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_13994198": {
"type": "attachments",
"id": "arts_13994198",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13994198",
"found": true
},
"title": "GettyImages-2286769873",
"publishDate": 1790288819,
"status": "inherit",
"parent": 0,
"modified": 1790288877,
"caption": "Billie Joe Armstrong performs with The Coverups on July 23, 2026 in San Diego, California. ",
"credit": "Gilbert Flores/Variety via Getty Images",
"altTag": "A man in a black suit jacket an shabby hair plays a red guitar against a backdrop of smoke and a red screen",
"description": null,
"imgSizes": {
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/GettyImages-2286769873-160x107.jpg",
"width": 160,
"height": 107,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/GettyImages-2286769873-768x512.jpg",
"width": 768,
"height": 512,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/GettyImages-2286769873-1536x1025.jpg",
"width": 1536,
"height": 1025,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/GettyImages-2286769873-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/GettyImages-2286769873-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"npr-cds-wide": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/GettyImages-2286769873-1200x675.jpg",
"width": 1200,
"height": 675,
"mimeType": "image/jpeg"
},
"npr-cds-square": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/GettyImages-2286769873-600x600.jpg",
"width": 600,
"height": 600,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2026/09/GettyImages-2286769873.jpg",
"width": 2000,
"height": 1334
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13955323": {
"type": "attachments",
"id": "arts_13955323",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13955323",
"found": true
},
"parent": 0,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-04-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-04-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-04-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-04.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-04-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-04-1536x864.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 864
},
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-04-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-04-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1712137337,
"modified": 1712137447,
"caption": "Billie Joe Armstrong and Mike Dirnt of Green Day perform at The Fillmore in San Francisco on Tuesday, April 2, 2024. ",
"description": null,
"title": "Greg-Schneider-04",
"credit": "Greg Schneider",
"status": "inherit",
"altTag": "A man plays a Les Paul-style guitar, photographed from below, with a man playing bass and stage lights in the background",
"isLoading": false,
"fetchFailed": false
},
"arts_13979546": {
"type": "attachments",
"id": "arts_13979546",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13979546",
"found": true
},
"title": "Shayne.Stacy.16x9",
"publishDate": 1754416942,
"status": "inherit",
"parent": 0,
"modified": 1754416984,
"caption": "Shayne Stacy, founder of the Sacramento Music Archive, works among his collection of analog recordings, which includes everything from concert videos to demo cassettes, at his home archive in Orangevale on July 24, 2025. Since launching the archive, Stacy has spent years digitizing underground music from Sacramento and across Northern California, making rare recordings freely accessible online.",
"credit": "Beth LaBerge/KQED",
"altTag": "A man in his 50s wearing a polo shirt and beige shorts sits at a cluttered desk, his arm leaned upon a vintage analog tape machine",
"description": null,
"imgSizes": {
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Shayne.Stacy_.16x9-160x90.jpg",
"width": 160,
"height": 90,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Shayne.Stacy_.16x9-768x432.jpg",
"width": 768,
"height": 432,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Shayne.Stacy_.16x9-1536x864.jpg",
"width": 1536,
"height": 864,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Shayne.Stacy_.16x9-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Shayne.Stacy_.16x9-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/Shayne.Stacy_.16x9.jpg",
"width": 2000,
"height": 1125
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13972647": {
"type": "attachments",
"id": "arts_13972647",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13972647",
"found": true
},
"title": "GettyImages-489406330",
"publishDate": 1741205629,
"status": "inherit",
"parent": 13972636,
"modified": 1741205685,
"caption": "Billie Joe Armstrong of Green Day stands on field before a game between the Seattle Mariners and the Oakland Athletics at the Oakland Coliseum on Sept. 5, 2015 in Oakland, California.",
"credit": "Michael Zagaris/Oakland Athletics/Getty Images",
"altTag": "A man in a baseball jersey and cap holds a baseball glove in his hand",
"description": null,
"imgSizes": {
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/GettyImages-489406330-800x450.jpg",
"width": 800,
"height": 450,
"mimeType": "image/jpeg"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/GettyImages-489406330-1020x574.jpg",
"width": 1020,
"height": 574,
"mimeType": "image/jpeg"
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/GettyImages-489406330-160x90.jpg",
"width": 160,
"height": 90,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/GettyImages-489406330-768x432.jpg",
"width": 768,
"height": 432,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/GettyImages-489406330-1536x864.jpg",
"width": 1536,
"height": 864,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/GettyImages-489406330-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/GettyImages-489406330-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/GettyImages-489406330-1920x1080.jpg",
"width": 1920,
"height": 1080,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/GettyImages-489406330.jpg",
"width": 2000,
"height": 1125
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_13967933": {
"type": "attachments",
"id": "arts_13967933",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13967933",
"found": true
},
"title": "GrammyNoms2024.MAIN.Rev",
"publishDate": 1731098850,
"status": "inherit",
"parent": 13967900,
"modified": 1731098990,
"caption": "This year's Bay Area Grammy nominees include (clockwise from top left) Sheila E., Ambrose Akinmusire, Green Day, Taj Mahal, John Adams and Kehlani. ",
"credit": "Rob Shanahan; Peter Van Breukelen/Redferns/Getty Images; Greg Schneider; Jay Blakesberg; Vern Evans; Tim Mosenfelder/WireImage",
"altTag": null,
"description": null,
"imgSizes": {
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GrammyNoms2024.MAIN_.Rev_-800x450.jpg",
"width": 800,
"height": 450,
"mimeType": "image/jpeg"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GrammyNoms2024.MAIN_.Rev_-1020x574.jpg",
"width": 1020,
"height": 574,
"mimeType": "image/jpeg"
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GrammyNoms2024.MAIN_.Rev_-160x90.jpg",
"width": 160,
"height": 90,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GrammyNoms2024.MAIN_.Rev_-768x432.jpg",
"width": 768,
"height": 432,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GrammyNoms2024.MAIN_.Rev_-1536x864.jpg",
"width": 1536,
"height": 864,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GrammyNoms2024.MAIN_.Rev_-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GrammyNoms2024.MAIN_.Rev_-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GrammyNoms2024.MAIN_.Rev_.jpg",
"width": 1600,
"height": 900
}
},
"isLoading": false,
"fetchFailed": false
},
"arts_12374066": {
"type": "attachments",
"id": "arts_12374066",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "12374066",
"found": true
},
"parent": 12373880,
"imgSizes": {
"small": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/billie-1-520x347.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 347
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/billie-1-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/billie-1-160x107.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 107
},
"fd-sm": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/billie-1-960x640.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 640
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/billie-1-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/billie-1-375x250.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 250
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/billie-1.jpg",
"width": 5760,
"height": 3840
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/billie-1-1020x680.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 680
},
"xlarge": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/billie-1-1180x787.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 787
},
"guest-author-50": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/billie-1-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/billie-1-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/billie-1-800x533.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 533
},
"guest-author-64": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/billie-1-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/billie-1-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/billie-1-1920x1280.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1280
},
"fd-med": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/billie-1-1180x787.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 787
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/billie-1-1920x1280.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1280
},
"detail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/billie-1-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/billie-1-768x512.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 512
},
"guest-author-128": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/billie-1-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/billie-1-240x160.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 160
}
},
"publishDate": 1479703913,
"modified": 1711654115,
"caption": "Green Day at Berkeley’s UC Theatre on Oct. 20, 2016.",
"description": null,
"title": "Green Day at Berkeley’s UC Theatre on Oct. 20, 2016.",
"credit": "Emma Silvers/ KQED",
"status": "inherit",
"altTag": "A white man with black hair sings on stage, while playing a white guitar and wearing a red shirt and black suspenders.",
"isLoading": false,
"fetchFailed": false
},
"arts_13917261": {
"type": "attachments",
"id": "arts_13917261",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13917261",
"found": true
},
"parent": 13917310,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/SZA-headlines-Outside-Lands-on-Friday-Estefany-Gonazlez-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/SZA-headlines-Outside-Lands-on-Friday-Estefany-Gonazlez-160x107.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 107
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/SZA-headlines-Outside-Lands-on-Friday-Estefany-Gonazlez-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/SZA-headlines-Outside-Lands-on-Friday-Estefany-Gonazlez.jpg",
"width": 1920,
"height": 1280
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/SZA-headlines-Outside-Lands-on-Friday-Estefany-Gonazlez-1020x680.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 680
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/SZA-headlines-Outside-Lands-on-Friday-Estefany-Gonazlez-1536x1024.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 1024
},
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/SZA-headlines-Outside-Lands-on-Friday-Estefany-Gonazlez-800x533.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 533
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/SZA-headlines-Outside-Lands-on-Friday-Estefany-Gonazlez-768x512.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 512
}
},
"publishDate": 1659814561,
"modified": 1705603354,
"caption": "SZA headlines Outside Lands on Friday, August 5, 2022.",
"description": "SZA headlines Outside Lands on Friday, August 5, 2022.",
"title": "SZA headlines Outside Lands on Friday, August 5, 2022.",
"credit": "Estefany Gonzalez",
"status": "inherit",
"altTag": "A Black woman with long wavy hair sings into a microphone on stage and gestures.",
"isLoading": false,
"fetchFailed": false
},
"arts_13912134": {
"type": "attachments",
"id": "arts_13912134",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13912134",
"found": true
},
"parent": 13912128,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/04/GettyImages-1319693181-1024x576.jpg",
"width": 1024,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/04/GettyImages-1319693181-160x107.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 107
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/04/GettyImages-1319693181-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/04/GettyImages-1319693181.jpg",
"width": 1024,
"height": 683
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/04/GettyImages-1319693181-1020x680.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 680
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/04/GettyImages-1319693181-800x534.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 534
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2022/04/GettyImages-1319693181-768x512.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 512
}
},
"publishDate": 1650387514,
"modified": 1650387552,
"caption": "SZA performs onstage for the 2021 Billboard Music Awards, broadcast on May 23, 2021 at Microsoft Theater in Los Angeles, California.",
"description": null,
"title": "2021 Billboard Music Awards - Show",
"credit": "Kevin Mazur/Getty Images for dcp",
"status": "inherit",
"altTag": null,
"isLoading": false,
"fetchFailed": false
},
"arts_13905414": {
"type": "attachments",
"id": "arts_13905414",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13905414",
"found": true
},
"parent": 13905411,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/10/GettyImages-56791874-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/10/GettyImages-56791874-160x108.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 108
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/10/GettyImages-56791874-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/10/GettyImages-56791874-scaled.jpg",
"width": 2560,
"height": 1731
},
"2048x2048": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/10/GettyImages-56791874-2048x1385.jpg",
"width": 2048,
"mimeType": "image/jpeg",
"height": 1385
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/10/GettyImages-56791874-1020x690.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 690
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/10/GettyImages-56791874-1536x1038.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 1038
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/10/GettyImages-56791874-1920x1298.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1298
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/10/GettyImages-56791874-800x541.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 541
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/10/GettyImages-56791874-768x519.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 519
}
},
"publishDate": 1635458094,
"modified": 1635458177,
"caption": "Green Day (L-R: Mike Dirnt, Billie Joe Armstrong and Trey Cool) pose with their trophies during the 2006 Grammy Awards in L.A.",
"description": "Green Day (L-R: Mike Dirnt, Billie Joe Armstrong and Trey Cool) pose with their trophies during the 2006 Grammy Awards in L.A.",
"title": "Green Day (L-R: Mike Dirnt, Billie Joe Armstrong and Trey Cool) pose with their trophies during the 2006 Grammy Awards in L.A.",
"credit": "SUSAN GOLDMAN/AFP via Getty Images",
"status": "inherit",
"altTag": null,
"isLoading": false,
"fetchFailed": false
},
"arts_13875671": {
"type": "attachments",
"id": "arts_13875671",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13875671",
"found": true
},
"parent": 13875669,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/02/Coronavirus.Touring-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/02/Coronavirus.Touring-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/02/Coronavirus.Touring-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/02/Coronavirus.Touring.jpg",
"width": 1573,
"height": 885
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/02/Coronavirus.Touring-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/02/Coronavirus.Touring-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2020/02/Coronavirus.Touring-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1582909624,
"modified": 1582909706,
"caption": "BTS, Green Day and the National Symphony Orchestra (from top) have all canceled upcoming tour dates in Asia. ",
"description": "BTS, Green Day and the National Symphony Orchestra (from top) have all canceled upcoming tour dates in Asia. ",
"title": "Coronavirus.Touring",
"credit": "AP; Pamela Littky; NSO",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
},
"arts_13871186": {
"type": "attachments",
"id": "arts_13871186",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13871186",
"found": true
},
"parent": 13871151,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/12/MurrayBowles.1992.MAIN_-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/12/MurrayBowles.1992.MAIN_-160x100.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 100
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/12/MurrayBowles.1992.MAIN_-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/12/MurrayBowles.1992.MAIN_.jpg",
"width": 1920,
"height": 1200
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/12/MurrayBowles.1992.MAIN_-1020x638.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 638
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/12/MurrayBowles.1992.MAIN_-1200x750.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 750
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/12/MurrayBowles.1992.MAIN_-1920x1200.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1200
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/12/MurrayBowles.1992.MAIN_-800x500.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 500
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/12/MurrayBowles.1992.MAIN_-768x480.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 480
}
},
"publishDate": 1575937579,
"modified": 1575937637,
"caption": "Murray Bowles in 1992.",
"description": "Murray Bowles in 1992.",
"title": "MurrayBowles.1992.MAIN",
"credit": "Courtesy Corbett Redford",
"status": "inherit",
"isLoading": false,
"fetchFailed": false
}
},
"audioPlayerReducer": {
"postId": "stream_live",
"isPaused": true,
"isPlaying": false,
"pfsActive": false,
"pledgeModalIsOpen": true,
"playerDrawerIsOpen": false,
"liveAudioPlayStartedAt": 0,
"liveAudioPlayContext": ""
},
"authorsReducer": {
"byline_arts_13985540": {
"type": "authors",
"id": "byline_arts_13985540",
"meta": {
"override": true
},
"slug": "byline_arts_13985540",
"name": "Jonathan Landrum Jr., The Associated Press",
"isLoading": false
},
"byline_arts_13954949": {
"type": "authors",
"id": "byline_arts_13954949",
"meta": {
"override": true
},
"slug": "byline_arts_13954949",
"name": "Maria Sherman, Associated Press",
"isLoading": false
},
"byline_arts_13905411": {
"type": "authors",
"id": "byline_arts_13905411",
"meta": {
"override": true
},
"slug": "byline_arts_13905411",
"name": "Andrew Limbong",
"isLoading": false
},
"byline_arts_13875669": {
"type": "authors",
"id": "byline_arts_13875669",
"meta": {
"override": true
},
"slug": "byline_arts_13875669",
"name": "Hyung-Jin Kim, Associated Press, and Gabe Meline, KQED",
"isLoading": false
},
"gmeline": {
"type": "authors",
"id": "185",
"meta": {
"index": "authors_1716337520",
"id": "185",
"found": true
},
"name": "Gabe Meline",
"firstName": "Gabe",
"lastName": "Meline",
"slug": "gmeline",
"email": "gmeline@kqed.org",
"display_author_email": true,
"staff_mastheads": [
"arts"
],
"title": "Senior Editor, KQED Arts & Culture",
"bio": "Gabe Meline entered journalism at age 15 making photocopied zines, and has since earned awards from the Edward R. Murrow Awards, the Society for Professional Journalists, the Online Journalism Awards, the Association of Alternative Newsweeklies and the California Newspaper Publishers Association. Prior to KQED, he was the editor of the \u003cem>North Bay Bohemian\u003c/em> and a touring musician. He lives with his wife and daughter in his hometown of Santa Rosa, CA.",
"avatar": "https://secure.gravatar.com/avatar/5bebe57be0d8bc2dd318934feb47299e2d2d10cba28d09d8d7afb389a2ce2bdd?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "",
"roles": [
"editor"
]
},
{
"site": "arts",
"roles": [
"administrator"
]
},
{
"site": "artschool",
"roles": [
"editor"
]
},
{
"site": "news",
"roles": [
"author"
]
},
{
"site": "pop",
"roles": [
"editor"
]
},
{
"site": "bayareabites",
"roles": [
"editor"
]
},
{
"site": "food",
"roles": [
"editor"
]
},
{
"site": "forum",
"roles": [
"administrator"
]
},
{
"site": "liveblog",
"roles": [
"editor"
]
},
{
"site": "hiphop",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Gabe Meline | KQED",
"description": "Senior Editor, KQED Arts & Culture",
"ogImgSrc": "https://secure.gravatar.com/avatar/5bebe57be0d8bc2dd318934feb47299e2d2d10cba28d09d8d7afb389a2ce2bdd?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/5bebe57be0d8bc2dd318934feb47299e2d2d10cba28d09d8d7afb389a2ce2bdd?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/gmeline"
},
"egonzalez": {
"type": "authors",
"id": "11384",
"meta": {
"index": "authors_1716337520",
"id": "11384",
"found": true
},
"name": "Estefany Gonzalez",
"firstName": "Estefany",
"lastName": "Gonzalez",
"slug": "egonzalez",
"email": "estefancy@gmail.com",
"display_author_email": false,
"staff_mastheads": [],
"title": "KQED Contributor",
"bio": "Estefany is a contributing visual journalist at KQED.",
"avatar": "https://secure.gravatar.com/avatar/f4726947ea620f9a1c857ac0de4e908c516908fdb92a29a74ea5cb19cad1765d?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": "https://www.instagram.com/estefancy/",
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"author"
]
},
{
"site": "news",
"roles": [
"author"
]
}
],
"headData": {
"title": "Estefany Gonzalez | KQED",
"description": "KQED Contributor",
"ogImgSrc": "https://secure.gravatar.com/avatar/f4726947ea620f9a1c857ac0de4e908c516908fdb92a29a74ea5cb19cad1765d?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/f4726947ea620f9a1c857ac0de4e908c516908fdb92a29a74ea5cb19cad1765d?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/egonzalez"
},
"nvoynovskaya": {
"type": "authors",
"id": "11387",
"meta": {
"index": "authors_1716337520",
"id": "11387",
"found": true
},
"name": "Nastia Voynovskaya",
"firstName": "Nastia",
"lastName": "Voynovskaya",
"slug": "nvoynovskaya",
"email": "nvoynovskaya@kqed.org",
"display_author_email": false,
"staff_mastheads": [
"arts"
],
"title": "Editor and reporter",
"bio": "Nastia Voynovskaya is a reporter, editor and host at KQED Arts & Culture. She's been covering the arts in the Bay Area for over a decade, with a focus on music, queer culture, labor issues and grassroots organizing. She has edited KQED story series such as Trans Bay: A History of San Francisco's Gender-Diverse Community, and co-created KQED's Bay Area hip-hop history project, That's My Word. Nastia's work has been recognized by the Society of Professional Journalists and San Francisco Press Club. She regularly appears on podcasts and radio programs, including NPR's All Songs Considered, and hosts live events where music, culture and conversation meet.",
"avatar": "https://secure.gravatar.com/avatar/5025ee460e5a85d69ca20ea6c6f2f80d7e17795c828f61ea3aecfcd924e9042e?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": "https://www.instagram.com/nananastia/",
