": "MON-THU 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Here-And-Now-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://www.wbur.org/hereandnow",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/here-and-now",
"subsdcribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=426698661",
"tuneIn": "https://tunein.com/radio/Here--Now-p211/",
"rss": "https://feeds.npr.org/510051/podcast.xml"
}
},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/hiddenbrain.jpg",
"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/hidden-brain/id1028908750?mt=2",
"tuneIn": "https://tunein.com/podcasts/Science-Podcasts/Hidden-Brain-p787503/",
"rss": "https://feeds.npr.org/510308/podcast.xml"
}
},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
"tuneIn": "https://tunein.com/podcasts/Arts--Culture-Podcasts/How-I-Built-This-p910896/",
"rss": "https://feeds.npr.org/510313/podcast.xml"
}
},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
"site": "news",
"source": "kqed",
"order": 15
},
"link": "/podcasts/hyphenacion",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/hyphenaci%C3%B3n/id1191591838",
"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
"youtube": "https://www.youtube.com/c/kqedarts",
"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
"site": "news",
"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
"subscribe": {
"npr": "https://www.npr.org/podcasts/790253322/the-political-mind-of-jerry-brown",
"apple": "https://itunes.apple.com/us/podcast/id1492194549",
"rss": "https://ww2.kqed.org/news/series/jerrybrown/feed/podcast/",
"tuneIn": "http://tun.in/pjGcK",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-political-mind-of-jerry-brown",
"spotify": "https://open.spotify.com/show/54C1dmuyFyKMFttY6X2j6r?si=K8SgRCoISNK6ZbjpXrX5-w",
"amazon": "https://music.amazon.com/podcasts/44420f75-3b0e-4301-ab3b-16da6b09e543/the-political-mind-of-jerry-brown"
}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/xtTd",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Latino-USA-p621/",
"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201853034&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/APM-Marketplace-p88/",
"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
"site": "news",
"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
"spotify": "https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"
}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
"npr": "https://rpb3r.app.goo.gl/onourwatch",
"spotify": "https://open.spotify.com/show/0OLWoyizopu6tY1XiuX70x",
"tuneIn": "https://tunein.com/radio/On-Our-Watch-p1436229/",
"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
"site": "news",
"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
"site": "radio",
"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
}
},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
"site": "radio",
"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/political-breakdown/id1327641087",
"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
"stitcher": "https://www.stitcher.com/podcast/kqed/political-breakdown",
"spotify": "https://open.spotify.com/show/07RVyIjIdk2WDuVehvBMoN",
"rss": "https://ww2.kqed.org/news/tag/political-breakdown/feed/podcast"
}
},
"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
"meta": {
"site": "news",
"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/possible/id1677184070",
"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
}
},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pri.org/programs/the-world",
"meta": {
"site": "news",
"source": "PRI"
},
"link": "/radio/program/pri-the-world",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pris-the-world-latest-edition/id278196007?mt=2",
"tuneIn": "https://tunein.com/podcasts/News--Politics-Podcasts/PRIs-The-World-p24/",
"rss": "http://feeds.feedburner.com/pri/theworld"
}
},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
"airtime": "SUN 12am-1am, SAT 2pm-3pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/radiolab1400.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/radiolab/",
"meta": {
"site": "science",
"source": "WNYC"
},
"link": "/radio/program/radiolab",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/radiolab/id152249110?mt=2",
"tuneIn": "https://tunein.com/radio/RadioLab-p68032/",
"rss": "https://feeds.wnyc.org/radiolab"
}
},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png",
"officialWebsiteLink": "https://www.revealnews.org/episodes/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/reveal",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/reveal/id886009669",
"tuneIn": "https://tunein.com/radio/Reveal-p679597/",
"rss": "http://feeds.revealradio.org/revealpodcast"
}
},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Rightnowish-Podcast-Tile-500x500-1.jpg",
"imageAlt": "KQED Rightnowish with Pendarvis Harshaw",
"officialWebsiteLink": "/podcasts/rightnowish",
"meta": {
"site": "arts",
"source": "kqed",
"order": 16
},
"link": "/podcasts/rightnowish",
"subscribe": {
"npr": "https://www.npr.org/podcasts/721590300/rightnowish",