"linkedin": null,
"sites": [
{
"site": "",
"roles": [
"editor"
]
},
{
"site": "arts",
"roles": [
"administrator"
]
},
{
"site": "news",
"roles": [
"editor"
]
},
{
"site": "pop",
"roles": [
"administrator"
]
},
{
"site": "bayareabites",
"roles": [
"editor"
]
},
{
"site": "podcasts",
"roles": [
"editor"
]
},
{
"site": "hiphop",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Nastia Voynovskaya | KQED",
"description": "Editor and reporter",
"ogImgSrc": "https://secure.gravatar.com/avatar/5025ee460e5a85d69ca20ea6c6f2f80d7e17795c828f61ea3aecfcd924e9042e?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/5025ee460e5a85d69ca20ea6c6f2f80d7e17795c828f61ea3aecfcd924e9042e?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/nvoynovskaya"
},
"ogpenn": {
"type": "authors",
"id": "11491",
"meta": {
"index": "authors_1716337520",
"id": "11491",
"found": true
},
"name": "Pendarvis Harshaw",
"firstName": "Pendarvis",
"lastName": "Harshaw",
"slug": "ogpenn",
"email": "ogpenn@gmail.com",
"display_author_email": false,
"staff_mastheads": [
"arts"
],
"title": "Community Engagement Reporter",
"bio": "Pendarvis Harshaw is an educator, host and writer with KQED Arts.",
"avatar": "https://secure.gravatar.com/avatar/972b77ee8e3f346ae2b00622661187fbfabd059b5693bbdc1475ea7a722fd4cd?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": "ogpenn",
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"administrator"
]
},
{
"site": "news",
"roles": [
"editor"
]
},
{
"site": "bayareabites",
"roles": [
"author"
]
},
{
"site": "hiphop",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Pendarvis Harshaw | KQED",
"description": "Community Engagement Reporter",
"ogImgSrc": "https://secure.gravatar.com/avatar/972b77ee8e3f346ae2b00622661187fbfabd059b5693bbdc1475ea7a722fd4cd?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/972b77ee8e3f346ae2b00622661187fbfabd059b5693bbdc1475ea7a722fd4cd?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/ogpenn"
},
"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"
},
"udursun": {
"type": "authors",
"id": "11883",
"meta": {
"index": "authors_1716337520",
"id": "11883",
"found": true
},
"name": "Ugur Dursun",
"firstName": "Ugur",
"lastName": "Dursun",
"slug": "udursun",
"email": "udursun@kqed.org",
"display_author_email": true,
"staff_mastheads": [
"arts"
],
"title": "Engagement Producer, KQED Arts & Culture",
"bio": "Ugur Dursun is a reporter and audience engagement producer for KQED Arts. Previously, her reporting has appeared on SFGate, East Bay Times, The Mercury News, KTVU, NBC Bay Area, The Stanford Daily, and other Bay Area local news outlets. In 2023, she was a recipient of Online News Association's \u003ca href=\"https://journalists.org/programs/mj-bear-fellowship/\">MJ Bear Fellowship\u003c/a>, which honors six standout journalists under the age of 30 who are pushing innovation in digital news.",
"avatar": "https://secure.gravatar.com/avatar/9c5fe6a93389635670fe02d7fa44666938055adfbfc2cfd7fffc1de9e29072a2?s=600&d=blank&r=g",
"twitter": null,
"bluesky": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"administrator"
]
},
{
"site": "news",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Ugur Dursun | KQED",
"description": "Engagement Producer, KQED Arts & Culture",
"ogImgSrc": "https://secure.gravatar.com/avatar/9c5fe6a93389635670fe02d7fa44666938055adfbfc2cfd7fffc1de9e29072a2?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/9c5fe6a93389635670fe02d7fa44666938055adfbfc2cfd7fffc1de9e29072a2?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/udursun"
}
},
"pagesReducer": {
"arts_tag_green-day": {
"type": "terms",
"id": "arts_1543",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1543",
"score": 9.895986
},
"featImg": null,
"name": "green day",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "green day Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1555,
"slug": "green-day",
"isLoading": false,
"title": "green day",
"pageMeta": {
"site": "arts",
"WpPageTemplate": "page-topic-editorial",
"currentPage": 1
},
"blocks": [
{
"blockName": "kqed/post-list",
"attrs": {
"layout": "cardArticle2",
"query": "posts/arts?tag=green-day",
"seeMore": false,
"paginated": true,
"page": 1
}
},
{
"blockName": "kqed/ad"
}
]
}
},
"pfsSessionReducer": {},
"postsReducer": {
"stream_live": {
"type": "live",
"id": "stream_live",
"audioUrl": "https://hls.kqed.org/hls/kqed_app/playlist.m3u8",
"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_13994190": {
"type": "posts",
"id": "arts_13994190",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13994190",
"score": null,
"sort": [
1790289233000
]
},
"guestAuthors": [],
"slug": "billie-joe-armstrong-free-show-rodeo-coverups",
"title": "Green Day’s Billie Joe Armstrong to Play Free Show in His Hometown of Rodeo",
"publishDate": 1790289233,
"format": "standard",
"headTitle": "Green Day’s Billie Joe Armstrong to Play Free Show in His Hometown of Rodeo | KQED",
"labelTerm": {},
"content": "\n\u003cp>Billie Joe Armstrong’s side project The Coverups usually play small club shows that sell out instantly after being announced on Instagram.\u003c/p>\n\n\n\n\u003cp>This week, though, fans have advance notice, and the price is right: the Green Day frontman’s cover band will headline the Rodeo Art and Music Market, a free outdoor festival in the heart of Rodeo, Armstrong’s hometown.\u003c/p>\n\n\n\n\u003cp>Playing favorites from the classic rock, modern rock and punk canon, The Coverups have appeared at small Bay Area dives like Kilowatt, Thee Parkside and the Ivy Room. The band hasn’t played a free outdoor show for seven years, when \u003ca href=\"https://www.youtube.com/watch?v=CgBXuOFsoZQ\">they appeared at a block party in Oakland\u003c/a>.\u003c/p>\n\n\n\n\u003cp>The event at Lefty Gomez Field on Saturday marks a homecoming for Armstrong, who \u003ca href=\"https://www.instagram.com/p/DdosGMSA098/\">once played little league baseball\u003c/a> at the very same spot he’ll be singing hits from the 1960s through the 1990s. A typical Coverups setlist includes songs from the Replacements, the Plimsouls, David Bowie, the Ramones, Joan Jett and the Buzzcocks.\u003c/p>\n\n\n\n\u003cp>Other acts at the festival include the Black Excellence Band and Whateverglades. Food booths, crafts, DJs, record booths and more round out the event. \u003c/p>\n\n\n\n\u003chr class=\"wp-block-separator has-alpha-channel-opacity\"/>\n\n\n\n\u003cp>\u003cem>The Rodeo Art and Music Market runs from 11 a.m. to 5 p.m on Saturday, Sept. 26. The Coverups are scheduled to play from 2:30 p.m. to 4 p.m. \u003ca href=\"https://www.instagram.com/rodeomusicandartmarket/\">Details and more information here\u003c/a>.\u003c/em>\u003c/p>\n",
"blocks": [
{
"blockName": "core/paragraph",
"attrs": {
"dropCap": false
},
"innerHTML": "\n\u003cp>Billie Joe Armstrong’s side project The Coverups usually play small club shows that sell out instantly after being announced on Instagram.\u003c/p>\n",
"innerContent": [
"\n\u003cp>Billie Joe Armstrong’s side project The Coverups usually play small club shows that sell out instantly after being announced on Instagram.\u003c/p>\n"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": {
"dropCap": false
},
"innerHTML": "\n\u003cp>This week, though, fans have advance notice, and the price is right: the Green Day frontman’s cover band will headline the Rodeo Art and Music Market, a free outdoor festival in the heart of Rodeo, Armstrong’s hometown.\u003c/p>\n",
"innerContent": [
"\n\u003cp>This week, though, fans have advance notice, and the price is right: the Green Day frontman’s cover band will headline the Rodeo Art and Music Market, a free outdoor festival in the heart of Rodeo, Armstrong’s hometown.\u003c/p>\n"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": {
"dropCap": false
},
"innerHTML": "\n\u003cp>Playing favorites from the classic rock, modern rock and punk canon, The Coverups have appeared at small Bay Area dives like Kilowatt, Thee Parkside and the Ivy Room. The band hasn’t played a free outdoor show for seven years, when \u003ca href=\"https://www.youtube.com/watch?v=CgBXuOFsoZQ\">they appeared at a block party in Oakland\u003c/a>.\u003c/p>\n",
"innerContent": [
"\n\u003cp>Playing favorites from the classic rock, modern rock and punk canon, The Coverups have appeared at small Bay Area dives like Kilowatt, Thee Parkside and the Ivy Room. The band hasn’t played a free outdoor show for seven years, when \u003ca href=\"https://www.youtube.com/watch?v=CgBXuOFsoZQ\">they appeared at a block party in Oakland\u003c/a>.\u003c/p>\n"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": {
"dropCap": false
},
"innerHTML": "\n\u003cp>The event at Lefty Gomez Field on Saturday marks a homecoming for Armstrong, who \u003ca href=\"https://www.instagram.com/p/DdosGMSA098/\">once played little league baseball\u003c/a> at the very same spot he’ll be singing hits from the 1960s through the 1990s. A typical Coverups setlist includes songs from the Replacements, the Plimsouls, David Bowie, the Ramones, Joan Jett and the Buzzcocks.\u003c/p>\n",
"innerContent": [
"\n\u003cp>The event at Lefty Gomez Field on Saturday marks a homecoming for Armstrong, who \u003ca href=\"https://www.instagram.com/p/DdosGMSA098/\">once played little league baseball\u003c/a> at the very same spot he’ll be singing hits from the 1960s through the 1990s. A typical Coverups setlist includes songs from the Replacements, the Plimsouls, David Bowie, the Ramones, Joan Jett and the Buzzcocks.\u003c/p>\n"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": {
"dropCap": false
},
"innerHTML": "\n\u003cp>Other acts at the festival include the Black Excellence Band and Whateverglades. Food booths, crafts, DJs, record booths and more round out the event. \u003c/p>\n",
"innerContent": [
"\n\u003cp>Other acts at the festival include the Black Excellence Band and Whateverglades. Food booths, crafts, DJs, record booths and more round out the event. \u003c/p>\n"
],
"innerBlocks": []
},
{
"blockName": "core/separator",
"attrs": {
"opacity": "alpha-channel",
"tagName": "hr"
},
"innerHTML": "\n\u003chr class=\"wp-block-separator has-alpha-channel-opacity\"/>\n",
"innerContent": [
"\n\u003chr class=\"wp-block-separator has-alpha-channel-opacity\"/>\n"
],
"innerBlocks": []
},
{
"blockName": "core/paragraph",
"attrs": {
"dropCap": false
},
"innerHTML": "\n\u003cp>\u003cem>The Rodeo Art and Music Market runs from 11 a.m. to 5 p.m on Saturday, Sept. 26. The Coverups are scheduled to play from 2:30 p.m. to 4 p.m. \u003ca href=\"https://www.instagram.com/rodeomusicandartmarket/\">Details and more information here\u003c/a>.\u003c/em>\u003c/p>\n",
"innerContent": [
"\n\u003cp>\u003cem>The Rodeo Art and Music Market runs from 11 a.m. to 5 p.m on Saturday, Sept. 26. The Coverups are scheduled to play from 2:30 p.m. to 4 p.m. \u003ca href=\"https://www.instagram.com/rodeomusicandartmarket/\">Details and more information here\u003c/a>.\u003c/em>\u003c/p>\n"
],
"innerBlocks": []
}
],
"excerpt": "The frontman will perform cover songs with side project The Coverups at a free outdoor festival on Saturday.",
"status": "publish",
"parent": 0,
"modified": 1790289463,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 6,
"wordCount": 233
},
"headData": {
"title": "Green Day’s Billie Joe Armstrong to Play Free Show in His Hometown of Rodeo | KQED",
"description": "The frontman will perform cover songs with side project The Coverups at a free outdoor festival on Saturday.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Green Day’s Billie Joe Armstrong to Play Free Show in His Hometown of Rodeo",
"datePublished": "2026-09-24T15:33:53-07:00",
"dateModified": "2026-09-24T15:37:43-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"primaryCategory": {
"termId": 1,
"slug": "arts",
"name": "Arts"
},
"source": "The Do List",
"sourceUrl": "https://www.kqed.org/thedolist",
"sticky": false,
"nprStoryId": "kqed-13994190",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13994190/billie-joe-armstrong-free-show-rodeo-coverups",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Billie Joe Armstrong’s side project The Coverups usually play small club shows that sell out instantly after being announced on Instagram.\u003c/p>\n\n\n\n\u003cp>This week, though, fans have advance notice, and the price is right: the Green Day frontman’s cover band will headline the Rodeo Art and Music Market, a free outdoor festival in the heart of Rodeo, Armstrong’s hometown.\u003c/p>\n\n\n\n\u003cp>Playing favorites from the classic rock, modern rock and punk canon, The Coverups have appeared at small Bay Area dives like Kilowatt, Thee Parkside and the Ivy Room. The band hasn’t played a free outdoor show for seven years, when \u003ca href=\"https://www.youtube.com/watch?v=CgBXuOFsoZQ\">they appeared at a block party in Oakland\u003c/a>.\u003c/p>\n\n\n\n\u003cp>The event at Lefty Gomez Field on Saturday marks a homecoming for Armstrong, who \u003ca href=\"https://www.instagram.com/p/DdosGMSA098/\">once played little league baseball\u003c/a> at the very same spot he’ll be singing hits from the 1960s through the 1990s. A typical Coverups setlist includes songs from the Replacements, the Plimsouls, David Bowie, the Ramones, Joan Jett and the Buzzcocks.\u003c/p>\n\n\n\n\u003cp>Other acts at the festival include the Black Excellence Band and Whateverglades. Food booths, crafts, DJs, record booths and more round out the event. \u003c/p>\n\n\n\n\u003chr class=\"wp-block-separator has-alpha-channel-opacity\"/>\n\n\n\n\u003cp>\u003cem>The Rodeo Art and Music Market runs from 11 a.m. to 5 p.m on Saturday, Sept. 26. The Coverups are scheduled to play from 2:30 p.m. to 4 p.m. \u003ca href=\"https://www.instagram.com/rodeomusicandartmarket/\">Details and more information here\u003c/a>.\u003c/em>\u003c/p>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13994190/billie-joe-armstrong-free-show-rodeo-coverups",
"authors": [
"185"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_69",
"arts_22313"
],
"tags": [
"arts_22068",
"arts_659",
"arts_1543",
"arts_913",
"arts_22122",
"arts_585"
],
"featImg": "arts_13994198",
"label": "source_arts_13994190"
},
"arts_13985540": {
"type": "posts",
"id": "arts_13985540",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13985540",
"score": null,
"sort": [
1768785575000
]
},
"guestAuthors": [],
"slug": "green-day-will-perform-super-bowl-60-opening-ceremony",
"title": "Green Day to Open 60th Super Bowl With Anniversary Ceremony",
"publishDate": 1768785575,
"format": "standard",
"headTitle": "Green Day to Open 60th Super Bowl With Anniversary Ceremony | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>The NFL is marking the 60th anniversary of the Super Bowl with a hometown opening act.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/green-day\">Green Day\u003c/a> will kick off the big game with an opening ceremony Feb. 8 at \u003ca href=\"https://www.kqed.org/news/tag/levis-stadium\">Levi’s Stadium\u003c/a> in Santa Clara, the league announced Sunday. The performance will celebrate six decades of the championship’s history, with the band helping usher generations of Super Bowl MVPs onto the field.\u003c/p>\n\u003cp>[aside postid='news_12005849']The trio, who formed in the East Bay and are made up of Billie Joe Armstrong, Mike Dirnt and Tré Cool, are expected to perform a selection of their best-known anthems as part of the tribute.\u003c/p>\n\u003cp>“We are super hyped to open Super Bowl 60 right in our backyard!” lead singer Armstrong said. “We are honored to welcome the MVPs who’ve shaped the game and open the night for fans all over the world. Let’s have fun! Let’s get loud!”\u003c/p>\n\u003cp>The ceremony airs live at 3 p.m. Pacific on NBC, Telemundo, Peacock and Universo.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Celebrating 60 years of Super Bowl history with Green Day as a hometown band, while honoring the NFL legends who’ve helped define this sport, is an incredibly powerful way to kick off Super Bowl LX,” said Tim Tubito, the league’s senior director of event and game presentation. “As we work alongside NBC Sports for this opening ceremony, we look forward to creating a collective celebration for fans in the stadium and around the world.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The opening ceremony will take place ahead of the pregame entertainment, in which Charlie Puth is to perform the national anthem, Brandi Carlile will sing “America the Beautiful” and Coco Jones will deliver “Lift Every Voice and Sing.”\u003c/p>\n\n",
"blocks": [],
"excerpt": "The East Bay punk heroes will kick off the big game on Feb. 8.",
"status": "publish",
"parent": 0,
"modified": 1768885896,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 9,
"wordCount": 303
},
"headData": {
"title": "Green Day Are the Opening Act for the 60th Super Bowl | KQED",
"description": "The East Bay punk heroes will kick off the big game on Feb. 8.",
"ogTitle": "Green Day to Open 60th Super Bowl With Anniversary Ceremony",
"ogDescription": "",
"ogImgId": "",
"twTitle": "Green Day to Open 60th Super Bowl With Anniversary Ceremony",
"twDescription": "",
"twImgId": "",
"socialTitle": "Green Day Are the Opening Act for the 60th Super Bowl%%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Green Day to Open 60th Super Bowl With Anniversary Ceremony",
"datePublished": "2026-01-18T17:19:35-08:00",
"dateModified": "2026-01-19T21:11:36-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"primaryCategory": {
"termId": 69,
"slug": "music",
"name": "Music"
},
"sticky": false,
"nprByline": "Jonathan Landrum Jr., The Associated Press",
"nprStoryId": "kqed-13985540",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"path": "/arts/13985540/green-day-will-perform-super-bowl-60-opening-ceremony",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The NFL is marking the 60th anniversary of the Super Bowl with a hometown opening act.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/green-day\">Green Day\u003c/a> will kick off the big game with an opening ceremony Feb. 8 at \u003ca href=\"https://www.kqed.org/news/tag/levis-stadium\">Levi’s Stadium\u003c/a> in Santa Clara, the league announced Sunday. The performance will celebrate six decades of the championship’s history, with the band helping usher generations of Super Bowl MVPs onto the field.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "news_12005849",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>The trio, who formed in the East Bay and are made up of Billie Joe Armstrong, Mike Dirnt and Tré Cool, are expected to perform a selection of their best-known anthems as part of the tribute.\u003c/p>\n\u003cp>“We are super hyped to open Super Bowl 60 right in our backyard!” lead singer Armstrong said. “We are honored to welcome the MVPs who’ve shaped the game and open the night for fans all over the world. Let’s have fun! Let’s get loud!”\u003c/p>\n\u003cp>The ceremony airs live at 3 p.m. Pacific on NBC, Telemundo, Peacock and Universo.\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>“Celebrating 60 years of Super Bowl history with Green Day as a hometown band, while honoring the NFL legends who’ve helped define this sport, is an incredibly powerful way to kick off Super Bowl LX,” said Tim Tubito, the league’s senior director of event and game presentation. “As we work alongside NBC Sports for this opening ceremony, we look forward to creating a collective celebration for fans in the stadium and around the world.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The opening ceremony will take place ahead of the pregame entertainment, in which Charlie Puth is to perform the national anthem, Brandi Carlile will sing “America the Beautiful” and Coco Jones will deliver “Lift Every Voice and Sing.”\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13985540/green-day-will-perform-super-bowl-60-opening-ceremony",
"authors": [
"byline_arts_13985540"
],
"categories": [
"arts_1",
"arts_69",
"arts_75",
"arts_13238"
],
"tags": [
"arts_8273",
"arts_1543",
"arts_3842"
],
"featImg": "arts_13955323",
"label": "arts"
},
"arts_13979518": {
"type": "posts",
"id": "arts_13979518",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13979518",
"score": null,
"sort": [
1754485208000
]
},
"guestAuthors": [],
"slug": "sacramento-music-archive-shayne-stacy-punk-metal-cassettes-vhs-demos-concerts",
"title": "He’s Saving 20,000 Tapes of Underground Music and Making it Free to All",
"publishDate": 1754485208,
"format": "aside",