"rss": "https://ww2.kqed.org/arts/programs/rightnowish/feed/podcast",
"apple": "https://podcasts.apple.com/us/podcast/rightnowish/id1482187648",
"stitcher": "https://www.stitcher.com/podcast/kqed/rightnowish",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMxMjU5MTY3NDc4",
"spotify": "https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I"
}
},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
"airtime": "FRI 11am-1pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Science-Friday-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/science-friday",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/science-friday",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=73329284&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Science-Friday-p394/",
"rss": "http://feeds.wnyc.org/science-friday"
}
},
"snap-judgment": {
"id": "snap-judgment",
"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
"airtime": "SAT 1pm-2pm, 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/05/Snap-Judgment-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Snap Judgment",
"officialWebsiteLink": "https://snapjudgment.org",
"meta": {
"site": "arts",
"source": "kqed",
"order": 4
},
"link": "https://snapjudgment.org",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/snap-judgment/id283657561",
"npr": "https://www.npr.org/podcasts/449018144/snap-judgment",
"stitcher": "https://www.pandora.com/podcast/snap-judgment/PC:241?source=stitcher-sunset",
"spotify": "https://open.spotify.com/show/3Cct7ZWmxHNAtLgBTqjC5v",
"rss": "https://snap.feed.snapjudgment.org/"
}
},
"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Sold-Out-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Sold Out: Rethinking Housing in America",
"officialWebsiteLink": "/podcasts/soldout",
"meta": {
"site": "news",
"source": "kqed",
"order": 13
},
"link": "/podcasts/soldout",
"subscribe": {
"npr": "https://www.npr.org/podcasts/911586047/s-o-l-d-o-u-t-a-new-future-for-housing",
"apple": "https://podcasts.apple.com/us/podcast/introducing-sold-out-rethinking-housing-in-america/id1531354937",
"rss": "https://feeds.megaphone.fm/soldout",
"spotify": "https://open.spotify.com/show/38dTBSk2ISFoPiyYNoKn1X",
"stitcher": "https://www.stitcher.com/podcast/kqed/sold-out-rethinking-housing-in-america",
"tunein": "https://tunein.com/radio/SOLD-OUT-Rethinking-Housing-in-America-p1365871/"
}
},
"spooked": {
"id": "spooked",
"title": "Spooked",
"tagline": "True-life supernatural stories",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/10/Spooked-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Spooked",
"officialWebsiteLink": "https://spookedpodcast.org/",
"meta": {
"site": "news",
"source": "kqed",
"order": 7
},
"link": "https://spookedpodcast.org/",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/spooked/id1279361017",
"npr": "https://www.npr.org/podcasts/549547848/snap-judgment-presents-spooked",
"spotify": "https://open.spotify.com/show/76571Rfl3m7PLJQZKQIGCT",
"rss": "https://feeds.simplecast.com/TBotaapn"
}
},
"tech-nation": {
"id": "tech-nation",
"title": "Tech Nation Radio Podcast",
"info": "Tech Nation is a weekly public radio program, hosted by Dr. Moira Gunn. Founded in 1993, it has grown from a simple interview show to a multi-faceted production, featuring conversations with noted technology and science leaders, and a weekly science and technology-related commentary.",
"airtime": "FRI 10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Tech-Nation-Radio-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://technation.podomatic.com/",
"meta": {
"site": "science",
"source": "Tech Nation Media"
},
"link": "/radio/program/tech-nation",
"subscribe": {
"rss": "https://technation.podomatic.com/rss2.xml"
}
},
"ted-radio-hour": {
"id": "ted-radio-hour",
"title": "TED Radio Hour",
"info": "The TED Radio Hour is a journey through fascinating ideas, astonishing inventions, fresh approaches to old problems, and new ways to think and create.",
"airtime": "SUN 3pm-4pm, SAT 10pm-11pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/tedRadioHour.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/ted-radio-hour/?showDate=2018-06-22",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/ted-radio-hour",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/8vsS",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=523121474&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/TED-Radio-Hour-p418021/",
"rss": "https://feeds.npr.org/510298/podcast.xml"
}
},
"thebay": {
"id": "thebay",
"title": "The Bay",
"tagline": "Local news to keep you rooted",
"info": "Host Devin Katayama walks you through the biggest story of the day with reporters and newsmakers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Bay-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Bay",
"officialWebsiteLink": "/podcasts/thebay",
"meta": {
"site": "radio",
"source": "kqed",
"order": 2
},
"link": "/podcasts/thebay",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-bay/id1350043452",
"amazon": "https://music.amazon.com/podcasts/d800ea4c-7a2c-42f2-b861-edaf78a5db0b/the-bay",
"npr": "https://www.npr.org/podcasts/586725995/the-bay",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-bay",
"spotify": "https://open.spotify.com/show/4BIKBKIujizLHlIlBNaAqQ",
"rss": "https://feeds.megaphone.fm/KQINC8259786327"
}
},
"thelatest": {
"id": "thelatest",
"title": "The Latest",
"tagline": "Trusted local news in real time",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/05/The-Latest-2025-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Latest",
"officialWebsiteLink": "/thelatest",
"meta": {
"site": "news",
"source": "kqed",
"order": 6
},
"link": "/thelatest",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-latest-from-kqed/id1197721799",
"npr": "https://www.npr.org/podcasts/1257949365/the-latest-from-k-q-e-d",
"spotify": "https://open.spotify.com/show/5KIIXMgM9GTi5AepwOYvIZ?si=bd3053fec7244dba",
"rss": "https://feeds.megaphone.fm/KQINC9137121918"
}
},
"theleap": {
"id": "theleap",
"title": "The Leap",
"tagline": "What if you closed your eyes, and jumped?",
"info": "Stories about people making dramatic, risky changes, told by award-winning public radio reporter Judy Campbell.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Leap-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Leap",
"officialWebsiteLink": "/podcasts/theleap",
"meta": {
"site": "news",
"source": "kqed",
"order": 17
},
"link": "/podcasts/theleap",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-leap/id1046668171",
"npr": "https://www.npr.org/podcasts/447248267/the-leap",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-leap",
"spotify": "https://open.spotify.com/show/3sSlVHHzU0ytLwuGs1SD1U",
"rss": "https://ww2.kqed.org/news/programs/the-leap/feed/podcast"
}
},
"the-moth-radio-hour": {
"id": "the-moth-radio-hour",
"title": "The Moth Radio Hour",
"info": "Since its launch in 1997, The Moth has presented thousands of true stories, told live and without notes, to standing-room-only crowds worldwide. Moth storytellers stand alone, under a spotlight, with only a microphone and a roomful of strangers. The storyteller and the audience embark on a high-wire act of shared experience which is both terrifying and exhilarating. Since 2008, The Moth podcast has featured many of our favorite stories told live on Moth stages around the country. For information on all of our programs and live events, visit themoth.org.",
"airtime": "SAT 8pm-9pm and SUN 11am-12pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/theMoth.jpg",
"officialWebsiteLink": "https://themoth.org/",
"meta": {
"site": "arts",
"source": "prx"
},
"link": "/radio/program/the-moth-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/the-moth-podcast/id275699983?mt=2",
"tuneIn": "https://tunein.com/radio/The-Moth-p273888/",
"rss": "http://feeds.themoth.org/themothpodcast"
}
},
"the-new-yorker-radio-hour": {
"id": "the-new-yorker-radio-hour",
"title": "The New Yorker Radio Hour",
"info": "The New Yorker Radio Hour is a weekly program presented by the magazine's editor, David Remnick, and produced by WNYC Studios and The New Yorker. Each episode features a diverse mix of interviews, profiles, storytelling, and an occasional burst of humor inspired by the magazine, and shaped by its writers, artists, and editors. This isn't a radio version of a magazine, but something all its own, reflecting the rich possibilities of audio storytelling and conversation. Theme music for the show was composed and performed by Merrill Garbus of tUnE-YArDs.",
"airtime": "SAT 10am-11am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-New-Yorker-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/tnyradiohour",
"meta": {
"site": "arts",
"source": "WNYC"
},
"link": "/radio/program/the-new-yorker-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/id1050430296",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/New-Yorker-Radio-Hour-p803804/",
"rss": "https://feeds.feedburner.com/newyorkerradiohour"
}
},
"the-sam-sanders-show": {
"id": "the-sam-sanders-show",
"title": "The Sam Sanders Show",
"info": "One of public radio's most dynamic voices, Sam Sanders helped launch The NPR Politics Podcast and hosted NPR's hit show It's Been A Minute. Now, the award-winning host returns with something brand new, The Sam Sanders Show. Every week, Sam Sanders and friends dig into the culture that shapes our lives: what's driving the biggest trends, how artists really think, and even the memes you can't stop scrolling past. Sam is beloved for his way of unpacking the world and bringing you up close to fresh currents and engaging conversations. The Sam Sanders Show is smart, funny and always a good time.",
"airtime": "FRI 12-1pm AND SAT 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/11/The-Sam-Sanders-Show-Podcast-Tile-400x400-1.jpg",
"officialWebsiteLink": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"meta": {
"site": "arts",
"source": "KCRW"
},
"link": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"subscribe": {