"headTitle": "He’s Saving 20,000 Tapes of Underground Music and Making it Free to All | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cfigure id=\"attachment_13979219\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979219\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-10-KQED.jpg\" alt=\"A man in his 50s wearing a polo shirt and beige shorts sits at a cluttered desk, his arm leaned upon a vintage analog tape machine\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-10-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-10-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-10-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-10-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Shayne Stacy, founder of the Sacramento Music Archive, works among his collection of analog recordings of concert videos and cassettes in Orangevale, Calif. on July 24, 2025. Stacy has spent years digitizing underground music from Sacramento, the Bay Area and across Northern California, making rare recordings freely accessible online. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In a suburban backyard outside of \u003ca href=\"https://www.kqed.org/arts/tag/sacramento\">Sacramento\u003c/a>, I open the door to a giant shed, step inside and get smacked in the face by floor-to-ceiling shelves of music history.\u003c/p>\n\u003cp>VHS tapes. Cassette tapes. Reel-to-reels. DATs. Other formats I don’t recognize, and can’t pronounce. Nearly 20,000 of them, all filled with live shows, demo recordings and concert footage.\u003c/p>\n\u003cp>Down a narrow path through this obsolete physical media, I turn a corner to find Shayne Stacy, 57, sitting at a desk with three monitors and occasionally fiddling with a nearby U-matic machine, an out-of-date piece of video hardware used by TV stations. On the screen, viewed for the first time in 40 years, is a 1980s new wave band performing on a long-lost cable access show from the Central Valley.\u003c/p>\n\u003cp>On any given day, this is where you’ll find Stacy, the founder of the nonprofit \u003ca href=\"https://sacramentomusicarchive.com/\">Sacramento Music Archive\u003c/a>. Just a half-hour’s drive from Sutter’s Mill and its famous California discovery, Stacy tends methodically to his own goldmine: a mass of underground music from Sacramento, the Bay Area and beyond that he’s gradually digitizing and sharing with the world, including rare \u003ca href=\"https://sacramentomusicarchive.com/1990/02/12/nirvana-cattle-club-sacramento-ca-02-12-1990-2-cam-mix/\">early footage of Nirvana\u003c/a>, \u003ca href=\"https://sacramentomusicarchive.com/1994/07/23/metallica-cal-expo-amphitheatre-sacramento-ca-7-23-94-xfer-from-master-tape-enhanced-live/\">Metallica\u003c/a> and \u003ca href=\"https://sacramentomusicarchive.com/1991/10/03/green-day-berkeley-square-10-3-91-xfer-from-master-vhs-tape-complete-show-enhanced/\">Green Day\u003c/a>.\u003c/p>\n\u003cp>“You’d think it’s like this big rock and roll party in here. It’s like this. It’s very quiet, with me working at a keyboard,” Stacy says with a laugh.\u003c/p>\n\u003cfigure id=\"attachment_13979226\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979226\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SacramentoMusicArchive-18_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SacramentoMusicArchive-18_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SacramentoMusicArchive-18_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SacramentoMusicArchive-18_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SacramentoMusicArchive-18_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The Sacramento Music Archive began with Shayne Stacy’s own concert recordings of Nirvana, Yo La Tengo, Green Day, Christ on Parade and more, as pictured in Orangevale, Calif. on July 24, 2025. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I first became aware of Stacy’s work during the pandemic, when I noticed people posting video footage of punk shows held 30 years ago that I’d attended, or, even more irresistible, that I’d heard about but been too young to see. I soon found that for those of a certain age and musical bent, scrolling the Sacramento Music Archive was like watching one’s life flash before their eyes: a young \u003ca href=\"https://sacramentomusicarchive.com/1993/05/28/rancid-berkeley-square-berkeley-ca-5-28-93-xfer-from-vhs-c-master-punk-partial-set/\">Rancid finding their footing at Berkeley Square\u003c/a>, \u003ca href=\"https://youtu.be/NxQGByCjPdI?feature=shared&t=484\">Mr. Bungle covering Top 40 radio hits from 1989\u003c/a> in Guerneville, or \u003cem>Maximum Rocknroll\u003c/em> founder \u003ca href=\"https://youtu.be/Pb5X2LrTpjs?feature=shared&t=385\">Tim Yohannon throwing pies at Screeching Weasel\u003c/a> at 924 Gilman.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As for shows that had been uploaded before, like \u003ca href=\"https://sacramentomusicarchive.com/1989/05/28/operation-ivy-924-gilman-berkeley-ca-5-28-89-multicam-w-sony-d6-audio/\">Operation Ivy’s final show\u003c/a>? Stacy consistently seemed to have the best sources, and sometimes from multiple camera angles, too. What’s more, he had over 5,000 shows from all over Northern California from the past 50 years, by punk, metal, modern rock, funk, thrash and indie bands — famous names and obscure footnotes alike. And, remarkably, it was evident he still went out to shows, and filmed new bands.\u003c/p>\n\u003cp>Who was this one-man Library of Congress for West Coast Gen Xers? I had to find out.\u003c/p>\n\u003ch2>Preserving punk history\u003c/h2>\n\u003cp>Born in Auburn in 1967, Stacy had a typical 1970s childhood of watching \u003cem>Scooby Doo\u003c/em> and collecting sports cards. When he was 15, he went by himself to see Iron Maiden and the Scorpions at the Sacramento Memorial Stadium, in 1982, and he still remembers its impact. “As soon as I felt that sound pressure hitting my chest, I’m like, ‘This is the best thing I’ve ever seen,’” he says.\u003c/p>\n\u003cfigure id=\"attachment_13979223\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979223\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-24-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-24-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-24-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-24-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-24-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The boxes of VHS tapes, reel-to-reels and cassettes at the Sacramento Music Archive may seem haphazardly organized, but Shayne Stacy keeps a reliable mental inventory of each tapes’ location. Particularly valuable masters are kept in a 1,000-lb. fire-resistant safe. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Bay Area was a cradle of \u003ca href=\"https://www.kqed.org/arts/10834160/five-of-the-bay-areas-raddest-metal-bands-from-the-80s\">thrash metal\u003c/a> at the time, with bands like Exodus, Possessed and Metallica just starting out. Soon, Stacy was bringing cheap tape recorders to shows, and sharing the results with other fans who traded tapes through the classifieds in the backs of fan magazines. In 1987, after witnessing the El Sobrante punk band Isocracy, who routinely threw heaps of garbage all over the crowd, Stacy had an epiphany.\u003c/p>\n\u003cp>“There’s paper all over the floor, and it’s just a chaotic environment, and I said to myself, ‘I have to buy a video camera to document this stuff,’” Stacy remembers. “I stopped all of my excess expenditures, making five bucks an hour, and saved for four months to buy my own video camera.”\u003c/p>\n\u003cp>Between 1988 and 1992, Stacy estimates, he filmed 240 shows, driving to venues in Sacramento or the Bay Area every weekend. Trading with others through the mail, he amassed even more tapes. But there was a downside: he began seeing his own footage, of shows by \u003ca href=\"https://sacramentomusicarchive.com/1989/08/26/primus-cattle-club-sacramento-ca-8-26-89-xfer-from-8mm-master-live-enhanced/\">Primus\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=KVvJQfgRl7o\">Nirvana\u003c/a> playing at the Cattle Club in Sacramento, bootlegged and sold by others for profit.\u003c/p>\n\u003cp>“It was like, no fun anymore,” Stacy says. “This was supposed to be a hobby I enjoyed, and it turned into this point of frustration. And so I quit. I quit for 10 years.”\u003c/p>\n\u003cfigure id=\"attachment_13979222\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979222\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-22-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-22-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-22-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-22-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-22-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Shayne Stacy started out recording metal bands, and once lost a valuable tape of him and a friend hanging out with Slayer backstage in 1988 at The Stone in San Francisco. Miraculously, thanks to the tape-trading circuit, he \u003ca href=\"https://sacramentomusicarchive.com/1988/08/12/slayer-backstage-the-stone-san-francisco-ca-8-12-88/\">got his hands on a copy of it again\u003c/a>. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>YouTube brought him back. Stacy says it “liberated” everything: the fans didn’t have to pay $30 for a grainy VHS tape anymore, the copyright holders got paid — not enough, but something — and he got to enjoy his hobby again. He rushed out and bought the best cassette decks and VCRs he could find, and got to work.\u003c/p>\n\u003cp>One person who noticed the quality of Stacy’s work early on is Wayne Vanderkuil. “I work at Stanford in visual preservation, reformatting, and he had similar equipment to what we have here,” Vanderkuil says. “I was incredibly impressed.”\u003c/p>\n\u003cp>During the tape-trading days, Vanderkuil amassed his own collection of metal bands playing at Ruthie’s Inn, Wolfgang’s or the On Broadway. They sat in storage for 25 years, untouched, he says. “I thought, ‘No one’s ever gonna hear these. I’ll drop dead tomorrow, and there goes history.’”\u003c/p>\n\u003cp>Instead, he donated his tapes to Stacy. Vanderkuil is now president of the board of the Sacramento Music Archive, newly incorporated as a nonprofit, which will allow Stacy — who worked at Intel for 27 years and recently accepted an “incredibly generous” buyout offer — to \u003ca href=\"https://www.patreon.com/c/sacramentomusicarchive/membership\">take donations\u003c/a> and apply for grants. Most importantly, it’ll set up his life’s work to continue into the future. As it stands, only about 5% of the tapes in the archive have been preserved digitally so far.\u003c/p>\n\u003cp>“This is clearly becoming a bigger project than I’ve got time left,” says Stacy.\u003c/p>\n\u003cfigure id=\"attachment_13979220\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979220\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-11-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-11-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-11-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-11-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-11-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Shayne Stacy, founder of the Sacramento Music Archive, futzes with a vintage U-matic player in order to get a stubborn TV station cartridge of a Sacramento band to play correctly. ‘Sometimes you get to see me fight with this thing and curse a lot,’ he jokes. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘He really is the go-to’\u003c/h2>\n\u003cp>Publicity and word-of-mouth creates another problem: the piles are growing. Everyone, it seems, has old tapes they want to donate. Waiting to be digitized in the archive are 500 cassettes of free jazz, reel-to-reels of D.R.I. rehearsals at \u003ca href=\"https://www.sfgate.com/sf-culture/article/strangest-200-dollar-apartments-sf-history-20381556.php\">The Vats\u003c/a> and hundreds of videos and soundboard recordings from 924 Gilman. Stacy now has \u003ca href=\"https://sacramentomusicarchive.com/collections/\">over 25 different collections\u003c/a> from DJs, sound engineers, record store owners, zine editors, promoters, cable access hosts and fans.\u003c/p>\n\u003cp>One of them is Arica Pelino, who recently traveled from three states away to Stacy’s archive with a suitcase full of tapes. Pelino toured with Green Day in 1991, and filmed many of their early shows, along with dozens of other bands from the East Bay like Econochrist and Lungbutter. Her tapes sat in storage for more than 20 years, unseen.\u003c/p>\n\u003cp>“If I didn’t meet Shayne, it would still be sitting in boxes,” she says.\u003c/p>\n\u003cp>[aside postID=arts_13968840 hero='https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_03.jpg']She and Stacy spent two days going through her collection, including 22 early Green Day shows that no one had ever seen before, she says, along with \u003ca href=\"https://sacramentomusicarchive.com/1991/09/28/green-day-phoenix-theater-petaluma-ca-9-28-91-uncirculated-preshow-clip-xfer-f-vhs-master-enhanced/\">backstage footage\u003c/a> and \u003ca href=\"https://sacramentomusicarchive.com/1990/01/01/sweet-children-green-day-billie-joes-tape-to-arica-demo-and-7-sessions-tape-complete/\">early demos\u003c/a>.\u003c/p>\n\u003cp>“Shayne really is the owner and the keeper for all of us,” Pelino says. “There’s no one I’d rather do it with. He does a great job, he’s extremely detail-oriented and he puts his all into cleaning up the audio and video. He really is the go-to archive for Northern California, and has captured a significant part of the music scene.”\u003c/p>\n\u003cp>Another donor, Rick Sylvain, who in his 12 years working at Berkeley radio station KALX helped start the long-running \u003cem>KALX Live!\u003c/em> show, with bands playing in the cramped studio.\u003c/p>\n\u003cp>“It was kind of stinky sometimes — they spilled a lot of beer in there — but it was fun, and I taped everything,” he says. “Some of these little bands, it was their one big moment in the sun, and I wanted them to feel like they were stars.”\u003c/p>\n\u003cp>One little band that fulfilled that promise of stardom was AFI, who would go on to headline arenas. Thanks to the Sacramento Music Archive, Sylvain’s cassette of \u003ca href=\"https://sacramentomusicarchive.com/1994/10/07/afi-kalx-live-in-studio-berkeley-ca-10-7-94-xfer-from-pre-fm-master-cassette-a-fire-inside-a-f-i/\">AFI’s 1994 visit to KALX\u003c/a> is now the band’s earliest live recording on YouTube.\u003c/p>\n\u003cfigure id=\"attachment_13979224\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979224\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-28-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-28-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-28-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-28-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-28-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Shayne Stacy uploads videos twice a day from his growing collection in a cluttered, air-conditioned shed. ‘I promised my wife that I would digitize this stuff and then get rid of the tapes,’ he says, ‘and I’m having trouble doing that, to be quite frank.’ \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Large companies and record labels have taken notice, and Stacy’s provided them with material for a Nirvana box set, a Pavement film, and various documentaries. He talks just as enthusiastically, however, about forgotten bands like \u003ca href=\"https://sacramentomusicarchive.com/2000/04/12/donner-party-slims-sf-4-12-00-sam-coomes-from-quasis-early-band/\">The Donner Party\u003c/a> or the \u003ca href=\"https://sacramentomusicarchive.com/1987/04/11/slambodians-sproul-plaza-berkeley-ca-4-11-87-xfer-from-master-vhs-tape-east-bay-punk/\">Slambodians\u003c/a>. He’s especially excited about a recent estate sale find of reel-to-reels from a member of Red Asphalt, the early punk band, who lived in Sacramento.\u003c/p>\n\u003cp>And that brings him back to the original purpose of the archive, one it’s clearly outgrown: to legitimize and honor Sacramento as its own distinct music scene. He accepts that “Sacramento Music Archive” is a bit of a misnomer for a massive collection covering the the Bay Area and Northern California.\u003c/p>\n\u003cp>But he likes the name.\u003c/p>\n\u003cp>“I’ve always felt like Sacramento has always been the red-headed stepchild of California,” he says. “The Lakers make fun of the Kings, Southern California makes fun of Sacramento. It’s a cow town, right? So having something that’s culturally enriching, that has the Sacramento label on it, I’m fine with it.”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>The Sacramento Music Archive can be found at its \u003ca href=\"https://sacramentomusicarchive.com/\">official website\u003c/a> and \u003ca href=\"https://www.youtube.com/@sacramentomusicarchive/videos\">YouTube channel\u003c/a>. Subscribers can \u003ca href=\"https://www.patreon.com/SacramentoMusicArchive\">join the archive’s Patreon\u003c/a> to vote which shows in the archive will get digitized or posted next, or to arrange filming a concert from scratch. \u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "Shayne Stacy's Sacramento Music Archive is a goldmine of previously unseen punk, metal and indie shows in the Bay Area and beyond.",
"status": "publish",
"parent": 0,
"modified": 1755008769,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 33,
"wordCount": 2020
},
"headData": {
"title": "He’s Saving Historic Punk and Metal Tapes from Extinction | KQED",
"description": "Shayne Stacy's Sacramento Music Archive is a goldmine of previously unseen punk, metal and indie shows in the Bay Area and beyond.",
"ogTitle": "He Saves Decades of Underground Music and Makes it Free to All",
"ogDescription": "",
"ogImgId": "",
"twTitle": "He Saves Decades of Underground Music and Makes it Free to All",
"twDescription": "",
"twImgId": "",
"socialTitle": "He’s Saving Historic Punk and Metal Tapes from Extinction %%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "He’s Saving 20,000 Tapes of Underground Music and Making it Free to All",
"datePublished": "2025-08-06T06:00:08-07:00",
"dateModified": "2025-08-12T07:26:09-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"primaryCategory": {
"termId": 1,
"slug": "arts",
"name": "Arts"
},
"sticky": false,
"nprStoryId": "kqed-13979518",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13979518/sacramento-music-archive-shayne-stacy-punk-metal-cassettes-vhs-demos-concerts",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13979219\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979219\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-10-KQED.jpg\" alt=\"A man in his 50s wearing a polo shirt and beige shorts sits at a cluttered desk, his arm leaned upon a vintage analog tape machine\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-10-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-10-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-10-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-10-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Shayne Stacy, founder of the Sacramento Music Archive, works among his collection of analog recordings of concert videos and cassettes in Orangevale, Calif. on July 24, 2025. Stacy has spent years digitizing underground music from Sacramento, the Bay Area and across Northern California, making rare recordings freely accessible online. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In a suburban backyard outside of \u003ca href=\"https://www.kqed.org/arts/tag/sacramento\">Sacramento\u003c/a>, I open the door to a giant shed, step inside and get smacked in the face by floor-to-ceiling shelves of music history.\u003c/p>\n\u003cp>VHS tapes. Cassette tapes. Reel-to-reels. DATs. Other formats I don’t recognize, and can’t pronounce. Nearly 20,000 of them, all filled with live shows, demo recordings and concert footage.\u003c/p>\n\u003cp>Down a narrow path through this obsolete physical media, I turn a corner to find Shayne Stacy, 57, sitting at a desk with three monitors and occasionally fiddling with a nearby U-matic machine, an out-of-date piece of video hardware used by TV stations. On the screen, viewed for the first time in 40 years, is a 1980s new wave band performing on a long-lost cable access show from the Central Valley.\u003c/p>\n\u003cp>On any given day, this is where you’ll find Stacy, the founder of the nonprofit \u003ca href=\"https://sacramentomusicarchive.com/\">Sacramento Music Archive\u003c/a>. Just a half-hour’s drive from Sutter’s Mill and its famous California discovery, Stacy tends methodically to his own goldmine: a mass of underground music from Sacramento, the Bay Area and beyond that he’s gradually digitizing and sharing with the world, including rare \u003ca href=\"https://sacramentomusicarchive.com/1990/02/12/nirvana-cattle-club-sacramento-ca-02-12-1990-2-cam-mix/\">early footage of Nirvana\u003c/a>, \u003ca href=\"https://sacramentomusicarchive.com/1994/07/23/metallica-cal-expo-amphitheatre-sacramento-ca-7-23-94-xfer-from-master-tape-enhanced-live/\">Metallica\u003c/a> and \u003ca href=\"https://sacramentomusicarchive.com/1991/10/03/green-day-berkeley-square-10-3-91-xfer-from-master-vhs-tape-complete-show-enhanced/\">Green Day\u003c/a>.\u003c/p>\n\u003cp>“You’d think it’s like this big rock and roll party in here. It’s like this. It’s very quiet, with me working at a keyboard,” Stacy says with a laugh.\u003c/p>\n\u003cfigure id=\"attachment_13979226\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979226\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SacramentoMusicArchive-18_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SacramentoMusicArchive-18_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SacramentoMusicArchive-18_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SacramentoMusicArchive-18_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SacramentoMusicArchive-18_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The Sacramento Music Archive began with Shayne Stacy’s own concert recordings of Nirvana, Yo La Tengo, Green Day, Christ on Parade and more, as pictured in Orangevale, Calif. on July 24, 2025. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I first became aware of Stacy’s work during the pandemic, when I noticed people posting video footage of punk shows held 30 years ago that I’d attended, or, even more irresistible, that I’d heard about but been too young to see. I soon found that for those of a certain age and musical bent, scrolling the Sacramento Music Archive was like watching one’s life flash before their eyes: a young \u003ca href=\"https://sacramentomusicarchive.com/1993/05/28/rancid-berkeley-square-berkeley-ca-5-28-93-xfer-from-vhs-c-master-punk-partial-set/\">Rancid finding their footing at Berkeley Square\u003c/a>, \u003ca href=\"https://youtu.be/NxQGByCjPdI?feature=shared&t=484\">Mr. Bungle covering Top 40 radio hits from 1989\u003c/a> in Guerneville, or \u003cem>Maximum Rocknroll\u003c/em> founder \u003ca href=\"https://youtu.be/Pb5X2LrTpjs?feature=shared&t=385\">Tim Yohannon throwing pies at Screeching Weasel\u003c/a> at 924 Gilman.\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>As for shows that had been uploaded before, like \u003ca href=\"https://sacramentomusicarchive.com/1989/05/28/operation-ivy-924-gilman-berkeley-ca-5-28-89-multicam-w-sony-d6-audio/\">Operation Ivy’s final show\u003c/a>? Stacy consistently seemed to have the best sources, and sometimes from multiple camera angles, too. What’s more, he had over 5,000 shows from all over Northern California from the past 50 years, by punk, metal, modern rock, funk, thrash and indie bands — famous names and obscure footnotes alike. And, remarkably, it was evident he still went out to shows, and filmed new bands.\u003c/p>\n\u003cp>Who was this one-man Library of Congress for West Coast Gen Xers? I had to find out.\u003c/p>\n\u003ch2>Preserving punk history\u003c/h2>\n\u003cp>Born in Auburn in 1967, Stacy had a typical 1970s childhood of watching \u003cem>Scooby Doo\u003c/em> and collecting sports cards. When he was 15, he went by himself to see Iron Maiden and the Scorpions at the Sacramento Memorial Stadium, in 1982, and he still remembers its impact. “As soon as I felt that sound pressure hitting my chest, I’m like, ‘This is the best thing I’ve ever seen,’” he says.\u003c/p>\n\u003cfigure id=\"attachment_13979223\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979223\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-24-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-24-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-24-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-24-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-24-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The boxes of VHS tapes, reel-to-reels and cassettes at the Sacramento Music Archive may seem haphazardly organized, but Shayne Stacy keeps a reliable mental inventory of each tapes’ location. Particularly valuable masters are kept in a 1,000-lb. fire-resistant safe. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Bay Area was a cradle of \u003ca href=\"https://www.kqed.org/arts/10834160/five-of-the-bay-areas-raddest-metal-bands-from-the-80s\">thrash metal\u003c/a> at the time, with bands like Exodus, Possessed and Metallica just starting out. Soon, Stacy was bringing cheap tape recorders to shows, and sharing the results with other fans who traded tapes through the classifieds in the backs of fan magazines. In 1987, after witnessing the El Sobrante punk band Isocracy, who routinely threw heaps of garbage all over the crowd, Stacy had an epiphany.\u003c/p>\n\u003cp>“There’s paper all over the floor, and it’s just a chaotic environment, and I said to myself, ‘I have to buy a video camera to document this stuff,’” Stacy remembers. “I stopped all of my excess expenditures, making five bucks an hour, and saved for four months to buy my own video camera.”\u003c/p>\n\u003cp>Between 1988 and 1992, Stacy estimates, he filmed 240 shows, driving to venues in Sacramento or the Bay Area every weekend. Trading with others through the mail, he amassed even more tapes. But there was a downside: he began seeing his own footage, of shows by \u003ca href=\"https://sacramentomusicarchive.com/1989/08/26/primus-cattle-club-sacramento-ca-8-26-89-xfer-from-8mm-master-live-enhanced/\">Primus\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=KVvJQfgRl7o\">Nirvana\u003c/a> playing at the Cattle Club in Sacramento, bootlegged and sold by others for profit.\u003c/p>\n\u003cp>“It was like, no fun anymore,” Stacy says. “This was supposed to be a hobby I enjoyed, and it turned into this point of frustration. And so I quit. I quit for 10 years.”\u003c/p>\n\u003cfigure id=\"attachment_13979222\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979222\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-22-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-22-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-22-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-22-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-22-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Shayne Stacy started out recording metal bands, and once lost a valuable tape of him and a friend hanging out with Slayer backstage in 1988 at The Stone in San Francisco. Miraculously, thanks to the tape-trading circuit, he \u003ca href=\"https://sacramentomusicarchive.com/1988/08/12/slayer-backstage-the-stone-san-francisco-ca-8-12-88/\">got his hands on a copy of it again\u003c/a>. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>YouTube brought him back. Stacy says it “liberated” everything: the fans didn’t have to pay $30 for a grainy VHS tape anymore, the copyright holders got paid — not enough, but something — and he got to enjoy his hobby again. He rushed out and bought the best cassette decks and VCRs he could find, and got to work.\u003c/p>\n\u003cp>One person who noticed the quality of Stacy’s work early on is Wayne Vanderkuil. “I work at Stanford in visual preservation, reformatting, and he had similar equipment to what we have here,” Vanderkuil says. “I was incredibly impressed.”\u003c/p>\n\u003cp>During the tape-trading days, Vanderkuil amassed his own collection of metal bands playing at Ruthie’s Inn, Wolfgang’s or the On Broadway. They sat in storage for 25 years, untouched, he says. “I thought, ‘No one’s ever gonna hear these. I’ll drop dead tomorrow, and there goes history.’”\u003c/p>\n\u003cp>Instead, he donated his tapes to Stacy. Vanderkuil is now president of the board of the Sacramento Music Archive, newly incorporated as a nonprofit, which will allow Stacy — who worked at Intel for 27 years and recently accepted an “incredibly generous” buyout offer — to \u003ca href=\"https://www.patreon.com/c/sacramentomusicarchive/membership\">take donations\u003c/a> and apply for grants. Most importantly, it’ll set up his life’s work to continue into the future. As it stands, only about 5% of the tapes in the archive have been preserved digitally so far.\u003c/p>\n\u003cp>“This is clearly becoming a bigger project than I’ve got time left,” says Stacy.\u003c/p>\n\u003cfigure id=\"attachment_13979220\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979220\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-11-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-11-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-11-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-11-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-11-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Shayne Stacy, founder of the Sacramento Music Archive, futzes with a vintage U-matic player in order to get a stubborn TV station cartridge of a Sacramento band to play correctly. ‘Sometimes you get to see me fight with this thing and curse a lot,’ he jokes. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘He really is the go-to’\u003c/h2>\n\u003cp>Publicity and word-of-mouth creates another problem: the piles are growing. Everyone, it seems, has old tapes they want to donate. Waiting to be digitized in the archive are 500 cassettes of free jazz, reel-to-reels of D.R.I. rehearsals at \u003ca href=\"https://www.sfgate.com/sf-culture/article/strangest-200-dollar-apartments-sf-history-20381556.php\">The Vats\u003c/a> and hundreds of videos and soundboard recordings from 924 Gilman. Stacy now has \u003ca href=\"https://sacramentomusicarchive.com/collections/\">over 25 different collections\u003c/a> from DJs, sound engineers, record store owners, zine editors, promoters, cable access hosts and fans.\u003c/p>\n\u003cp>One of them is Arica Pelino, who recently traveled from three states away to Stacy’s archive with a suitcase full of tapes. Pelino toured with Green Day in 1991, and filmed many of their early shows, along with dozens of other bands from the East Bay like Econochrist and Lungbutter. Her tapes sat in storage for more than 20 years, unseen.\u003c/p>\n\u003cp>“If I didn’t meet Shayne, it would still be sitting in boxes,” she says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13968840",
"hero": "https://cdn.kqed.org/wp-content/uploads/sites/2/2024/12/9780867199277-Hail-Murray-sampler_Page_03.jpg",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>She and Stacy spent two days going through her collection, including 22 early Green Day shows that no one had ever seen before, she says, along with \u003ca href=\"https://sacramentomusicarchive.com/1991/09/28/green-day-phoenix-theater-petaluma-ca-9-28-91-uncirculated-preshow-clip-xfer-f-vhs-master-enhanced/\">backstage footage\u003c/a> and \u003ca href=\"https://sacramentomusicarchive.com/1990/01/01/sweet-children-green-day-billie-joes-tape-to-arica-demo-and-7-sessions-tape-complete/\">early demos\u003c/a>.\u003c/p>\n\u003cp>“Shayne really is the owner and the keeper for all of us,” Pelino says. “There’s no one I’d rather do it with. He does a great job, he’s extremely detail-oriented and he puts his all into cleaning up the audio and video. He really is the go-to archive for Northern California, and has captured a significant part of the music scene.”\u003c/p>\n\u003cp>Another donor, Rick Sylvain, who in his 12 years working at Berkeley radio station KALX helped start the long-running \u003cem>KALX Live!\u003c/em> show, with bands playing in the cramped studio.\u003c/p>\n\u003cp>“It was kind of stinky sometimes — they spilled a lot of beer in there — but it was fun, and I taped everything,” he says. “Some of these little bands, it was their one big moment in the sun, and I wanted them to feel like they were stars.”\u003c/p>\n\u003cp>One little band that fulfilled that promise of stardom was AFI, who would go on to headline arenas. Thanks to the Sacramento Music Archive, Sylvain’s cassette of \u003ca href=\"https://sacramentomusicarchive.com/1994/10/07/afi-kalx-live-in-studio-berkeley-ca-10-7-94-xfer-from-pre-fm-master-cassette-a-fire-inside-a-f-i/\">AFI’s 1994 visit to KALX\u003c/a> is now the band’s earliest live recording on YouTube.\u003c/p>\n\u003cfigure id=\"attachment_13979224\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979224\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-28-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-28-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-28-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-28-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/250724-SACRAMENTOMUSICARCHIVE-28-KQED-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Shayne Stacy uploads videos twice a day from his growing collection in a cluttered, air-conditioned shed. ‘I promised my wife that I would digitize this stuff and then get rid of the tapes,’ he says, ‘and I’m having trouble doing that, to be quite frank.’ \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Large companies and record labels have taken notice, and Stacy’s provided them with material for a Nirvana box set, a Pavement film, and various documentaries. He talks just as enthusiastically, however, about forgotten bands like \u003ca href=\"https://sacramentomusicarchive.com/2000/04/12/donner-party-slims-sf-4-12-00-sam-coomes-from-quasis-early-band/\">The Donner Party\u003c/a> or the \u003ca href=\"https://sacramentomusicarchive.com/1987/04/11/slambodians-sproul-plaza-berkeley-ca-4-11-87-xfer-from-master-vhs-tape-east-bay-punk/\">Slambodians\u003c/a>. He’s especially excited about a recent estate sale find of reel-to-reels from a member of Red Asphalt, the early punk band, who lived in Sacramento.\u003c/p>\n\u003cp>And that brings him back to the original purpose of the archive, one it’s clearly outgrown: to legitimize and honor Sacramento as its own distinct music scene. He accepts that “Sacramento Music Archive” is a bit of a misnomer for a massive collection covering the the Bay Area and Northern California.\u003c/p>\n\u003cp>But he likes the name.\u003c/p>\n\u003cp>“I’ve always felt like Sacramento has always been the red-headed stepchild of California,” he says. “The Lakers make fun of the Kings, Southern California makes fun of Sacramento. It’s a cow town, right? So having something that’s culturally enriching, that has the Sacramento label on it, I’m fine with it.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>The Sacramento Music Archive can be found at its \u003ca href=\"https://sacramentomusicarchive.com/\">official website\u003c/a> and \u003ca href=\"https://www.youtube.com/@sacramentomusicarchive/videos\">YouTube channel\u003c/a>. Subscribers can \u003ca href=\"https://www.patreon.com/SacramentoMusicArchive\">join the archive’s Patreon\u003c/a> to vote which shows in the archive will get digitized or posted next, or to arrange filming a concert from scratch. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13979518/sacramento-music-archive-shayne-stacy-punk-metal-cassettes-vhs-demos-concerts",
"authors": [
"185"
],
"categories": [
"arts_1",
"arts_69",
"arts_235"
],
"tags": [
"arts_21795",
"arts_7705",
"arts_10342",
"arts_10278",
"arts_10422",
"arts_1543",
"arts_994",
"arts_1010",
"arts_913",
"arts_5779"
],
"featImg": "arts_13979546",
"label": "arts"
},
"arts_13972636": {
"type": "posts",
"id": "arts_13972636",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13972636",
"score": null,
"sort": [
1741206679000
]
},
"guestAuthors": [],
"slug": "billie-joe-armstrong-too-short-oakland-ballers-baseball",
"title": "Billie Joe Armstrong, Too Short Invest in Oakland Ballers Baseball",
"publishDate": 1741206679,
"format": "aside",
"headTitle": "Billie Joe Armstrong, Too Short Invest in Oakland Ballers Baseball | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cfigure id=\"attachment_13972648\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13972648\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/bj.as_.jpg\" alt=\"A man in a baseball jersey and cap holds a baseball glove in his hand\" width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/bj.as_.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/bj.as_-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/bj.as_-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/bj.as_-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/bj.as_-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/bj.as_-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/bj.as_-1920x1920.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Billie Joe Armstrong of Green Day stands on field before a game between the Seattle Mariners and the Oakland Athletics at the Oakland Coliseum on Sept. 5, 2015 in Oakland, California. In the wake of the A’s departure from Oakland, the East Bay-raised rock star has since switched his allegiance to the Oakland Ballers, joining rapper Too Short as an investor in the franchise. \u003ccite>(Michael Zagaris/Oakland Athletics/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Last year, Green Day frontman Billie Joe Armstrong \u003ca href=\"https://www.youtube.com/watch?v=6233qjZSTuE\">posted an video\u003c/a> from the Rogers Center in Toronto, showing the East Bay-raised rock star spray painting over the stadium’s Oakland A’s logo with an \u003ca href=\"https://www.instagram.com/p/C-JvddatdD3/?img_index=1\" target=\"_blank\" rel=\"noopener\">Oakland Ballers logo\u003c/a>. The video, in a way, foreshadowed this week’s news.\u003c/p>\n\u003cp>The Oakland Ballers have announced that Armstrong, along with pioneering Oakland rapper and entrepreneur Too Short, are now investors in the Ballers. They join a long list of fans who also own a portion of the team.\u003c/p>\n\u003cp>\u003ca href=\"https://www.oaklandballers.com/landing/index\" target=\"_blank\" rel=\"noopener\">The Ballers\u003c/a>, a second-year professional baseball franchise that plays in the independent Pioneer League, hosts their home games at West Oakland’s Raimondi Park. Last year, over the course of 48 home games, the team attracted more than 92,000 fans.\u003c/p>\n\u003cp>[aside postID='arts_13960687']Ahead of the inaugural season, the team’s founders, Bryan Carmel and Paul Freedman, opened the doors to potential investors. They hoped that local sports fans who’ve been dismayed by other franchises leaving Oakland would show up — and they did.\u003c/p>\n\u003cp>2,200 people raised over $1.2 million dollars in support of the team. The Ballers are back at it this year, looking to raise $2 million. With the social collateral that Armstrong and Too Short bring, the team is well on its way.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We’re delighted that Too $hort and Billie Joe Armstrong will be joining our ownership group, along with thousands of Oakland fan owners,” said Ballers co-founder Paul Freedman in\u003ca href=\"https://www.oaklandballers.com/news/2025/03/too-short-billie-joe-armstrong-owner-community-invest\" target=\"_blank\" rel=\"noopener\"> a statement\u003c/a>. “These two local legends were real supporters in our first season, and it’s great to now have them on board in a more formal capacity.”\u003c/p>\n\u003cp>https://x.com/OaklandBallers/status/1809772352051507422\u003c/p>\n\u003cp>In an interview with \u003cem>\u003ca href=\"https://www.hollywoodreporter.com/news/general-news/billie-joe-armstrong-too-short-oakland-ballers-1236155122/\" target=\"_blank\" rel=\"noopener\">The Hollywood Reporter\u003c/a>, \u003c/em>Armstrong said that “after the A’s left, the town was heartbroken. The Ballers are going to bring good vibes back to Oakland and the broader East Bay.”\u003c/p>\n\u003cp>Too Short echoed his sentiments, telling the publication, “If I can’t brag on a big-league franchise I can brag on being a Baller.”\u003c/p>\n\u003cp>[aside postID='news_11988883']The Ballers other co-founder, Carmel, said, “This isn’t a case of celebrities coming in to save the day. It’s a local team, and Billie Joe and Too $hort are just some better-known locals.”\u003c/p>\n\u003cp>Armstrong himself showed up to a ballers game last year in West Oakland, the neighborhood that inspired the Green Day song “Welcome to Paradise.” He is also an investor in the soccer club the \u003ca href=\"https://www.oaklandrootssc.com/\">Oakland Roots\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The first game of the Oakland Ballers’ second season is scheduled for\u003ca href=\"https://www.oaklandballers.com/sports/bsb/2025/schedule\" target=\"_blank\" rel=\"noopener\"> May 20\u003c/a>.\u003c/p>\n\n",
"blocks": [],
"excerpt": "The rapper and rock star join a list of investors bringing professional baseball back to the East Bay.",
"status": "publish",
"parent": 0,
"modified": 1741215191,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 13,
"wordCount": 531
},
"headData": {
"title": "Billie Joe Armstrong, Too Short Invest in Oakland Ballers Baseball | KQED",
"description": "The rapper and rock star join a list of investors bringing professional baseball back to the East Bay.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Billie Joe Armstrong, Too Short Invest in Oakland Ballers Baseball",
"datePublished": "2025-03-05T12:31:19-08:00",
"dateModified": "2025-03-05T14:53:11-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprStoryId": "kqed-13972636",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13972636/billie-joe-armstrong-too-short-oakland-ballers-baseball",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13972648\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13972648\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/bj.as_.jpg\" alt=\"A man in a baseball jersey and cap holds a baseball glove in his hand\" width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/bj.as_.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/bj.as_-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/bj.as_-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/bj.as_-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/bj.as_-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/bj.as_-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/bj.as_-1920x1920.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Billie Joe Armstrong of Green Day stands on field before a game between the Seattle Mariners and the Oakland Athletics at the Oakland Coliseum on Sept. 5, 2015 in Oakland, California. In the wake of the A’s departure from Oakland, the East Bay-raised rock star has since switched his allegiance to the Oakland Ballers, joining rapper Too Short as an investor in the franchise. \u003ccite>(Michael Zagaris/Oakland Athletics/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Last year, Green Day frontman Billie Joe Armstrong \u003ca href=\"https://www.youtube.com/watch?v=6233qjZSTuE\">posted an video\u003c/a> from the Rogers Center in Toronto, showing the East Bay-raised rock star spray painting over the stadium’s Oakland A’s logo with an \u003ca href=\"https://www.instagram.com/p/C-JvddatdD3/?img_index=1\" target=\"_blank\" rel=\"noopener\">Oakland Ballers logo\u003c/a>. The video, in a way, foreshadowed this week’s news.\u003c/p>\n\u003cp>The Oakland Ballers have announced that Armstrong, along with pioneering Oakland rapper and entrepreneur Too Short, are now investors in the Ballers. They join a long list of fans who also own a portion of the team.\u003c/p>\n\u003cp>\u003ca href=\"https://www.oaklandballers.com/landing/index\" target=\"_blank\" rel=\"noopener\">The Ballers\u003c/a>, a second-year professional baseball franchise that plays in the independent Pioneer League, hosts their home games at West Oakland’s Raimondi Park. Last year, over the course of 48 home games, the team attracted more than 92,000 fans.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13960687",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Ahead of the inaugural season, the team’s founders, Bryan Carmel and Paul Freedman, opened the doors to potential investors. They hoped that local sports fans who’ve been dismayed by other franchises leaving Oakland would show up — and they did.\u003c/p>\n\u003cp>2,200 people raised over $1.2 million dollars in support of the team. The Ballers are back at it this year, looking to raise $2 million. With the social collateral that Armstrong and Too Short bring, the team is well on its way.\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>“We’re delighted that Too $hort and Billie Joe Armstrong will be joining our ownership group, along with thousands of Oakland fan owners,” said Ballers co-founder Paul Freedman in\u003ca href=\"https://www.oaklandballers.com/news/2025/03/too-short-billie-joe-armstrong-owner-community-invest\" target=\"_blank\" rel=\"noopener\"> a statement\u003c/a>. “These two local legends were real supporters in our first season, and it’s great to now have them on board in a more formal capacity.”\u003c/p>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "singleTwitterStatus",
"attributes": {
"named": {
"id": "1809772352051507422"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>In an interview with \u003cem>\u003ca href=\"https://www.hollywoodreporter.com/news/general-news/billie-joe-armstrong-too-short-oakland-ballers-1236155122/\" target=\"_blank\" rel=\"noopener\">The Hollywood Reporter\u003c/a>, \u003c/em>Armstrong said that “after the A’s left, the town was heartbroken. The Ballers are going to bring good vibes back to Oakland and the broader East Bay.”\u003c/p>\n\u003cp>Too Short echoed his sentiments, telling the publication, “If I can’t brag on a big-league franchise I can brag on being a Baller.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "news_11988883",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>The Ballers other co-founder, Carmel, said, “This isn’t a case of celebrities coming in to save the day. It’s a local team, and Billie Joe and Too $hort are just some better-known locals.”\u003c/p>\n\u003cp>Armstrong himself showed up to a ballers game last year in West Oakland, the neighborhood that inspired the Green Day song “Welcome to Paradise.” He is also an investor in the soccer club the \u003ca href=\"https://www.oaklandrootssc.com/\">Oakland Roots\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The first game of the Oakland Ballers’ second season is scheduled for\u003ca href=\"https://www.oaklandballers.com/sports/bsb/2025/schedule\" target=\"_blank\" rel=\"noopener\"> May 20\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13972636/billie-joe-armstrong-too-short-oakland-ballers-baseball",
"authors": [
"11491"
],
"categories": [
"arts_1",
"arts_69",
"arts_235",
"arts_75",
"arts_13238"
],
"tags": [
"arts_10092",
"arts_1543",
"arts_1143",
"arts_1551",
"arts_21764",
"arts_3478"
],
"featImg": "arts_13972647",
"label": "arts"
},
"arts_13967900": {
"type": "posts",
"id": "arts_13967900",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13967900",
"score": null,
"sort": [
1731097785000
]
},
"guestAuthors": [],
"slug": "bay-area-grammy-nominees-sheila-e-ambrose-akinmusire-green-day-kehlani",
"title": "Bay Area Grammy Nominees: Sheila E., Ambrose Akinmusire, Green Day, More",
"publishDate": 1731097785,
"format": "standard",