"rss": "https://feed.cdnstream1.com/zjb/feed/download/ac/28/59/ac28594c-e1d0-4231-8728-61865cdc80e8.xml"
}
},
"the-splendid-table": {
"id": "the-splendid-table",
"title": "The Splendid Table",
"info": "\u003cem>The Splendid Table\u003c/em> hosts our nation's conversations about cooking, sustainability and food culture.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Splendid-Table-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.splendidtable.org/",
"airtime": "SUN 10-11 pm",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/the-splendid-table"
},
"this-american-life": {
"id": "this-american-life",
"title": "This American Life",
"info": "This American Life is a weekly public radio show, heard by 2.2 million people on more than 500 stations. Another 2.5 million people download the weekly podcast. It is hosted by Ira Glass, produced in collaboration with Chicago Public Media, delivered to stations by PRX The Public Radio Exchange, and has won all of the major broadcasting awards.",
"airtime": "SAT 12pm-1pm, 7pm-8pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/thisAmericanLife.png",
"officialWebsiteLink": "https://www.thisamericanlife.org/",
"meta": {
"site": "news",
"source": "wbez"
},
"link": "/radio/program/this-american-life",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201671138&at=11l79Y&ct=nprdirectory",
"rss": "https://www.thisamericanlife.org/podcast/rss.xml"
}
},
"tinydeskradio": {
"id": "tinydeskradio",
"title": "Tiny Desk Radio",
"info": "We're bringing the best of Tiny Desk to the airwaves, only on public radio.",
"airtime": "SUN 8pm and SAT 9pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/04/300x300-For-Member-Station-Logo-Tiny-Desk-Radio-@2x.png",
"officialWebsiteLink": "https://www.npr.org/series/g-s1-52030/tiny-desk-radio",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/tinydeskradio",
"subscribe": {
"rss": "https://feeds.npr.org/g-s1-52030/rss.xml"
}
},
"wait-wait-dont-tell-me": {
"id": "wait-wait-dont-tell-me",
"title": "Wait Wait... Don't Tell Me!",
"info": "Peter Sagal and Bill Kurtis host the weekly NPR News quiz show alongside some of the best and brightest news and entertainment personalities.",
"airtime": "SUN 10am-11am, SAT 11am-12pm, SAT 6pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Wait-Wait-Podcast-Tile-300x300-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/wait-wait-dont-tell-me/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/wait-wait-dont-tell-me",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/Xogv",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=121493804&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Wait-Wait-Dont-Tell-Me-p46/",
"rss": "https://feeds.npr.org/344098539/podcast.xml"
}
},
"weekend-edition-saturday": {
"id": "weekend-edition-saturday",
"title": "Weekend Edition Saturday",
"info": "Weekend Edition Saturday wraps up the week's news and offers a mix of analysis and features on a wide range of topics, including arts, sports, entertainment, and human interest stories. The two-hour program is hosted by NPR's Peabody Award-winning Scott Simon.",
"airtime": "SAT 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-saturday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-saturday"
},
"weekend-edition-sunday": {
"id": "weekend-edition-sunday",
"title": "Weekend Edition Sunday",
"info": "Weekend Edition Sunday features interviews with newsmakers, artists, scientists, politicians, musicians, writers, theologians and historians. The program has covered news events from Nelson Mandela's 1990 release from a South African prison to the capture of Saddam Hussein.",
"airtime": "SUN 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-sunday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-sunday"
}
},
"racesReducer": {},
"racesGenElectionReducer": {},
"racesGenElection2026Reducer": {},
"radioSchedulesReducer": {},
"listsReducer": {
"posts/arts?tag=electronic-music": {
"isFetching": false,
"latestQuery": {
"from": 12,
"size": 12
},
"vitalsOnly": false,
"totalRequested": 12,
"isLoading": false,
"isLoadingMore": true,
"total": {
"value": 69,
"relation": "eq"
},
"items": [
"arts_13961027",
"arts_13960603",
"arts_13956734",
"arts_13931062",
"arts_13929389",
"arts_13928887",
"arts_13926181",
"arts_13924749",
"arts_13913639",
"arts_13912307",
"arts_13911905",
"arts_13909188"
],
"complete": true
}
},
"recallGuideReducer": {
"intros": {},
"policy": {},
"candidates": {}
},
"savedArticleReducer": {
"articles": [],
"status": {}
},
"newslettersReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"newsletters": {},
"isSubscribing": false,
"isUnsubscribing": false,
"subscribedNewsletters": {}
},
"termsReducer": {
"about": {
"name": "About",
"type": "terms",
"id": "about",
"slug": "about",
"link": "/about",
"taxonomy": "site"
},
"arts": {
"name": "Arts & Culture",
"grouping": [
"arts",
"pop",
"trulyca"
],
"description": "KQED Arts provides daily in-depth coverage of the Bay Area's music, art, film, performing arts, literature and arts news, as well as cultural commentary and criticism.",
"type": "terms",
"id": "arts",