"headTitle": "Bay Area Grammy Nominees: Sheila E., Ambrose Akinmusire, Green Day, More | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>The Recording Academy announced the nominees for the 2025 Grammy Awards on Friday, led by an outstanding 11 nominations for the winningest artist in history herself, Beyoncé.\u003c/p>\n\u003cp>More than a few Bay Area artists managed to nab nominations across the 94 award categories, with Green Day and Kehlani scoring 3 nominations each and Sheila E., Taj Mahal and the San Francisco Symphony each landing a pair.\u003c/p>\n\u003cp>The winners of the 67th Grammy Awards will be announced on Feb. 2, 2025, before and during the televised ceremony.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/green-day\">Green Day\u003c/a>, the five-time Grammy-winning pop-punk band \u003ca href=\"https://www.kqed.org/news/12005849/pinole-honors-punk-icons-green-day-with-key-to-the-city\">recently honored in Pinole\u003c/a> with a key to the city, earned three nominations in the rock genre categories after their last two albums were overlooked. \u003cem>Saviors\u003c/em>, the band’s fourteenth studio album, landed a nomination for Best Rock Album. Two of its singles, “The American Dream Is Killing Me” and “Dilemma,” were recognized in Best Rock Performance and Best Rock Song categories, bringing the band’s all-time total to a staggering 20 nominations.\u003c/p>\n\u003cfigure id=\"attachment_13957856\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1638215938-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1688\" class=\"size-full wp-image-13957856\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1638215938-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1638215938-800x527.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1638215938-1020x673.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1638215938-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1638215938-768x506.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1638215938-1536x1013.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1638215938-2048x1350.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1638215938-1920x1266.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Kehlani performs during the Sol Blume Music festival at Discovery Park on August 20, 2023 in Sacramento, California. \u003ccite>(Tim Mosenfelder/WireImage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Oakland’s own \u003ca href=\"https://www.kqed.org/arts/tag/kehlani\">Kehlani\u003c/a>, who still proudly reps the Bay despite relocating to Los Angeles, scored three nominations as well. The R&B superstar, whose homecoming show at Chase Center last week featured surprise appearances from LaRussell, Mistah F.A.B. and Kamaiyah, found success with her latest studio album \u003cem>Crash\u003c/em>. The album was nominated in the Best Progressive R&B Album category, while its lead single, “After Hours,” landed in the Best R&B Song category. In addition, Kehlani’s featured role in the remixed version of British rapper Jordan Adetunji’s song “KEHLANI,” dedicated to the star, earned her a spot in the Best Melodic Rap Performance category. Yes, that’s right — Kehlani got a nomination for a song named after her.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Another Oakland artist picking up multiple nominations is \u003ca href=\"https://www.kqed.org/arts/13966525/sheila-e-tiny-desk-concert-npr-bailar\">Sheila E.\u003c/a>, who, alongside her father, percussionist Pete Escovedo, was awarded the Latin Grammy Lifetime Achievement Award in 2021. This year, her album \u003cem>Bailar\u003c/em> is nominated for Best Tropical Latin Album, while “Bemba Colorá,” her collaboration with Gloria Estefan and Mimy Succar, was chosen in the Best Global Music Performance category.\u003c/p>\n\u003cp>San Francisco-based \u003ca href=\"https://www.kqed.org/arts/tag/metallica\">Metallica\u003c/a>, who added a tenth Grammy Award to their ever-growing list of accolades earlier this year, scored another nomination in the Best Metal Performance category with “Screaming Suicide.”\u003c/p>\n\u003cfigure id=\"attachment_13895353\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Taj-Mahal-Quartet-at-the-SFJAZZ-Center-in-San-Francisco-CA-on-March-1-2020-credit-Bill-Evans.jpg\" alt=\"A jazz quartet performs onstage in a modern theater with purple lighting.\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13895353\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Taj-Mahal-Quartet-at-the-SFJAZZ-Center-in-San-Francisco-CA-on-March-1-2020-credit-Bill-Evans.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Taj-Mahal-Quartet-at-the-SFJAZZ-Center-in-San-Francisco-CA-on-March-1-2020-credit-Bill-Evans-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Taj-Mahal-Quartet-at-the-SFJAZZ-Center-in-San-Francisco-CA-on-March-1-2020-credit-Bill-Evans-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Taj-Mahal-Quartet-at-the-SFJAZZ-Center-in-San-Francisco-CA-on-March-1-2020-credit-Bill-Evans-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Taj-Mahal-Quartet-at-the-SFJAZZ-Center-in-San-Francisco-CA-on-March-1-2020-credit-Bill-Evans-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Taj-Mahal-Quartet-at-the-SFJAZZ-Center-in-San-Francisco-CA-on-March-1-2020-credit-Bill-Evans-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Taj Mahal performs on the SFJAZZ Center’s Robert N. Miner Auditorium stage in San Francisco, CA on March 1, 2020. \u003ccite>(Bill Evans)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Blues musician \u003ca href=\"https://www.npr.org/2013/06/30/196647551/taj-mahal-still-cooking-up-heirloom-music-his-own-way\">Taj Mahal\u003c/a>, who lives in Berkeley, landed a nomination with the Taj Mahal Sextet for \u003cem>Swingin’ Live at the Church in Tulsa\u003c/em> in the Best Traditional Blues Album category. Mahal also earned a nomination for Best American Roots Performance for his featured role on The Fabulous Thunderbirds’ “Nothing in Rambling,” bringing up his career total to 17 nominations and four wins.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13940505/julian-lage-sfjazz-san-francisco\">Julian Lage\u003c/a>, a Santa Rosa-bred jazz guitarist, was nominated for his album \u003cem>Speak to Me\u003c/em> in the Best Contemporary Instrumental Album category — his seventh nomination, which could turn into his first-ever Grammy win.\u003c/p>\n\u003cp>The \u003ca href=\"https://www.kqed.org/arts/tag/san-francisco-symphony\">San Francisco Symphony\u003c/a> and conductor \u003ca href=\"https://www.kqed.org/arts/tag/esa-pekka-salonen\">Esa-Pekka Salonen\u003c/a> notched two nominations for Best Orchestral Performance and Best Opera Recording for his recording of Stravinsky’s “The Firebird” and Finnish composer Kaija Saariaho’s “Adriana Mater,” respectively. (Saariaho, who died last year, was also nominated in the Best Contemporary Classical Composition category for the recording).\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Also in the Best Opera Recording category is longtime Berkeley resident \u003ca href=\"https://www.kqed.org/arts/tag/john-adams\">John Adams\u003c/a>, the world-renowned composer and conductor. The Los Angeles Philharmonic’s recording of Adams’ \u003cem>Girls Of The Golden West\u003c/em>, which he conducted, secured Adams his 15th nomination.\u003c/p>\n\n",
"blocks": [],
"excerpt": "Musicians from the Bay Area have secured over a dozen Grammy nominations. ",
"status": "publish",
"parent": 0,
"modified": 1731099694,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 13,
"wordCount": 662
},
"headData": {
"title": "Bay Area Grammy Nominees: Sheila E., Ambrose Akinmusire, Green Day, More | KQED",
"description": "Musicians from the Bay Area have secured over a dozen Grammy nominations. ",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Bay Area Grammy Nominees: Sheila E., Ambrose Akinmusire, Green Day, More",
"datePublished": "2024-11-08T12:29:45-08:00",
"dateModified": "2024-11-08T13:01:34-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprStoryId": "kqed-13967900",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13967900/bay-area-grammy-nominees-sheila-e-ambrose-akinmusire-green-day-kehlani",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Recording Academy announced the nominees for the 2025 Grammy Awards on Friday, led by an outstanding 11 nominations for the winningest artist in history herself, Beyoncé.\u003c/p>\n\u003cp>More than a few Bay Area artists managed to nab nominations across the 94 award categories, with Green Day and Kehlani scoring 3 nominations each and Sheila E., Taj Mahal and the San Francisco Symphony each landing a pair.\u003c/p>\n\u003cp>The winners of the 67th Grammy Awards will be announced on Feb. 2, 2025, before and during the televised ceremony.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/green-day\">Green Day\u003c/a>, the five-time Grammy-winning pop-punk band \u003ca href=\"https://www.kqed.org/news/12005849/pinole-honors-punk-icons-green-day-with-key-to-the-city\">recently honored in Pinole\u003c/a> with a key to the city, earned three nominations in the rock genre categories after their last two albums were overlooked. \u003cem>Saviors\u003c/em>, the band’s fourteenth studio album, landed a nomination for Best Rock Album. Two of its singles, “The American Dream Is Killing Me” and “Dilemma,” were recognized in Best Rock Performance and Best Rock Song categories, bringing the band’s all-time total to a staggering 20 nominations.\u003c/p>\n\u003cfigure id=\"attachment_13957856\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1638215938-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1688\" class=\"size-full wp-image-13957856\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1638215938-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1638215938-800x527.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1638215938-1020x673.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1638215938-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1638215938-768x506.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1638215938-1536x1013.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1638215938-2048x1350.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/05/GettyImages-1638215938-1920x1266.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Kehlani performs during the Sol Blume Music festival at Discovery Park on August 20, 2023 in Sacramento, California. \u003ccite>(Tim Mosenfelder/WireImage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Oakland’s own \u003ca href=\"https://www.kqed.org/arts/tag/kehlani\">Kehlani\u003c/a>, who still proudly reps the Bay despite relocating to Los Angeles, scored three nominations as well. The R&B superstar, whose homecoming show at Chase Center last week featured surprise appearances from LaRussell, Mistah F.A.B. and Kamaiyah, found success with her latest studio album \u003cem>Crash\u003c/em>. The album was nominated in the Best Progressive R&B Album category, while its lead single, “After Hours,” landed in the Best R&B Song category. In addition, Kehlani’s featured role in the remixed version of British rapper Jordan Adetunji’s song “KEHLANI,” dedicated to the star, earned her a spot in the Best Melodic Rap Performance category. Yes, that’s right — Kehlani got a nomination for a song named after her.\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>Another Oakland artist picking up multiple nominations is \u003ca href=\"https://www.kqed.org/arts/13966525/sheila-e-tiny-desk-concert-npr-bailar\">Sheila E.\u003c/a>, who, alongside her father, percussionist Pete Escovedo, was awarded the Latin Grammy Lifetime Achievement Award in 2021. This year, her album \u003cem>Bailar\u003c/em> is nominated for Best Tropical Latin Album, while “Bemba Colorá,” her collaboration with Gloria Estefan and Mimy Succar, was chosen in the Best Global Music Performance category.\u003c/p>\n\u003cp>San Francisco-based \u003ca href=\"https://www.kqed.org/arts/tag/metallica\">Metallica\u003c/a>, who added a tenth Grammy Award to their ever-growing list of accolades earlier this year, scored another nomination in the Best Metal Performance category with “Screaming Suicide.”\u003c/p>\n\u003cfigure id=\"attachment_13895353\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Taj-Mahal-Quartet-at-the-SFJAZZ-Center-in-San-Francisco-CA-on-March-1-2020-credit-Bill-Evans.jpg\" alt=\"A jazz quartet performs onstage in a modern theater with purple lighting.\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13895353\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Taj-Mahal-Quartet-at-the-SFJAZZ-Center-in-San-Francisco-CA-on-March-1-2020-credit-Bill-Evans.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Taj-Mahal-Quartet-at-the-SFJAZZ-Center-in-San-Francisco-CA-on-March-1-2020-credit-Bill-Evans-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Taj-Mahal-Quartet-at-the-SFJAZZ-Center-in-San-Francisco-CA-on-March-1-2020-credit-Bill-Evans-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Taj-Mahal-Quartet-at-the-SFJAZZ-Center-in-San-Francisco-CA-on-March-1-2020-credit-Bill-Evans-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Taj-Mahal-Quartet-at-the-SFJAZZ-Center-in-San-Francisco-CA-on-March-1-2020-credit-Bill-Evans-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Taj-Mahal-Quartet-at-the-SFJAZZ-Center-in-San-Francisco-CA-on-March-1-2020-credit-Bill-Evans-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Taj Mahal performs on the SFJAZZ Center’s Robert N. Miner Auditorium stage in San Francisco, CA on March 1, 2020. \u003ccite>(Bill Evans)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Blues musician \u003ca href=\"https://www.npr.org/2013/06/30/196647551/taj-mahal-still-cooking-up-heirloom-music-his-own-way\">Taj Mahal\u003c/a>, who lives in Berkeley, landed a nomination with the Taj Mahal Sextet for \u003cem>Swingin’ Live at the Church in Tulsa\u003c/em> in the Best Traditional Blues Album category. Mahal also earned a nomination for Best American Roots Performance for his featured role on The Fabulous Thunderbirds’ “Nothing in Rambling,” bringing up his career total to 17 nominations and four wins.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13940505/julian-lage-sfjazz-san-francisco\">Julian Lage\u003c/a>, a Santa Rosa-bred jazz guitarist, was nominated for his album \u003cem>Speak to Me\u003c/em> in the Best Contemporary Instrumental Album category — his seventh nomination, which could turn into his first-ever Grammy win.\u003c/p>\n\u003cp>The \u003ca href=\"https://www.kqed.org/arts/tag/san-francisco-symphony\">San Francisco Symphony\u003c/a> and conductor \u003ca href=\"https://www.kqed.org/arts/tag/esa-pekka-salonen\">Esa-Pekka Salonen\u003c/a> notched two nominations for Best Orchestral Performance and Best Opera Recording for his recording of Stravinsky’s “The Firebird” and Finnish composer Kaija Saariaho’s “Adriana Mater,” respectively. (Saariaho, who died last year, was also nominated in the Best Contemporary Classical Composition category for the recording).\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Also in the Best Opera Recording category is longtime Berkeley resident \u003ca href=\"https://www.kqed.org/arts/tag/john-adams\">John Adams\u003c/a>, the world-renowned composer and conductor. The Los Angeles Philharmonic’s recording of Adams’ \u003cem>Girls Of The Golden West\u003c/em>, which he conducted, secured Adams his 15th nomination.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13967900/bay-area-grammy-nominees-sheila-e-ambrose-akinmusire-green-day-kehlani",
"authors": [
"11883"
],
"categories": [
"arts_1",
"arts_69",
"arts_235"
],
"tags": [
"arts_6180",
"arts_21916",
"arts_1543",
"arts_1677",
"arts_1829",
"arts_1010",
"arts_1367"
],
"featImg": "arts_13967933",
"label": "arts"
},
"arts_13955312": {
"type": "posts",
"id": "arts_13955312",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13955312",
"score": null,
"sort": [
1712139760000
]
},
"guestAuthors": [],
"slug": "review-green-day-fillmore-photos-san-francisco",
"title": "Live Review: Green Day Thrills the Fillmore In an Intimate Two-Hour Show",
"publishDate": 1712139760,
"format": "standard",
"headTitle": "Live Review: Green Day Thrills the Fillmore In an Intimate Two-Hour Show | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>It wasn’t until we all shuffled down the stairs of the Fillmore, ears ringing from an epic two-hour Green Day set, sweat dripping off our shirts and the cold San Francisco night air hitting our bewildered faces, that I realized just what we’d all just witnessed. \u003c/p>\n\u003cp>After all, it’s not often that Green Day, who \u003ca href=\"https://greenday.com/tour\">headline a tour of huge baseball stadiums\u003c/a> later this summer, play a small show at a 1,300-capacity room like the Fillmore. Outside at the 8 p.m. showtime on Tuesday night, over a dozen people walked the sidewalk with hopeful signs: “Dad who needs 1 ticket,” “Name Your Price,” and “Help! Need a ticket to join my wife and 8-year-old stepson for the show… and it’s our wedding anniversary today! Please!!”\u003c/p>\n\u003cfigure id=\"attachment_13955324\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6103.jpg\" alt=\"\" width=\"2560\" height=\"1920\" class=\"size-full wp-image-13955324\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6103.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6103-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6103-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6103-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6103-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6103-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6103-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6103-1920x1440.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Christian Williams from San Leandro was one of many hopefuls outside the Green Day show at the Fillmore in San Francisco on Tuesday, April 2, 2024. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Those who did get in, however, were treated to two hours of the Bay Area’s greatest rock ‘n’ roll export (sorry, Metallica), and at one of the country’s best venues, no less.\u003c/p>\n\u003cp>Here’s what I can say definitively. In the past 35 years — starting in 1989, yeesh — I’ve seen Green Day at youth centers, warehouses, house parties, high schools and Rotary Club halls. And though they know how to rock a stadium just fine, they always thrive in small spaces, face-to-face with the crowd and making the tiniest room feel like the entire universe. \u003c/p>\n\u003cfigure id=\"attachment_13955319\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-13.jpg\" alt=\"\" width=\"1920\" height=\"1281\" class=\"size-full wp-image-13955319\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-13.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-13-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-13-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-13-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-13-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-13-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Billie Joe Armstrong performs with Green Day at The Fillmore in San Francisco on Tuesday, April 2, 2024. \u003ccite>(Greg Schneider)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Fillmore show Tuesday night — a benefit for United Nations Human Rights climate justice initiatives and the Recording Academy’s MusiCares charity — was no exception. As Green Day \u003ca href=\"https://www.youtube.com/watch?v=Ecqil_eZgYs\">had announced\u003c/a> the day prior, they played the entirety of their new album \u003cem>Saviors\u003c/em>, and the entirety of their 2004 opus \u003cem>American Idiot\u003c/em>. Big, anthemic stuff. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But without needing to play to the nosebleed seats in Section 327 above third base, they were able to give focus to epic songs like “Jesus of Suburbia” and “Homecoming.” Dressed in a sport jacket and Cramps T-shirt, Billie Joe Armstrong didn’t have to engage in much rockstar cosplay — for a hometown crowd, he still felt like just plain Billie from Rodeo, who you might bump into at Winchell’s after the Corrupted Morals show at Gilman.\u003c/p>\n\u003cfigure id=\"attachment_13955317\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-11.jpg\" alt=\"\" width=\"1280\" height=\"1920\" class=\"size-full wp-image-13955317\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-11.jpg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-11-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-11-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-11-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-11-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-11-1024x1536.jpg 1024w\" sizes=\"auto, (max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">Mike Dirnt performs with Green Day at The Fillmore in San Francisco on Tuesday, April 2, 2024. \u003ccite>(Greg Schneider)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What was evident onstage — what he and Mike and Tré have picked up along the way since those early days — is not only a tight musicianship bordering on the miraculous, but a thespian’s skill for selling their songs and connecting with an audience.\u003c/p>\n\u003cp>[aside postID='arts_13950877']During the \u003cem>Saviors\u003c/em> track “Bobby Sox,” a fan in the second row waved a bisexual flag in fervent recognition of \u003ca href=\"https://americansongwriter.com/billie-joe-armstrong-opens-up-about-being-a-bisexual-icon-discusses-green-days-new-anthem-bobby-sox/\">the song’s love-who-you-want themes\u003c/a>. For “Father to a Son,” echoes were present of Armstrong’s son’s opening band, Ultra Q. Acknowledging the upcoming election that nobody wants to think about, during “Letterbomb,” Billie interjected, “Whose finger do you want to be on the nuclear bomb?!”\u003c/p>\n\u003cp>These sorts of things might come off as corny if they weren’t so sincere. Singing the final lines of the West Contra Costa anthem “Jesus of Suburbia,” about running away from the pain of a broken home, Billie appeared to briefly lose his voice; it was soon apparent that he was instead choking back tears.\u003c/p>\n\u003cfigure id=\"attachment_13955318\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-15.jpg\" alt=\"\" width=\"1920\" height=\"1281\" class=\"size-full wp-image-13955318\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-15.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-15-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-15-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-15-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-15-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-15-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Billie Joe Armstrong performs with Green Day at The Fillmore in San Francisco on Tuesday, April 2, 2024. \u003ccite>(Greg Schneider)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>This is how you do it\u003c/em>, Green Day seemed to say on Tuesday. \u003cem>Write songs about your turbulent life, find a supportive circle, stick with your convictions, play damn loud and sing even louder to anyone who’ll listen, in every city around the world, record an unrivaled catalog of songs, and then, when you’re too famous to do so, play at the Fillmore anyway, this place where you once \u003ca href=\"https://www.instagram.com/p/C5RvizvvnLI/\">saw the Replacements and the Church as a teenager and got stoned off a stranger’s joint\u003c/a>, and get out there on stage and scream from the monitors and leap unimaginably high into the air and play like your life depends on it because somewhere, out in the crowd, is another 15-year-old kid with disapproving parents who doesn’t fit in at school, and who needs the same thing you needed when you were baptized into the gospel of rock ‘n’ roll liberation. \u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13955322\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-07.jpg\" alt=\"\" width=\"1920\" height=\"1281\" class=\"size-full wp-image-13955322\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-07.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-07-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-07-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-07-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-07-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-07-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Green Day performs at The Fillmore in San Francisco on Tuesday, April 2, 2024. \u003ccite>(Greg Schneider)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After the show, out on the Fillmore overcrossing above Geary, was living proof of those types of kids: \u003ca href=\"https://www.facebook.com/people/Mary-Jane-Mafia/100086618806194/\">Mary Jane Mafia\u003c/a>, a Green Day tribute band from Fremont playing a pop-up show of covers like “Walking Contradiction” and “2,000 Light Years Away” on the sidewalk to a dancing group of onlookers and a few bemused cops. \u003c/p>\n\u003cp>See, they didn’t get in. They didn’t get to hear Green Day play new songs that have no business being as good as they are, like the \u003ca href=\"https://www.youtube.com/watch?v=UrkDYKwAN-o\">brutally honest\u003c/a> “Dilemma,” or jump in the pit for “St. Jimmy,” or sing along for the zillionth time to encore “Basket Case.” But what Green Day does is a thread, one that weaves from the Clash to the Replacements to Operation Ivy and onward to a thousand bands on sidewalks and in garages around the world. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>So yeah — it was a show, but it was also a \u003cem>lineage\u003c/em>. I really wish you coulda seen it. \u003c/p>\n\n",
"blocks": [],
"excerpt": "Playing 'American Idiot' and 'Saviors' back-to-back, the band thrived in the small venue for a hometown crowd.",
"status": "publish",
"parent": 0,
"modified": 1757343058,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 15,
"wordCount": 1031
},
"headData": {
"title": "Live Review: Green Day Thrills the Fillmore In an Intimate Two-Hour Show | KQED",
"description": "Playing 'American Idiot' and 'Saviors' back-to-back, the band thrived in the small venue for a hometown crowd.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Live Review: Green Day Thrills the Fillmore In an Intimate Two-Hour Show",
"datePublished": "2024-04-03T03:22:40-07:00",
"dateModified": "2025-09-08T07:50:58-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"primaryCategory": {
"termId": 1,
"slug": "arts",
"name": "Arts"
},
"sticky": false,
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13955312/review-green-day-fillmore-photos-san-francisco",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It wasn’t until we all shuffled down the stairs of the Fillmore, ears ringing from an epic two-hour Green Day set, sweat dripping off our shirts and the cold San Francisco night air hitting our bewildered faces, that I realized just what we’d all just witnessed. \u003c/p>\n\u003cp>After all, it’s not often that Green Day, who \u003ca href=\"https://greenday.com/tour\">headline a tour of huge baseball stadiums\u003c/a> later this summer, play a small show at a 1,300-capacity room like the Fillmore. Outside at the 8 p.m. showtime on Tuesday night, over a dozen people walked the sidewalk with hopeful signs: “Dad who needs 1 ticket,” “Name Your Price,” and “Help! Need a ticket to join my wife and 8-year-old stepson for the show… and it’s our wedding anniversary today! Please!!”\u003c/p>\n\u003cfigure id=\"attachment_13955324\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6103.jpg\" alt=\"\" width=\"2560\" height=\"1920\" class=\"size-full wp-image-13955324\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6103.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6103-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6103-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6103-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6103-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6103-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6103-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/IMG_6103-1920x1440.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Christian Williams from San Leandro was one of many hopefuls outside the Green Day show at the Fillmore in San Francisco on Tuesday, April 2, 2024. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Those who did get in, however, were treated to two hours of the Bay Area’s greatest rock ‘n’ roll export (sorry, Metallica), and at one of the country’s best venues, no less.\u003c/p>\n\u003cp>Here’s what I can say definitively. In the past 35 years — starting in 1989, yeesh — I’ve seen Green Day at youth centers, warehouses, house parties, high schools and Rotary Club halls. And though they know how to rock a stadium just fine, they always thrive in small spaces, face-to-face with the crowd and making the tiniest room feel like the entire universe. \u003c/p>\n\u003cfigure id=\"attachment_13955319\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-13.jpg\" alt=\"\" width=\"1920\" height=\"1281\" class=\"size-full wp-image-13955319\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-13.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-13-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-13-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-13-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-13-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-13-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Billie Joe Armstrong performs with Green Day at The Fillmore in San Francisco on Tuesday, April 2, 2024. \u003ccite>(Greg Schneider)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Fillmore show Tuesday night — a benefit for United Nations Human Rights climate justice initiatives and the Recording Academy’s MusiCares charity — was no exception. As Green Day \u003ca href=\"https://www.youtube.com/watch?v=Ecqil_eZgYs\">had announced\u003c/a> the day prior, they played the entirety of their new album \u003cem>Saviors\u003c/em>, and the entirety of their 2004 opus \u003cem>American Idiot\u003c/em>. Big, anthemic stuff. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But without needing to play to the nosebleed seats in Section 327 above third base, they were able to give focus to epic songs like “Jesus of Suburbia” and “Homecoming.” Dressed in a sport jacket and Cramps T-shirt, Billie Joe Armstrong didn’t have to engage in much rockstar cosplay — for a hometown crowd, he still felt like just plain Billie from Rodeo, who you might bump into at Winchell’s after the Corrupted Morals show at Gilman.\u003c/p>\n\u003cfigure id=\"attachment_13955317\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-11.jpg\" alt=\"\" width=\"1280\" height=\"1920\" class=\"size-full wp-image-13955317\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-11.jpg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-11-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-11-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-11-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-11-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-11-1024x1536.jpg 1024w\" sizes=\"auto, (max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">Mike Dirnt performs with Green Day at The Fillmore in San Francisco on Tuesday, April 2, 2024. \u003ccite>(Greg Schneider)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What was evident onstage — what he and Mike and Tré have picked up along the way since those early days — is not only a tight musicianship bordering on the miraculous, but a thespian’s skill for selling their songs and connecting with an audience.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13950877",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>During the \u003cem>Saviors\u003c/em> track “Bobby Sox,” a fan in the second row waved a bisexual flag in fervent recognition of \u003ca href=\"https://americansongwriter.com/billie-joe-armstrong-opens-up-about-being-a-bisexual-icon-discusses-green-days-new-anthem-bobby-sox/\">the song’s love-who-you-want themes\u003c/a>. For “Father to a Son,” echoes were present of Armstrong’s son’s opening band, Ultra Q. Acknowledging the upcoming election that nobody wants to think about, during “Letterbomb,” Billie interjected, “Whose finger do you want to be on the nuclear bomb?!”\u003c/p>\n\u003cp>These sorts of things might come off as corny if they weren’t so sincere. Singing the final lines of the West Contra Costa anthem “Jesus of Suburbia,” about running away from the pain of a broken home, Billie appeared to briefly lose his voice; it was soon apparent that he was instead choking back tears.\u003c/p>\n\u003cfigure id=\"attachment_13955318\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-15.jpg\" alt=\"\" width=\"1920\" height=\"1281\" class=\"size-full wp-image-13955318\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-15.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-15-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-15-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-15-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-15-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-15-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Billie Joe Armstrong performs with Green Day at The Fillmore in San Francisco on Tuesday, April 2, 2024. \u003ccite>(Greg Schneider)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>This is how you do it\u003c/em>, Green Day seemed to say on Tuesday. \u003cem>Write songs about your turbulent life, find a supportive circle, stick with your convictions, play damn loud and sing even louder to anyone who’ll listen, in every city around the world, record an unrivaled catalog of songs, and then, when you’re too famous to do so, play at the Fillmore anyway, this place where you once \u003ca href=\"https://www.instagram.com/p/C5RvizvvnLI/\">saw the Replacements and the Church as a teenager and got stoned off a stranger’s joint\u003c/a>, and get out there on stage and scream from the monitors and leap unimaginably high into the air and play like your life depends on it because somewhere, out in the crowd, is another 15-year-old kid with disapproving parents who doesn’t fit in at school, and who needs the same thing you needed when you were baptized into the gospel of rock ‘n’ roll liberation. \u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13955322\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-07.jpg\" alt=\"\" width=\"1920\" height=\"1281\" class=\"size-full wp-image-13955322\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-07.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-07-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-07-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-07-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-07-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Greg-Schneider-07-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Green Day performs at The Fillmore in San Francisco on Tuesday, April 2, 2024. \u003ccite>(Greg Schneider)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After the show, out on the Fillmore overcrossing above Geary, was living proof of those types of kids: \u003ca href=\"https://www.facebook.com/people/Mary-Jane-Mafia/100086618806194/\">Mary Jane Mafia\u003c/a>, a Green Day tribute band from Fremont playing a pop-up show of covers like “Walking Contradiction” and “2,000 Light Years Away” on the sidewalk to a dancing group of onlookers and a few bemused cops. \u003c/p>\n\u003cp>See, they didn’t get in. They didn’t get to hear Green Day play new songs that have no business being as good as they are, like the \u003ca href=\"https://www.youtube.com/watch?v=UrkDYKwAN-o\">brutally honest\u003c/a> “Dilemma,” or jump in the pit for “St. Jimmy,” or sing along for the zillionth time to encore “Basket Case.” But what Green Day does is a thread, one that weaves from the Clash to the Replacements to Operation Ivy and onward to a thousand bands on sidewalks and in garages around the world. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>So yeah — it was a show, but it was also a \u003cem>lineage\u003c/em>. I really wish you coulda seen it. \u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13955312/review-green-day-fillmore-photos-san-francisco",
"authors": [
"185"
],
"categories": [
"arts_1",
"arts_69",
"arts_235"
],
"tags": [
"arts_9964",
"arts_10278",
"arts_1543",
"arts_22057",
"arts_769",
"arts_1146",
"arts_2996"
],
"featImg": "arts_13955323",
"label": "arts"
},
"arts_13954949": {
"type": "posts",
"id": "arts_13954949",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13954949",
"score": null,
"sort": [
1711654616000
]
},
"guestAuthors": [],
"slug": "green-day-fillmore-sf-get-tickets-livenation",
"title": "Ticket Alert: Green Day Is Playing The Fillmore on April 2",
"publishDate": 1711654616,
"format": "standard",
"headTitle": "Ticket Alert: Green Day Is Playing The Fillmore on April 2 | KQED",
"labelTerm": {
"term": 140,
"site": "arts"
},
"content": "\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/green-day\">Green Day\u003c/a> will headline a United Nations Human Rights-backed global climate concert on April 2 at the Fillmore in San Francisco.\u003c/p>\n\u003cp>The intimate event, which is co-hosted by the Recording Academy, aims to bring attention to the inequalities exasperated by climate change.\u003c/p>\n\u003cp>[aside postid='arts_13955312']Ultra Q, an alternative rock band fronted by Billie Joe Armstrong’s son Jakob Danger, will open.\u003c/p>\n\u003cp>Proceeds from the concert will go to United Nations Human Rights climate justice initiatives and a \u003ca href=\"https://www.musicares.org/\">MusiCares\u003c/a> climate fund to benefit musicians affected by climate change.\u003c/p>\n\u003cp>The \u003ca href=\"https://www.righthererightnow.global/\">Right Here, Right Now Global Climate Alliance\u003c/a> will honor Green Day for their “long-standing commitment to social justice and environmental causes,” according to a press release.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“As world renowned artists and activists, Green Day continues to leverage its major influence and platform to bring awareness to the impact of climate change on the people and the environment,” Volker Türk, the United Nations High Commissioner for Human Rights said in a statement.\u003c/p>\n\u003cp>“The United Nations was founded in San Francisco almost 80 years ago to safeguard human rights and dignity from crisis and tragedy. It is only fitting that we are back in San Francisco.”\u003c/p>\n\u003cp>“Music is one of humanity’s greatest resources. It moves the world,” Harvey Mason jr., CEO of the Recording Academy added. “And we are grateful for Green Day’s longstanding dedication to promoting social justice.”\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>\n\u003cp>\u003cem>Tickets for Green Day’s April 2 show at The Fillmore go on sale \u003ca href=\"https://concerts.livenation.com/green-day-san-francisco-california-04-02-2024/event/1C006079927614B5?_gl=1*1qfbzox*_gcl_au*ODk2MjAxNjIuMTcwOTE0NDk2Mw..*_ga*MTM0NTgwNzQuMTcwOTE0NDk2Mw..*_ga_C1T806G4DF*MTcxMTY1MzQ1Ny4xLjAuMTcxMTY1MzQ2NS41Mi4wLjA.*_ga_H1KKSGW33X*MTcxMTY1MzQ1Ny4xLjAuMTcxMTY1MzQ2NS41Mi4wLjA.&_ga=2.49975855.827973097.1711653457-13458074.1709144963\">via LiveNation.com\u003c/a> on March 29, at 12 p.m.\u003c/em> \u003cem>Tickets will not be available from The Fillmore’s box office. \u003c/em>\u003c/p>\n\n",
"blocks": [],
"excerpt": "The Bay Area punk legends will headline the United Nations-backed show to benefit climate-related causes.",
"status": "publish",
"parent": 0,
"modified": 1729111656,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 12,
"wordCount": 287
},
"headData": {
"title": "Where to Get Tickets for Green Day at The Fillmore | KQED",
"description": "The Bay Area punk legends will headline the United Nations-backed show to benefit climate-related causes.",
"ogTitle": "Ticket Alert: Green Day Is Playing The Fillmore on April 2",
"ogDescription": "",
"ogImgId": "",
"twTitle": "Ticket Alert: Green Day Is Playing The Fillmore on April 2",
"twDescription": "",
"twImgId": "",
"socialTitle": "Where to Get Tickets for Green Day at The Fillmore %%page%% %%sep%% KQED",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Ticket Alert: Green Day Is Playing The Fillmore on April 2",
"datePublished": "2024-03-28T12:36:56-07:00",
"dateModified": "2024-10-16T13:47:36-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"nprByline": "Maria Sherman, Associated Press",
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"showOnAuthorArchivePages": "No",
"articleAge": "0",
"path": "/arts/13954949/green-day-fillmore-sf-get-tickets-livenation",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/green-day\">Green Day\u003c/a> will headline a United Nations Human Rights-backed global climate concert on April 2 at the Fillmore in San Francisco.\u003c/p>\n\u003cp>The intimate event, which is co-hosted by the Recording Academy, aims to bring attention to the inequalities exasperated by climate change.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13955312",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>Ultra Q, an alternative rock band fronted by Billie Joe Armstrong’s son Jakob Danger, will open.\u003c/p>\n\u003cp>Proceeds from the concert will go to United Nations Human Rights climate justice initiatives and a \u003ca href=\"https://www.musicares.org/\">MusiCares\u003c/a> climate fund to benefit musicians affected by climate change.\u003c/p>\n\u003cp>The \u003ca href=\"https://www.righthererightnow.global/\">Right Here, Right Now Global Climate Alliance\u003c/a> will honor Green Day for their “long-standing commitment to social justice and environmental causes,” according to a press release.\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>“As world renowned artists and activists, Green Day continues to leverage its major influence and platform to bring awareness to the impact of climate change on the people and the environment,” Volker Türk, the United Nations High Commissioner for Human Rights said in a statement.\u003c/p>\n\u003cp>“The United Nations was founded in San Francisco almost 80 years ago to safeguard human rights and dignity from crisis and tragedy. It is only fitting that we are back in San Francisco.”\u003c/p>\n\u003cp>“Music is one of humanity’s greatest resources. It moves the world,” Harvey Mason jr., CEO of the Recording Academy added. “And we are grateful for Green Day’s longstanding dedication to promoting social justice.”\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>\n\u003cp>\u003cem>Tickets for Green Day’s April 2 show at The Fillmore go on sale \u003ca href=\"https://concerts.livenation.com/green-day-san-francisco-california-04-02-2024/event/1C006079927614B5?_gl=1*1qfbzox*_gcl_au*ODk2MjAxNjIuMTcwOTE0NDk2Mw..*_ga*MTM0NTgwNzQuMTcwOTE0NDk2Mw..*_ga_C1T806G4DF*MTcxMTY1MzQ1Ny4xLjAuMTcxMTY1MzQ2NS41Mi4wLjA.*_ga_H1KKSGW33X*MTcxMTY1MzQ1Ny4xLjAuMTcxMTY1MzQ2NS41Mi4wLjA.&_ga=2.49975855.827973097.1711653457-13458074.1709144963\">via LiveNation.com\u003c/a> on March 29, at 12 p.m.\u003c/em> \u003cem>Tickets will not be available from The Fillmore’s box office. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13954949/green-day-fillmore-sf-get-tickets-livenation",
"authors": [
"byline_arts_13954949"
],
"programs": [
"arts_140"
],
"categories": [
"arts_1",
"arts_22351",
"arts_69",
"arts_75"
],
"tags": [
"arts_9964",
"arts_1407",
"arts_1543",
"arts_913",
"arts_1146",
"arts_585"
],
"featImg": "arts_12374066",
"label": "arts_140"
},
"arts_13917310": {
"type": "posts",
"id": "arts_13917310",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13917310",
"score": null,
"sort": [
1659978669000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1659978669,
"format": "standard",
"title": "Outside Lands 2022: Photos and Highlights From the Festival's Return to Golden Gate Park",
"headTitle": "Outside Lands 2022: Photos and Highlights From the Festival’s Return to Golden Gate Park | KQED",
"content": "\u003cp>The Outside Lands festival returned this past weekend to its traditional August dates in San Francisco’s Golden Gate Park. And while the venerable festival took one year off in 2020 due to COVID, and moved last year to October due to pandemic-related delays, this year’s return of the favorite end-of-summer festival didn’t seem to skip a beat.\u003c/p>\n\u003cp>Here’s what the scene was like, courtesy of Kristie Song and Estefany Gonzalez, with musical highlights and photos below.\u003c/p>\n\u003cfigure id=\"attachment_13917233\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917233\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Duckwrth-performs-at-Outside-Lands-on-Friday-August-5-2022.001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Duckwrth-performs-at-Outside-Lands-on-Friday-August-5-2022.001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Duckwrth-performs-at-Outside-Lands-on-Friday-August-5-2022.001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Duckwrth-performs-at-Outside-Lands-on-Friday-August-5-2022.001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Duckwrth-performs-at-Outside-Lands-on-Friday-August-5-2022.001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Duckwrth-performs-at-Outside-Lands-on-Friday-August-5-2022.001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Duckwrth-performs-at-Outside-Lands-on-Friday-August-5-2022.001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Duckwrth performs at Outside Lands on Friday, August 5, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Duckwrth Brings the Power to Land’s End Stage\u003c/h2>\n\u003cp>As a mid-afternoon drowsiness fell upon Friday’s crowd, there was no better act than Duckwrth to bring them back to life. Opening with two of his most energetic hits, “Coming Closer” and “Power Power,” the musician danced across the stage, smiling and flexing his arms as he sang and rapped. In no time, attendees began to dance and light up their joints, carefree and revitalized by his infectious aura.\u003c/p>\n\u003cp>Dressed in a custom black suit with a chrome bull on the back in a nod to his upcoming EP, Duckwrth previewed three of its singles to a delighted crowd. During “Ce Soir,” a collaboration with musician Syd that was just released that same morning, Duckwrth moved his hips to the song’s mellow beat and rapped the chorus in French as the crowd shimmied.\u003c/p>\n\u003cp>Duckwrth was joined by vocalist Olivia Walker, known as Just Liv, whose soulful singing and lively dancing only added to the invigorating atmosphere. Together, they performed slow, sexy classics like “Crush” and “Kiss U Right Now” as well as an untitled, heavy metal-tinged single. As he transferred his energy to the crowd, and as they delivered it right back, Duckwrth demonstrated that it is possible to have an audience completely wrapped around your finger.\u003cem>—K.S.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13917258\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917258\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/The-Mar%C3%ADas-perform-at-Outside-Lands-on-Friday-August-5-2022.001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-Marías-perform-at-Outside-Lands-on-Friday-August-5-2022.001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-Marías-perform-at-Outside-Lands-on-Friday-August-5-2022.001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-Marías-perform-at-Outside-Lands-on-Friday-August-5-2022.001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-Marías-perform-at-Outside-Lands-on-Friday-August-5-2022.001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-Marías-perform-at-Outside-Lands-on-Friday-August-5-2022.001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-Marías-perform-at-Outside-Lands-on-Friday-August-5-2022.001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Marías perform at Outside Lands on Friday, August 5, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Marías Bring Romantic Mystery\u003c/h2>\n\u003cp>Set against a large, blood red backdrop, Maria Zardoya of the psychedelic indie-rock band the Marías looked like an angel who had fallen into hell. In a distressed white dress with matching gloves, Zardoya carried her sultry, pixie-like voice across the crowd like a spell. Suddenly, everyone felt a little seductive and mysterious too, swaying their hips and shoulders to “All I Really Want Is You,” “Hush” and “Otro Atardecer.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Like Saturday’s headliner Kali Uchis, Zardoya sang in both English and Spanish, blending the languages into silky songs of love and yearning. Her entrancing voice was accompanied by dreamy instrumentals that felt like waking from deep slumber by the sea, especially during “Only in My Dreams.” Slow, romantic and affecting, her music belongs in the most intimate of spaces, personified by cigarette smoke and black-and-white films.\u003c/p>\n\u003cp>With grand trumpet solos from band member Gabe Steiner and low, haunting backing vocals from guitarist Jesse Perlman and drummer Josh Conway, Zardoya’s soft, distinctive voice transformed into an entity—a story. During “Cariño,” a couple in the crowd held one another close, leaning in for kisses as Zardoya sang: “You’re a masterpiece / Just by only looking at you, it’s something that gives me peace / Darling, you’re lovely / Darling, you paint in color.”\u003cem>—K.S.