"slug": "arts",
"link": "/arts",
"taxonomy": "site"
},
"artschool": {
"name": "Art School",
"parent": "arts",
"type": "terms",
"id": "artschool",
"slug": "artschool",
"link": "/artschool",
"taxonomy": "site"
},
"bayareabites": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"parent": "food",
"type": "terms",
"id": "bayareabites",
"slug": "bayareabites",
"link": "/food",
"taxonomy": "site"
},
"bayareahiphop": {
"name": "Bay Area Hiphop",
"type": "terms",
"id": "bayareahiphop",
"slug": "bayareahiphop",
"link": "/bayareahiphop",
"taxonomy": "site"
},
"campaign21": {
"name": "Campaign 21",
"type": "terms",
"id": "campaign21",
"slug": "campaign21",
"link": "/campaign21",
"taxonomy": "site"
},
"careers": {
"name": "Careers",
"type": "terms",
"id": "careers",
"slug": "careers",
"link": "/careers",
"taxonomy": "site"
},
"checkplease": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"parent": "food",
"type": "terms",
"id": "checkplease",
"slug": "checkplease",
"link": "/food",
"taxonomy": "site"
},
"education": {
"name": "Education",
"grouping": [
"education"
],
"type": "terms",
"id": "education",
"slug": "education",
"link": "/education",
"taxonomy": "site"
},
"elections": {
"name": "Elections",
"type": "terms",
"id": "elections",
"slug": "elections",
"link": "/elections",
"taxonomy": "site"
},
"events": {
"name": "Events",
"type": "terms",
"id": "events",
"slug": "events",
"link": "/events",
"taxonomy": "site"
},
"event": {
"name": "Event",
"alias": "events",
"type": "terms",
"id": "event",
"slug": "event",
"link": "/event",
"taxonomy": "site"
},
"filmschoolshorts": {
"name": "Film School Shorts",
"type": "terms",
"id": "filmschoolshorts",
"slug": "filmschoolshorts",
"link": "/filmschoolshorts",
"taxonomy": "site"
},
"food": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"type": "terms",
"id": "food",
"slug": "food",
"link": "/food",
"taxonomy": "site"
},
"forum": {
"name": "Forum",
"relatedContentQuery": "posts/forum?",
"parent": "news",
"type": "terms",
"id": "forum",
"slug": "forum",
"link": "/forum",
"taxonomy": "site"
},
"futureofyou": {
"name": "Future of You",
"grouping": [
"science",
"futureofyou"
],
"parent": "science",
"type": "terms",
"id": "futureofyou",
"slug": "futureofyou",
"link": "/futureofyou",
"taxonomy": "site"
},
"jpepinheart": {
"name": "KQED food",
"relatedContentQuery": "posts/food,bayareabites,checkplease",
"parent": "food",
"type": "terms",
"id": "jpepinheart",
"slug": "jpepinheart",
"link": "/food",
"taxonomy": "site"
},
"liveblog": {
"name": "Live Blog",
"type": "terms",
"id": "liveblog",
"slug": "liveblog",
"link": "/liveblog",
"taxonomy": "site"
},
"livetv": {
"name": "Live TV",
"parent": "tv",
"type": "terms",
"id": "livetv",
"slug": "livetv",
"link": "/livetv",
"taxonomy": "site"
},
"lowdown": {
"name": "The Lowdown",
"relatedContentQuery": "posts/lowdown?",
"parent": "news",
"type": "terms",
"id": "lowdown",
"slug": "lowdown",
"link": "/lowdown",
"taxonomy": "site"
},
"mindshift": {
"name": "Mindshift",
"parent": "news",
"description": "MindShift explores the future of education by highlighting the innovative – and sometimes counterintuitive – ways educators and parents are helping all children succeed.",
"type": "terms",
"id": "mindshift",
"slug": "mindshift",
"link": "/mindshift",
"taxonomy": "site"
},
"news": {
"name": "News",
"grouping": [
"news",
"forum"
],
"type": "terms",
"id": "news",
"slug": "news",
"link": "/news",
"taxonomy": "site"
},
"newsletters": {
"name": "newsletters",
"type": "terms",
"id": "newsletters",
"slug": "newsletters",
"link": "/newsletters",
"taxonomy": "site"
},
"perspectives": {
"name": "Perspectives",
"parent": "radio",
"type": "terms",
"id": "perspectives",
"slug": "perspectives",
"link": "/perspectives",
"taxonomy": "site"
},
"podcasts": {
"name": "Podcasts",
"type": "terms",
"id": "podcasts",
"slug": "podcasts",
"link": "/podcasts",
"taxonomy": "site"
},
"pop": {
"name": "Pop",
"parent": "arts",
"type": "terms",
"id": "pop",
"slug": "pop",
"link": "/pop",
"taxonomy": "site"
},
"pressroom": {
"name": "Pressroom",
"type": "terms",
"id": "pressroom",
"slug": "pressroom",
"link": "/pressroom",
"taxonomy": "site"
},
"quest": {
"name": "Quest",
"parent": "science",
"type": "terms",
"id": "quest",
"slug": "quest",
"link": "/quest",
"taxonomy": "site"
},
"radio": {
"name": "Radio",
"grouping": [
"forum",
"perspectives"
],
"description": "Listen to KQED Public Radio – home of Forum and The California Report – on 88.5 FM in San Francisco, 89.3 FM in Sacramento, 88.3 FM in Santa Rosa and 88.1 FM in Martinez.",
"type": "terms",
"id": "radio",
"slug": "radio",
"link": "/radio",
"taxonomy": "site"
},
"root": {
"name": "KQED",
"image": "https://ww2.kqed.org/app/uploads/2020/02/KQED-OG-Image@1x.png",
"imageWidth": 1200,
"imageHeight": 630,
"headData": {
"title": "KQED | News, Radio, Podcasts, TV | Public Media for Northern California",
"description": "KQED provides public radio, television, and independent reporting on issues that matter to the Bay Area. We’re the NPR and PBS member station for Northern California."
},
"type": "terms",
"id": "root",
"slug": "root",
"link": "/root",
"taxonomy": "site"
},
"science": {
"name": "Science",
"grouping": [
"science",
"futureofyou"
],
"description": "KQED Science brings you award-winning science and environment coverage from the Bay Area and beyond.",
"type": "terms",
"id": "science",
"slug": "science",
"link": "/science",
"taxonomy": "site"
},
"stateofhealth": {
"name": "State of Health",
"parent": "science",
"type": "terms",
"id": "stateofhealth",
"slug": "stateofhealth",
"link": "/stateofhealth",
"taxonomy": "site"
},
"support": {
"name": "Support",
"type": "terms",
"id": "support",
"slug": "support",
"link": "/support",
"taxonomy": "site"
},
"thedolist": {
"name": "The Do List",
"parent": "arts",
"type": "terms",
"id": "thedolist",
"slug": "thedolist",
"link": "/thedolist",
"taxonomy": "site"
},
"trulyca": {
"name": "Truly CA",
"grouping": [
"arts",
"pop",
"trulyca"
],
"parent": "arts",
"type": "terms",
"id": "trulyca",
"slug": "trulyca",
"link": "/trulyca",
"taxonomy": "site"
},
"tv": {
"name": "TV",
"type": "terms",
"id": "tv",
"slug": "tv",
"link": "/tv",
"taxonomy": "site"
},
"voterguide": {
"name": "Voter Guide",
"parent": "elections",
"alias": "elections",
"type": "terms",
"id": "voterguide",
"slug": "voterguide",
"link": "/voterguide",
"taxonomy": "site"
},
"guiaelectoral": {
"name": "Guia Electoral",
"parent": "elections",
"alias": "elections",
"type": "terms",
"id": "guiaelectoral",
"slug": "guiaelectoral",
"link": "/guiaelectoral",
"taxonomy": "site"
},
"arts_tag_electronic-music": {
"isLoading": true
},
"arts_1501": {
"type": "terms",
"id": "arts_1501",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1501",
"found": true
},
"relationships": {},
"featImg": null,
"name": "electronic music",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "electronic music Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1513,
"slug": "electronic-music",
"isLoading": false,
"link": "/arts/tag/electronic-music"
},
"source_arts_13912307": {
"type": "terms",
"id": "source_arts_13912307",
"meta": {
"override": true
},
"name": "Commentary",
"link": "https://www.kqed.org/artscommentary",
"isLoading": false
},
"arts_140": {
"type": "terms",
"id": "arts_140",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "140",
"found": true
},
"relationships": {},
"name": "The Do List",
"slug": "the-do-list",
"taxonomy": "program",
"description": null,
"featImg": "https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/The-Do-LIst-logo-2014-horizontal-015.png",
"headData": {
"title": "The Do List Archives | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 141,
"isLoading": false,
"link": "/arts/program/the-do-list"
},
"arts_1": {
"type": "terms",
"id": "arts_1",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Arts",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Arts Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1,
"slug": "arts",
"isLoading": false,
"link": "/arts/category/arts"
},
"arts_69": {
"type": "terms",
"id": "arts_69",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "69",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Music",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Music Archives | KQED Arts",
"ogDescription": null
},
"ttid": 70,
"slug": "music",
"isLoading": false,
"link": "/arts/category/music"
},
"arts_22212": {
"type": "terms",
"id": "arts_22212",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "22212",
"found": true
},
"relationships": {},
"name": "disco",
"slug": "disco",
"taxonomy": "tag",
"description": null,
"featImg": null,
"headData": {
"title": "disco Archives | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 22224,
"isLoading": false,
"link": "/arts/tag/disco"
},
"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_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_3741": {
"type": "terms",
"id": "arts_3741",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3741",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Vinyl",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Vinyl Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3753,
"slug": "vinyl",
"isLoading": false,
"link": "/arts/tag/vinyl"
},
"arts_21866": {
"type": "terms",
"id": "arts_21866",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21866",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Arts and Culture",
"description": null,
"taxonomy": "interest",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Arts and Culture Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21878,
"slug": "arts-and-culture",
"isLoading": false,
"link": "/arts/interest/arts-and-culture"
},
"arts_21879": {
"type": "terms",
"id": "arts_21879",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21879",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Entertainment",
"description": null,
"taxonomy": "interest",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Entertainment Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21891,
"slug": "entertainment",
"isLoading": false,
"link": "/arts/interest/entertainment"
},
"arts_21870": {
"type": "terms",
"id": "arts_21870",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21870",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Events",
"description": null,
"taxonomy": "interest",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Events Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21882,
"slug": "events",
"isLoading": false,
"link": "/arts/interest/events"
},
"arts_21859": {
"type": "terms",
"id": "arts_21859",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21859",
"found": true
},
"relationships": {},
"featImg": null,
"name": "San Francisco",
"description": null,
"taxonomy": "interest",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "San Francisco Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21871,
"slug": "san-francisco",
"isLoading": false,
"link": "/arts/interest/san-francisco"
},
"arts_1146": {
"type": "terms",
"id": "arts_1146",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1146",
"found": true
},
"relationships": {},
"featImg": null,
"name": "San Francisco",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "San Francisco Archives | KQED Arts",
"ogDescription": null
},
"ttid": 701,
"slug": "san-francisco",
"isLoading": false,
"link": "/arts/tag/san-francisco"
},
"arts_21873": {
"type": "terms",
"id": "arts_21873",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21873",
"found": true
},
"relationships": {},
"featImg": null,