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13917245\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917245\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Phoebe-Bridgers-performs-at-Outside-Lands-on-Friday-August-5-2022.002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Phoebe-Bridgers-performs-at-Outside-Lands-on-Friday-August-5-2022.002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Phoebe-Bridgers-performs-at-Outside-Lands-on-Friday-August-5-2022.002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Phoebe-Bridgers-performs-at-Outside-Lands-on-Friday-August-5-2022.002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Phoebe-Bridgers-performs-at-Outside-Lands-on-Friday-August-5-2022.002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Phoebe-Bridgers-performs-at-Outside-Lands-on-Friday-August-5-2022.002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Phoebe-Bridgers-performs-at-Outside-Lands-on-Friday-August-5-2022.002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Phoebe Bridgers performs at Outside Lands on Friday, August 5, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Phoebe Bridgers Has ‘Em in the Palm of Her Hand\u003c/h2>\n\u003cp>Packed like sardines, the crowd waiting for Phoebe Bridgers on Friday night collectively screamed when she entered, dressed in a suit and bowtie, guitar in hand, silver tresses blowing in the wind. The Polo Field became a congregation, and hearing her soft voice live enveloped by stripped-down instrumentals beneath a dark sky and light dew was almost spiritual. Shoulder-to-shoulder, attendees sang along—some with tears in their eyes—as Bridgers played hits like “Motion Sickness,” “Kyoto,” Savior Complex” and “Chinese Satellite.”\u003c/p>\n\u003cp>In between songs, the Ukiah-raised Bridgers was sparse with words. When introducing “Funeral,” she offered just one line. “Um,” she said. “This one is an enormous bummer.” For “ICU,” she offered something similarly vague: “This is about the time I cried in a grocery store parking lot.”\u003c/p>\n\u003cp>These short, vague prefaces allowed a brief release for the crowd before being returned to the intimate landscapes of the quiet artist’s mind in the hour-long set. Holding this in their memories, the crowd stifled cheers during songs, looking up hopefully at someone who sang about a feeling that still bubbled in their hearts.\u003cem>—K.S.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13917251\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917251\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/SZA-headlines-Outside-Lands-on-Friday-August-5-2022.004-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/SZA-headlines-Outside-Lands-on-Friday-August-5-2022.004-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/SZA-headlines-Outside-Lands-on-Friday-August-5-2022.004-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/SZA-headlines-Outside-Lands-on-Friday-August-5-2022.004-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/SZA-headlines-Outside-Lands-on-Friday-August-5-2022.004-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/SZA-headlines-Outside-Lands-on-Friday-August-5-2022.004-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/SZA-headlines-Outside-Lands-on-Friday-August-5-2022.004.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">SZA headlines Outside Lands on Friday, August 5, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>SZA’s Glow-Up\u003c/h2>\n\u003cp>SZA wowed the crowd at the Lands End stage with one of the most intricates set at this year’s festival. Starting her set atop a lighthouse, the R&B singer had fans hanging on her every word from the moment she took the stage. The life-sized anchor, marine projections and custom-made pier took the audience to a musical paradise where SZA reigns as queen.\u003c/p>\n\u003cp>The night was a clear glow-up from the minimalist approach of SZA’s \u003ca href=\"https://www.kqed.org/arts/13832104/sza-brockhampton-kamaiyah-bring-blurry-vision-into-focus-in-oakland\" target=\"_blank\" rel=\"noopener noreferrer\">2018 headlining set in Oakland\u003c/a>. Her growth was not only evident in the stage design but her overall stage presence, with elaborate synchronized dance numbers and a colorful wardrobe.\u003c/p>\n\u003cp>Kicking things off with “All The Stars,” the singer’s collaboration with Kendrick Lamar, the night was full of new and old hits, including “Love Galore,” “The Weekend,” and “Normal Girl.”\u003c/p>\n\u003cp>Most impressively, SZA did this all after shortly recovering from COVID-19 last week. As she told the audience: “I was definitely fighting for my life to be with you.”—E.G.\u003c/p>\n\u003cfigure id=\"attachment_13917271\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917271\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Mac-DeMarco-performs-at-Outside-Lands-on-Saturday-August-6-2022.001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Mac-DeMarco-performs-at-Outside-Lands-on-Saturday-August-6-2022.001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Mac-DeMarco-performs-at-Outside-Lands-on-Saturday-August-6-2022.001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Mac-DeMarco-performs-at-Outside-Lands-on-Saturday-August-6-2022.001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Mac-DeMarco-performs-at-Outside-Lands-on-Saturday-August-6-2022.001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Mac-DeMarco-performs-at-Outside-Lands-on-Saturday-August-6-2022.001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Mac-DeMarco-performs-at-Outside-Lands-on-Saturday-August-6-2022.001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mac DeMarco performs at Outside Lands on Saturday, August 6, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Mac DeMarco: ‘They’re All Love Songs!’\u003c/h2>\n\u003cp>Known for alternative indie-rock classics and a history of unpredictable stage antics, Mac DeMarco began his Saturday set with mellow 2014 single “Salad Days.” Flashing his famous gap-toothed smile, his \u003cem>La-li-la-lala\u003c/em>s were mirrored by dedicated fans in the audience.\u003c/p>\n\u003cp>DeMarco’s ease on stage showed when he swung his mic around during “Chamber of Reflection,” cheekily smiling when it distorted the sound; when he periodically yelled during songs; and when, during a jazzy interlude of “Still Together,” he walked to each of his bandmates and asked them to improvise scat singing.\u003c/p>\n\u003cp>In his signature green bucket hat with a yellow smiley face, DeMarco laughed often and was eager to shout out his band members: guitarist Alec Meen, bassist Daryl Johns and drummer JD Beck. Together, they looked like a group of garage band kids, ecstatic to be in each other’s company as they played nostalgic riffs and sang along to the tender lyrics of DeMarco’s wide discography.\u003c/p>\n\u003cp>At one point, DeMarco admitted, “They’re all love songs!” With this in mind, it was hard not to have someone special in mind as he sang “Baby’s Wearing Blue Jeans,” “Let Her Go,” “Another One” and the rest of the set. Wistful and sincere, the evening was permeated with a feeling of yearning that stayed long after he played.\u003cem>—K.S.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13917275\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917275\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Parcels-perform-at-Outside-Lands-on-Saturday-August-6-2022.002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Parcels-perform-at-Outside-Lands-on-Saturday-August-6-2022.002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Parcels-perform-at-Outside-Lands-on-Saturday-August-6-2022.002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Parcels-perform-at-Outside-Lands-on-Saturday-August-6-2022.002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Parcels-perform-at-Outside-Lands-on-Saturday-August-6-2022.002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Parcels-perform-at-Outside-Lands-on-Saturday-August-6-2022.002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Parcels-perform-at-Outside-Lands-on-Saturday-August-6-2022.002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Parcels perform at Outside Lands on Saturday, August 6, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Parcels Electrify Crowds with Funk and Disco\u003c/h2>\n\u003cp>People eager to dance and groove packed the Sutro stage at dusk, awaiting the arrival of five-piece Australian band Parcels. When the clock struck seven, the members launched into a long musical intro, slowly building a simple guitar riff into a multilayered jam session with lush keyboard, drums and bass playing. After several minutes, this transitioned into their hit single, “Lightenup,” a soulful funk song with hypnotic vocal harmonizations reminiscent of Bee Gees-era disco.\u003c/p>\n\u003cp>As the last remnants of the day’s sun warmed the stage, guitarist and lead vocalist Jules Crommelin greeted the crowd. “San Francisco, this place is the best,” he said, smiling. “And the smell man. The smell! So good.”\u003c/p>\n\u003cp>With their remaining time, the Parcels played other crowd pleasers that included “Tieduprightnow,” “IknowhowIFeel” and an exhilarating cover of Lykke Li’s “I Follow Rivers” that blended the group’s penchant for genre melding and long, satisfying instrumental interludes that climb to euphoric and cinematic climaxes.\u003cem>—K.S.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13917269\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917269\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Kali-Uchis-performs-at-Outside-Lands-on-Saturday-August-6-2022.003-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Kali-Uchis-performs-at-Outside-Lands-on-Saturday-August-6-2022.003-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Kali-Uchis-performs-at-Outside-Lands-on-Saturday-August-6-2022.003-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Kali-Uchis-performs-at-Outside-Lands-on-Saturday-August-6-2022.003-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Kali-Uchis-performs-at-Outside-Lands-on-Saturday-August-6-2022.003-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Kali-Uchis-performs-at-Outside-Lands-on-Saturday-August-6-2022.003-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Kali-Uchis-performs-at-Outside-Lands-on-Saturday-August-6-2022.003.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kali Uchis performs at Outside Lands on Saturday, August 6, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Kali Uchis Serves Superstar Presence\u003c/h2>\n\u003cp>When R&B singer Kali Uchis strutted on stage Saturday night, attendees shivering in the cold suddenly lit up, jumping to their feet. Dressed in an all-white ensemble and donning her signature smokey cat eye and glossy pout, Uchis opened with “Dead to Me” while fiercely sashaying and gesturing to the audience. Uchis’ powerful dismissal of an obsessive former flame had crowd members shouting along to every word of the independent-hot-girl anthem.\u003c/p>\n\u003cp>As the music transitioned into the smooth house beats of “10%,” Uchis delivered commanding glances as she sang, one hand holding the mic and the other performing precise choreography in sync with her backup dancers. Despite a few audio issues, Uchis put on a captivating performance, embodying a siren-like quality with her velvety contralto vocals, enchanting stares and sensual dance moves. Singing in both Spanish and English, Uchis performed hits like “fue mejor” and “no eres tu (soy yo)” from her 2020 Spanish album \u003cem>Sin Miedo (del Amor y Otros Demonios)\u003c/em>, and even some older songs like “Loner” and “Speed” from her 2015’s \u003cem>Por Vida\u003c/em>.\u003c/p>\n\u003cp>Bathed in pink and purple light, Uchis bewitched the stage, and her voice—airy one moment and soulful the next—stirred the cold out of weary festival goers, ending the night with heat and dance.\u003cem>—K.S.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13917289\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917289\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Dominic-Fike-performs-at-Outside-Lands-on-Sunday-August-7-2022.001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Dominic-Fike-performs-at-Outside-Lands-on-Sunday-August-7-2022.001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Dominic-Fike-performs-at-Outside-Lands-on-Sunday-August-7-2022.001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Dominic-Fike-performs-at-Outside-Lands-on-Sunday-August-7-2022.001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Dominic-Fike-performs-at-Outside-Lands-on-Sunday-August-7-2022.001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Dominic-Fike-performs-at-Outside-Lands-on-Sunday-August-7-2022.001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Dominic-Fike-performs-at-Outside-Lands-on-Sunday-August-7-2022.001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dominic Fike performs at Outside Lands on Sunday, August 7, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Dominic Fike Jumps From the Screen to the Stage\u003c/h2>\n\u003cp>You may know Dominic Fike as one of the leads of HBO’s Emmy award-winning show \u003cem>Euphoria\u003c/em>, or as Lil Nas X’s love interest in Brockhampton’s music video for “Count On Me.” But for those who caught the actor’s set on Friday afternoon, Fike left his mark as a musician.\u003c/p>\n\u003cp>Coming off as a mix of an old soul and TikTok sensation, Fike fittingly kicked off with a cover of “Bad Reputation” by Joan Jett & the Blackhearts before launching into original numbers “Baby Doll” and “She Wants My Money,” the latter of which included an impressive guitar solo. Fike also performed “The Kiss Of Venus,” a song that he worked on with Paul McCartney.\u003c/p>\n\u003cp>Joined by New York musician Blu DeTiger on the bass, a star in her own right, Fike performed with a skilled set of young instrumentalists. The audience was mostly composed of young faces who sang along at the end, when Fike played his biggest hit to date, “3 Nights.”\u003c/p>\n\u003cfigure id=\"attachment_13917293\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917293\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Post-Malone-headlines-Outside-Lands-on-Sunday-August-7-2022.001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Post-Malone-headlines-Outside-Lands-on-Sunday-August-7-2022.001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Post-Malone-headlines-Outside-Lands-on-Sunday-August-7-2022.001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Post-Malone-headlines-Outside-Lands-on-Sunday-August-7-2022.001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Post-Malone-headlines-Outside-Lands-on-Sunday-August-7-2022.001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Post-Malone-headlines-Outside-Lands-on-Sunday-August-7-2022.001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Post-Malone-headlines-Outside-Lands-on-Sunday-August-7-2022.001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Post Malone headlines Outside Lands on Sunday, August 7, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Post Malone, the Relatable Sunday-Night Star\u003c/h2>\n\u003cp>Post Malone was all smiles at the Land End stage on Sunday Night. Raising a toast to the crowd with a red solo cup, the singer’s carefree attitude carried across Golden Gate Park.\u003c/p>\n\u003cp>Dressed in Converse high-tops, cutoff butterfly shorts and a large t-shirt, the Grammy award-winning artist could have passed for one of the many concertgoers who spent the weekend partying and enjoying music. Perhaps that explains his appeal: watching Malone perform felt like hanging out with a friend. He made heart shapes with his hands and directed them at people in the front row. He reached over the stage railing to fist-bump fans.\u003c/p>\n\u003cp>During “Circles” and “Better Now,” even those who’d been napping on the field seemed to rally enough energy to cheer for the closing set of the festival.\u003cem>—E.G.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>More photos below. \u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13917287\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917287\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Baby-Tate-performs-at-Outside-Lands-on-Sunday-August-7-2022.004-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Baby-Tate-performs-at-Outside-Lands-on-Sunday-August-7-2022.004-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Baby-Tate-performs-at-Outside-Lands-on-Sunday-August-7-2022.004-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Baby-Tate-performs-at-Outside-Lands-on-Sunday-August-7-2022.004-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Baby-Tate-performs-at-Outside-Lands-on-Sunday-August-7-2022.004-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Baby-Tate-performs-at-Outside-Lands-on-Sunday-August-7-2022.004-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Baby-Tate-performs-at-Outside-Lands-on-Sunday-August-7-2022.004.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Baby Tate performs at Outside Lands on Sunday, August 7, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917294\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917294\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Post-Malone-headlines-Outside-Lands-on-Sunday-August-7-2022.002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Post-Malone-headlines-Outside-Lands-on-Sunday-August-7-2022.002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Post-Malone-headlines-Outside-Lands-on-Sunday-August-7-2022.002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Post-Malone-headlines-Outside-Lands-on-Sunday-August-7-2022.002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Post-Malone-headlines-Outside-Lands-on-Sunday-August-7-2022.002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Post-Malone-headlines-Outside-Lands-on-Sunday-August-7-2022.002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Post-Malone-headlines-Outside-Lands-on-Sunday-August-7-2022.002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Post Malone headlines Outside Lands on Sunday, August 7, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917280\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917280\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Saturday-August-6-2022.002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Saturday-August-6-2022.002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Saturday-August-6-2022.002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Saturday-August-6-2022.002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Saturday-August-6-2022.002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Saturday-August-6-2022.002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Saturday-August-6-2022.002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands on Saturday, August 6, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917266\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917266\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Green-Day-headline-Outside-Lands-on-Saturday-August-6-2022.004-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Green-Day-headline-Outside-Lands-on-Saturday-August-6-2022.004-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Green-Day-headline-Outside-Lands-on-Saturday-August-6-2022.004-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Green-Day-headline-Outside-Lands-on-Saturday-August-6-2022.004-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Green-Day-headline-Outside-Lands-on-Saturday-August-6-2022.004-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Green-Day-headline-Outside-Lands-on-Saturday-August-6-2022.004-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Green-Day-headline-Outside-Lands-on-Saturday-August-6-2022.004.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Green Day headline Outside Lands on Saturday, August 6, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917247\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Spellling-performs-at-Outside-Lands-on-Friday-August-5-2022.--800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Spellling-performs-at-Outside-Lands-on-Friday-August-5-2022.--800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Spellling-performs-at-Outside-Lands-on-Friday-August-5-2022.--1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Spellling-performs-at-Outside-Lands-on-Friday-August-5-2022.--160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Spellling-performs-at-Outside-Lands-on-Friday-August-5-2022.--768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Spellling-performs-at-Outside-Lands-on-Friday-August-5-2022.--1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Spellling-performs-at-Outside-Lands-on-Friday-August-5-2022.-.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Spellling performs at Outside Lands on Friday, August 5, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917236\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917236\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Hiatus-Kaiyote-perform-at-Outside-Lands-on-Friday-August-5-2022.002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Hiatus-Kaiyote-perform-at-Outside-Lands-on-Friday-August-5-2022.002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Hiatus-Kaiyote-perform-at-Outside-Lands-on-Friday-August-5-2022.002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Hiatus-Kaiyote-perform-at-Outside-Lands-on-Friday-August-5-2022.002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Hiatus-Kaiyote-perform-at-Outside-Lands-on-Friday-August-5-2022.002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Hiatus-Kaiyote-perform-at-Outside-Lands-on-Friday-August-5-2022.002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Hiatus-Kaiyote-perform-at-Outside-Lands-on-Friday-August-5-2022.002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hiatus Kaiyote perform at Outside Lands on Friday, August 5, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917237\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917237\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Lil-Uzi-Vert-performs-at-Outside-Lands-on-Friday-August-5-2022.-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Lil-Uzi-Vert-performs-at-Outside-Lands-on-Friday-August-5-2022.-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Lil-Uzi-Vert-performs-at-Outside-Lands-on-Friday-August-5-2022.-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Lil-Uzi-Vert-performs-at-Outside-Lands-on-Friday-August-5-2022.-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Lil-Uzi-Vert-performs-at-Outside-Lands-on-Friday-August-5-2022.-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Lil-Uzi-Vert-performs-at-Outside-Lands-on-Friday-August-5-2022.-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Lil-Uzi-Vert-performs-at-Outside-Lands-on-Friday-August-5-2022..jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lil Uzi Vert performs at Outside Lands on Friday, August 5, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917270\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917270\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Kali-Uchis-performs-at-Outside-Lands-on-Saturday-August-6-2022.004-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Kali-Uchis-performs-at-Outside-Lands-on-Saturday-August-6-2022.004-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Kali-Uchis-performs-at-Outside-Lands-on-Saturday-August-6-2022.004-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Kali-Uchis-performs-at-Outside-Lands-on-Saturday-August-6-2022.004-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Kali-Uchis-performs-at-Outside-Lands-on-Saturday-August-6-2022.004-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Kali-Uchis-performs-at-Outside-Lands-on-Saturday-August-6-2022.004-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Kali-Uchis-performs-at-Outside-Lands-on-Saturday-August-6-2022.004.