"name": "North Bay",
"description": null,
"taxonomy": "interest",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "North Bay Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21885,
"slug": "north-bay",
"isLoading": false,
"link": "/arts/interest/north-bay"
},
"arts_2852": {
"type": "terms",
"id": "arts_2852",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2852",
"found": true
},
"relationships": {},
"featImg": null,
"name": "DJs",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "DJs Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2864,
"slug": "djs",
"isLoading": false,
"link": "/arts/tag/djs"
},
"arts_5426": {
"type": "terms",
"id": "arts_5426",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "5426",
"found": true
},
"relationships": {},
"name": "1960s",
"slug": "1960s",
"taxonomy": "tag",
"description": null,
"featImg": null,
"headData": {
"title": "1960s | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 5438,
"isLoading": false,
"link": "/arts/tag/1960s"
},
"arts_11374": {
"type": "terms",
"id": "arts_11374",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "11374",
"found": true
},
"relationships": {},
"featImg": null,
"name": "arts-featured",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "arts-featured Archives | KQED Arts",
"ogDescription": null
},
"ttid": 11386,
"slug": "arts-featured",
"isLoading": false,
"link": "/arts/tag/arts-featured"
},
"arts_16655": {
"type": "terms",
"id": "arts_16655",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "16655",
"found": true
},
"relationships": {},
"featImg": null,
"name": "audium",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "audium Archives | KQED Arts",
"ogDescription": null
},
"ttid": 16667,
"slug": "audium",
"isLoading": false,
"link": "/arts/tag/audium"
},
"arts_16679": {
"type": "terms",
"id": "arts_16679",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "16679",
"found": true
},
"relationships": {},
"featImg": null,
"name": "david shaff",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "david shaff Archives | KQED Arts",
"ogDescription": null
},
"ttid": 16691,
"slug": "david-shaff",
"isLoading": false,
"link": "/arts/tag/david-shaff"
},
"arts_3607": {
"type": "terms",
"id": "arts_3607",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3607",
"found": true
},
"relationships": {},
"featImg": null,
"name": "experimental music",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "experimental music Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3619,
"slug": "experimental-music",
"isLoading": false,
"link": "/arts/tag/experimental-music"
},
"arts_16678": {
"type": "terms",
"id": "arts_16678",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "16678",
"found": true
},
"relationships": {},
"featImg": null,
"name": "stan shaff",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "stan shaff Archives | KQED Arts",
"ogDescription": null
},
"ttid": 16690,
"slug": "stan-shaff",
"isLoading": false,
"link": "/arts/tag/stan-shaff"
},
"arts_1694": {
"type": "terms",
"id": "arts_1694",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1694",
"found": true
},
"relationships": {},
"featImg": null,
"name": "music festivals",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "music festivals Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1706,
"slug": "music-festivals",
"isLoading": false,
"link": "/arts/tag/music-festivals"
},
"arts_3226": {
"type": "terms",
"id": "arts_3226",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3226",
"found": true
},
"relationships": {},
"name": "LGBTQ+",
"slug": "lgbtq",
"taxonomy": "tag",
"description": null,
"featImg": null,
"headData": {
"title": "LGBTQ+ | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 3238,
"isLoading": false,
"link": "/arts/tag/lgbtq"
},
"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_10589": {
"type": "terms",
"id": "arts_10589",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "10589",
"found": true
},
"relationships": {},
"featImg": null,
"name": "&Music",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "&Music Archives | KQED Arts",
"ogDescription": null
},
"ttid": 10601,
"slug": "music",
"isLoading": false,
"link": "/arts/tag/music"
},
"arts_9943": {
"type": "terms",
"id": "arts_9943",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "9943",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Awards",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Awards Archives | KQED Arts",
"ogDescription": null
},
"ttid": 9955,
"slug": "awards",
"isLoading": false,
"link": "/arts/tag/awards"
},
"arts_8417": {
"type": "terms",
"id": "arts_8417",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "8417",
"found": true
},
"relationships": {},
"featImg": null,
"name": "awards shows",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "awards shows Archives | KQED Arts",
"ogDescription": null
},
"ttid": 8429,
"slug": "awards-shows",
"isLoading": false,
"link": "/arts/tag/awards-shows"
},
"arts_1686": {
"type": "terms",
"id": "arts_1686",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1686",
"found": true
},
"relationships": {},
"featImg": null,
"name": "beyonce",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "beyonce Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1698,
"slug": "beyonce",
"isLoading": false,
"link": "/arts/tag/beyonce"
},
"arts_977": {
"type": "terms",
"id": "arts_977",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "977",
"found": true
},
"relationships": {},
"name": "Film",
"slug": "film",
"taxonomy": "tag",
"description": null,
"featImg": null,
"headData": {
"title": "Film Archives | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 995,
"isLoading": false,
"link": "/arts/tag/film"
},
"arts_1685": {
"type": "terms",
"id": "arts_1685",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1685",
"found": true
},
"relationships": {},
"featImg": null,
"name": "grammys",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "grammys Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1697,
"slug": "grammys",
"isLoading": false,
"link": "/arts/tag/grammys"
},
"arts_9669": {
"type": "terms",
"id": "arts_9669",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "9669",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Harry Styles",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Harry Styles Archives | KQED Arts",
"ogDescription": null
},
"ttid": 9681,
"slug": "harry-styles",
"isLoading": false,
"link": "/arts/tag/harry-styles"
},
"arts_1774": {
"type": "terms",
"id": "arts_1774",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1774",
"found": true
},
"relationships": {},
"featImg": null,
"name": "kendrick lamar",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "kendrick lamar Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1786,
"slug": "kendrick-lamar",
"isLoading": false,
"link": "/arts/tag/kendrick-lamar"
},
"arts_2519": {
"type": "terms",
"id": "arts_2519",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2519",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Latin music",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Latin music Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2531,
"slug": "latin-music",
"isLoading": false,
"link": "/arts/tag/latin-music"
},
"arts_2968": {
"type": "terms",
"id": "arts_2968",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2968",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Lizzo",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Lizzo Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2980,
"slug": "lizzo",
"isLoading": false,
"link": "/arts/tag/lizzo"
},
"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_1564": {
"type": "terms",
"id": "arts_1564",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1564",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Remembrance",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Remembrance Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1576,
"slug": "remembrance",
"isLoading": false,
"link": "/arts/category/remembrance"
},
"arts_2303": {
"type": "terms",
"id": "arts_2303",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2303",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Commentary",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Commentary Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2315,
"slug": "commentary",
"isLoading": false,
"link": "/arts/category/commentary"
},
"arts_4822": {
"type": "terms",
"id": "arts_4822",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "4822",
"found": true
},
"relationships": {},
"featImg": null,
"name": "anderson .paak",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "anderson .paak Archives | KQED Arts",
"ogDescription": null
},
"ttid": 4834,
"slug": "anderson-paak",
"isLoading": false,
"link": "/arts/tag/anderson-paak"
},
"arts_2767": {
"type": "terms",
"id": "arts_2767",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2767",
"found": true
},
"relationships": {},
"featImg": null,
"name": "commentary",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "commentary Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2779,
"slug": "commentary",
"isLoading": false,
"link": "/arts/tag/commentary"
},
"arts_10342": {
"type": "terms",
"id": "arts_10342",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "10342",
"found": true
},
"relationships": {},
"featImg": null,
"name": "editorspick",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "editorspick Archives | KQED Arts",
"ogDescription": null
},
"ttid": 10354,
"slug": "editorspick",
"isLoading": false,
"link": "/arts/tag/editorspick"
},
"arts_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_17317": {
"type": "terms",
"id": "arts_17317",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "17317",
"found": true
},
"relationships": {},
"featImg": null,
"name": "maxwell",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "maxwell Archives | KQED Arts",
"ogDescription": null
},
"ttid": 17329,
"slug": "maxwell",
"isLoading": false,
"link": "/arts/tag/maxwell"
},
"arts_6387": {
"type": "terms",
"id": "arts_6387",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "6387",
"found": true
},
"relationships": {},
"featImg": null,
"name": "music venues",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "music venues Archives | KQED Arts",
"ogDescription": null
},
"ttid": 6399,
"slug": "music-venues",
"isLoading": false,
"link": "/arts/tag/music-venues"
},
"arts_15393": {
"type": "terms",
"id": "arts_15393",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "15393",
"found": true
},
"relationships": {},
"featImg": null,
"name": "classical",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "classical Archives | KQED Arts",
"ogDescription": null
},
"ttid": 15405,
"slug": "classical",
"isLoading": false,
"link": "/arts/tag/classical"
},
"arts_6583": {
"type": "terms",
"id": "arts_6583",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "6583",
"found": true
},
"relationships": {},
"featImg": null,
"name": "fred frith",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "fred frith Archives | KQED Arts",
"ogDescription": null
},
"ttid": 6595,
"slug": "fred-frith",
"isLoading": false,
"link": "/arts/tag/fred-frith"
},
"arts_2299": {
"type": "terms",
"id": "arts_2299",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2299",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Mills College",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Mills College Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2311,
"slug": "mills-college",
"isLoading": false,
"link": "/arts/tag/mills-college"
}
},
"userPermissionsReducer": {
"wpLoggedIn": false
},
"eventsReducer": {},
"fssReducer": {},
"tvDailyScheduleReducer": {},
"tvWeeklyScheduleReducer": {},
"tvPrimetimeScheduleReducer": {},
"tvMonthlyScheduleReducer": {},
"userAccountReducer": {
"user": {
"email": null,
"emailStatus": "EMAIL_UNVALIDATED",
"loggedStatus": "LOGGED_OUT",
"loggingChecked": false,
"articles": [],
"firstName": null,
"lastName": null,
"phoneNumber": null,
"fetchingMembership": false,
"membershipError": false,
"memberships": [
{
"id": null,
"startDate": null,
"firstName": null,
"lastName": null,
"familyNumber": null,
"memberNumber": null,
"memberSince": null,
"expirationDate": null,
"pfsEligible": false,
"isSustaining": false,
"membershipLevel": "Prospect",
"membershipStatus": "Non Member",
"lastGiftDate": null,
"renewalDate": null,
"lastDonationAmount": null
}
]
},
"authModal": {
"isOpen": false,
"view": "LANDING_VIEW"
},
"error": null
},
"youthMediaReducer": {},
"checkPleaseReducer": {
"filterData": {
"region": {
"key": "Restaurant Region",
"filters": [
"Any Region"
]
},
"cuisine": {
"key": "Restaurant Cuisine",
"filters": [
"Any Cuisine"
]
}
},
"restaurantDataById": {},
"restaurantIdsSorted": [],
"error": null
},
"userAgentReducer": {
"userAgent": "Mozilla/5.0 AppleWebKit/537.36 (KHTML, like Gecko; compatible; ClaudeBot/1.0; +claudebot@anthropic.com)",
"isBot": true
}
}