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kali Uchis performs at Outside Lands on Saturday, August 6, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917303\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917303\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Weezer-perform-at-Outside-Lands-on-Sunday-August-7-2022.001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Weezer-perform-at-Outside-Lands-on-Sunday-August-7-2022.001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Weezer-perform-at-Outside-Lands-on-Sunday-August-7-2022.001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Weezer-perform-at-Outside-Lands-on-Sunday-August-7-2022.001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Weezer-perform-at-Outside-Lands-on-Sunday-August-7-2022.001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Weezer-perform-at-Outside-Lands-on-Sunday-August-7-2022.001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Weezer-perform-at-Outside-Lands-on-Sunday-August-7-2022.001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Weezer perform at Outside Lands on Sunday, August 7, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917292\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917292\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Kim-Petras-performs-at-Outside-Lands-on-Sunday-August-7-2022.002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Kim-Petras-performs-at-Outside-Lands-on-Sunday-August-7-2022.002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Kim-Petras-performs-at-Outside-Lands-on-Sunday-August-7-2022.002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Kim-Petras-performs-at-Outside-Lands-on-Sunday-August-7-2022.002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Kim-Petras-performs-at-Outside-Lands-on-Sunday-August-7-2022.002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Kim-Petras-performs-at-Outside-Lands-on-Sunday-August-7-2022.002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Kim-Petras-performs-at-Outside-Lands-on-Sunday-August-7-2022.002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kim Petras performs at Outside Lands on Sunday, August 7, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917257\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917257\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Friday-August-5-2022.-005-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Friday-August-5-2022.-005-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Friday-August-5-2022.-005-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Friday-August-5-2022.-005-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Friday-August-5-2022.-005-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Friday-August-5-2022.-005-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Friday-August-5-2022.-005.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands on Friday, August 5, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917273\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917273\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/P-Lo-and-Thuy-performs-at-Outside-Lands-on-Saturday-August-6-2022.-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/P-Lo-and-Thuy-performs-at-Outside-Lands-on-Saturday-August-6-2022.-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/P-Lo-and-Thuy-performs-at-Outside-Lands-on-Saturday-August-6-2022.-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/P-Lo-and-Thuy-performs-at-Outside-Lands-on-Saturday-August-6-2022.-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/P-Lo-and-Thuy-performs-at-Outside-Lands-on-Saturday-August-6-2022.-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/P-Lo-and-Thuy-performs-at-Outside-Lands-on-Saturday-August-6-2022.-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/P-Lo-and-Thuy-performs-at-Outside-Lands-on-Saturday-August-6-2022..jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">P-Lo and Thuy perform at Outside Lands on Saturday, August 6, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917285\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917285\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Baby-Tate-performs-at-Outside-Lands-on-Sunday-August-7-2022.002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Baby-Tate-performs-at-Outside-Lands-on-Sunday-August-7-2022.002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Baby-Tate-performs-at-Outside-Lands-on-Sunday-August-7-2022.002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Baby-Tate-performs-at-Outside-Lands-on-Sunday-August-7-2022.002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Baby-Tate-performs-at-Outside-Lands-on-Sunday-August-7-2022.002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Baby-Tate-performs-at-Outside-Lands-on-Sunday-August-7-2022.002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Baby-Tate-performs-at-Outside-Lands-on-Sunday-August-7-2022.002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Baby Tate performs at Outside Lands on Sunday, August 7, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917277\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917277\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Saturday-August-6-2022-005-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Saturday-August-6-2022-005-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Saturday-August-6-2022-005-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Saturday-August-6-2022-005-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Saturday-August-6-2022-005-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Saturday-August-6-2022-005-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Saturday-August-6-2022-005.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands on Saturday, August 6, 2022. \u003ccite>( Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917264\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917264\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Green-Day-headline-Outside-Lands-on-Saturday-August-6-2022.002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Green-Day-headline-Outside-Lands-on-Saturday-August-6-2022.002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Green-Day-headline-Outside-Lands-on-Saturday-August-6-2022.002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Green-Day-headline-Outside-Lands-on-Saturday-August-6-2022.002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Green-Day-headline-Outside-Lands-on-Saturday-August-6-2022.002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Green-Day-headline-Outside-Lands-on-Saturday-August-6-2022.002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Green-Day-headline-Outside-Lands-on-Saturday-August-6-2022.002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Green Day headline Outside Lands on Saturday, August 6, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917248\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917248\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/SZA-headlines-Outside-Lands-on-Friday-August-5-2022.001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/SZA-headlines-Outside-Lands-on-Friday-August-5-2022.001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/SZA-headlines-Outside-Lands-on-Friday-August-5-2022.001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/SZA-headlines-Outside-Lands-on-Friday-August-5-2022.001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/SZA-headlines-Outside-Lands-on-Friday-August-5-2022.001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/SZA-headlines-Outside-Lands-on-Friday-August-5-2022.001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/SZA-headlines-Outside-Lands-on-Friday-August-5-2022.001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">SZA headlines Outside Lands on Friday, August 5, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917242\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917242\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Oliver-Tree-performs-at-Outside-Lands-on-Friday-August-5-2022.001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Oliver-Tree-performs-at-Outside-Lands-on-Friday-August-5-2022.001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Oliver-Tree-performs-at-Outside-Lands-on-Friday-August-5-2022.001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Oliver-Tree-performs-at-Outside-Lands-on-Friday-August-5-2022.001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Oliver-Tree-performs-at-Outside-Lands-on-Friday-August-5-2022.001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Oliver-Tree-performs-at-Outside-Lands-on-Friday-August-5-2022.001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Oliver-Tree-performs-at-Outside-Lands-on-Friday-August-5-2022.001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Oliver Tree performs at Outside Lands on Friday, August 5, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917281\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917281\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Saturday-August-6-2022.003-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Saturday-August-6-2022.003-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Saturday-August-6-2022.003-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Saturday-August-6-2022.003-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Saturday-August-6-2022.003-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Saturday-August-6-2022.003-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Saturday-August-6-2022.003.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands on Saturday, August 6, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917307\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917307\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Wet-Leg-perform-at-Outside-Lands-on-Sunday-August-7-2022.-002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Wet-Leg-perform-at-Outside-Lands-on-Sunday-August-7-2022.-002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Wet-Leg-perform-at-Outside-Lands-on-Sunday-August-7-2022.-002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Wet-Leg-perform-at-Outside-Lands-on-Sunday-August-7-2022.-002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Wet-Leg-perform-at-Outside-Lands-on-Sunday-August-7-2022.-002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Wet-Leg-perform-at-Outside-Lands-on-Sunday-August-7-2022.-002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Wet-Leg-perform-at-Outside-Lands-on-Sunday-August-7-2022.-002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Wet Leg perform at Outside Lands on Sunday, August 7, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917299\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917299\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Sunday-August-7-2022.003-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Sunday-August-7-2022.003-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Sunday-August-7-2022.003-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Sunday-August-7-2022.003-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Sunday-August-7-2022.003-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Sunday-August-7-2022.003-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Sunday-August-7-2022.003.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands on Sunday, August 7, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917295\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917295\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Post-Malone-headlines-Outside-Lands-on-Sunday-August-7-2022.004-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Post-Malone-headlines-Outside-Lands-on-Sunday-August-7-2022.004-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Post-Malone-headlines-Outside-Lands-on-Sunday-August-7-2022.004-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Post-Malone-headlines-Outside-Lands-on-Sunday-August-7-2022.004-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Post-Malone-headlines-Outside-Lands-on-Sunday-August-7-2022.004-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Post-Malone-headlines-Outside-Lands-on-Sunday-August-7-2022.004-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Post-Malone-headlines-Outside-Lands-on-Sunday-August-7-2022.004.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Post Malone headlines Outside Lands on Sunday, August 7, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917262\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917262\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Duckwrth-backstage-at-Outside-Lands-on-Friday-August-5-2022-011-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Duckwrth-backstage-at-Outside-Lands-on-Friday-August-5-2022-011-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Duckwrth-backstage-at-Outside-Lands-on-Friday-August-5-2022-011-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Duckwrth-backstage-at-Outside-Lands-on-Friday-August-5-2022-011-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Duckwrth-backstage-at-Outside-Lands-on-Friday-August-5-2022-011-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Duckwrth-backstage-at-Outside-Lands-on-Friday-August-5-2022-011-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Duckwrth-backstage-at-Outside-Lands-on-Friday-August-5-2022-011.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Duckwrth performs at Outside Lands on Friday, August 5, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917244\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917244\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Phoebe-Bridgers-performs-at-Outside-Lands-on-Friday-August-5-2022.001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Phoebe-Bridgers-performs-at-Outside-Lands-on-Friday-August-5-2022.001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Phoebe-Bridgers-performs-at-Outside-Lands-on-Friday-August-5-2022.001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Phoebe-Bridgers-performs-at-Outside-Lands-on-Friday-August-5-2022.001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Phoebe-Bridgers-performs-at-Outside-Lands-on-Friday-August-5-2022.001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Phoebe-Bridgers-performs-at-Outside-Lands-on-Friday-August-5-2022.001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Phoebe-Bridgers-performs-at-Outside-Lands-on-Friday-August-5-2022.001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Phoebe Bridgers performs at Outside Lands on Friday, August 5, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917256\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917256\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Friday-August-5-2022.-004-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Friday-August-5-2022.-004-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Friday-August-5-2022.-004-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Friday-August-5-2022.-004-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Friday-August-5-2022.-004-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Friday-August-5-2022.-004-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Friday-August-5-2022.-004.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands on Friday, August 5, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 2441,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 34
},
"modified": 1705006520,
"excerpt": "SZA, Kali Uchis, Post Malone, Phoebe Bridgers, Green Day and others highlighted the return of Outside Lands in San Francisco.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "SZA, Kali Uchis, Post Malone, Phoebe Bridgers, Green Day and others highlighted the return of Outside Lands in San Francisco.",
"title": "Outside Lands 2022: Photos and Highlights From the Festival's Return to Golden Gate Park | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Outside Lands 2022: Photos and Highlights From the Festival's Return to Golden Gate Park",
"datePublished": "2022-08-08T10:11:09-07:00",
"dateModified": "2024-01-11T12:55:20-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "outside-lands-2022-photos-review",
"status": "publish",
"templateType": "standard",
"excludeFromSiteSearch": "Include",
"featuredImageType": "standard",
"sticky": false,
"WpOldSlug": "outside-lands-2022-photos-and-highlights-from-the-festivals-return-to-golden-gate-park",
"path": "/arts/13917310/outside-lands-2022-photos-review",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Outside Lands festival returned this past weekend to its traditional August dates in San Francisco’s Golden Gate Park. And while the venerable festival took one year off in 2020 due to COVID, and moved last year to October due to pandemic-related delays, this year’s return of the favorite end-of-summer festival didn’t seem to skip a beat.\u003c/p>\n\u003cp>Here’s what the scene was like, courtesy of Kristie Song and Estefany Gonzalez, with musical highlights and photos below.\u003c/p>\n\u003cfigure id=\"attachment_13917233\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917233\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Duckwrth-performs-at-Outside-Lands-on-Friday-August-5-2022.001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Duckwrth-performs-at-Outside-Lands-on-Friday-August-5-2022.001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Duckwrth-performs-at-Outside-Lands-on-Friday-August-5-2022.001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Duckwrth-performs-at-Outside-Lands-on-Friday-August-5-2022.001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Duckwrth-performs-at-Outside-Lands-on-Friday-August-5-2022.001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Duckwrth-performs-at-Outside-Lands-on-Friday-August-5-2022.001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Duckwrth-performs-at-Outside-Lands-on-Friday-August-5-2022.001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Duckwrth performs at Outside Lands on Friday, August 5, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Duckwrth Brings the Power to Land’s End Stage\u003c/h2>\n\u003cp>As a mid-afternoon drowsiness fell upon Friday’s crowd, there was no better act than Duckwrth to bring them back to life. Opening with two of his most energetic hits, “Coming Closer” and “Power Power,” the musician danced across the stage, smiling and flexing his arms as he sang and rapped. In no time, attendees began to dance and light up their joints, carefree and revitalized by his infectious aura.\u003c/p>\n\u003cp>Dressed in a custom black suit with a chrome bull on the back in a nod to his upcoming EP, Duckwrth previewed three of its singles to a delighted crowd. During “Ce Soir,” a collaboration with musician Syd that was just released that same morning, Duckwrth moved his hips to the song’s mellow beat and rapped the chorus in French as the crowd shimmied.\u003c/p>\n\u003cp>Duckwrth was joined by vocalist Olivia Walker, known as Just Liv, whose soulful singing and lively dancing only added to the invigorating atmosphere. Together, they performed slow, sexy classics like “Crush” and “Kiss U Right Now” as well as an untitled, heavy metal-tinged single. As he transferred his energy to the crowd, and as they delivered it right back, Duckwrth demonstrated that it is possible to have an audience completely wrapped around your finger.\u003cem>—K.S.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13917258\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917258\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/The-Mar%C3%ADas-perform-at-Outside-Lands-on-Friday-August-5-2022.001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-Marías-perform-at-Outside-Lands-on-Friday-August-5-2022.001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-Marías-perform-at-Outside-Lands-on-Friday-August-5-2022.001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-Marías-perform-at-Outside-Lands-on-Friday-August-5-2022.001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-Marías-perform-at-Outside-Lands-on-Friday-August-5-2022.001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-Marías-perform-at-Outside-Lands-on-Friday-August-5-2022.001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-Marías-perform-at-Outside-Lands-on-Friday-August-5-2022.001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Marías perform at Outside Lands on Friday, August 5, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Marías Bring Romantic Mystery\u003c/h2>\n\u003cp>Set against a large, blood red backdrop, Maria Zardoya of the psychedelic indie-rock band the Marías looked like an angel who had fallen into hell. In a distressed white dress with matching gloves, Zardoya carried her sultry, pixie-like voice across the crowd like a spell. Suddenly, everyone felt a little seductive and mysterious too, swaying their hips and shoulders to “All I Really Want Is You,” “Hush” and “Otro Atardecer.”\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>Like Saturday’s headliner Kali Uchis, Zardoya sang in both English and Spanish, blending the languages into silky songs of love and yearning. Her entrancing voice was accompanied by dreamy instrumentals that felt like waking from deep slumber by the sea, especially during “Only in My Dreams.” Slow, romantic and affecting, her music belongs in the most intimate of spaces, personified by cigarette smoke and black-and-white films.\u003c/p>\n\u003cp>With grand trumpet solos from band member Gabe Steiner and low, haunting backing vocals from guitarist Jesse Perlman and drummer Josh Conway, Zardoya’s soft, distinctive voice transformed into an entity—a story. During “Cariño,” a couple in the crowd held one another close, leaning in for kisses as Zardoya sang: “You’re a masterpiece / Just by only looking at you, it’s something that gives me peace / Darling, you’re lovely / Darling, you paint in color.”\u003cem>—K.S.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13917245\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917245\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Phoebe-Bridgers-performs-at-Outside-Lands-on-Friday-August-5-2022.002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Phoebe-Bridgers-performs-at-Outside-Lands-on-Friday-August-5-2022.002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Phoebe-Bridgers-performs-at-Outside-Lands-on-Friday-August-5-2022.002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Phoebe-Bridgers-performs-at-Outside-Lands-on-Friday-August-5-2022.002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Phoebe-Bridgers-performs-at-Outside-Lands-on-Friday-August-5-2022.002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Phoebe-Bridgers-performs-at-Outside-Lands-on-Friday-August-5-2022.002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Phoebe-Bridgers-performs-at-Outside-Lands-on-Friday-August-5-2022.002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Phoebe Bridgers performs at Outside Lands on Friday, August 5, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Phoebe Bridgers Has ‘Em in the Palm of Her Hand\u003c/h2>\n\u003cp>Packed like sardines, the crowd waiting for Phoebe Bridgers on Friday night collectively screamed when she entered, dressed in a suit and bowtie, guitar in hand, silver tresses blowing in the wind. The Polo Field became a congregation, and hearing her soft voice live enveloped by stripped-down instrumentals beneath a dark sky and light dew was almost spiritual. Shoulder-to-shoulder, attendees sang along—some with tears in their eyes—as Bridgers played hits like “Motion Sickness,” “Kyoto,” Savior Complex” and “Chinese Satellite.”\u003c/p>\n\u003cp>In between songs, the Ukiah-raised Bridgers was sparse with words. When introducing “Funeral,” she offered just one line. “Um,” she said. “This one is an enormous bummer.” For “ICU,” she offered something similarly vague: “This is about the time I cried in a grocery store parking lot.”\u003c/p>\n\u003cp>These short, vague prefaces allowed a brief release for the crowd before being returned to the intimate landscapes of the quiet artist’s mind in the hour-long set. Holding this in their memories, the crowd stifled cheers during songs, looking up hopefully at someone who sang about a feeling that still bubbled in their hearts.\u003cem>—K.S.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13917251\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917251\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/SZA-headlines-Outside-Lands-on-Friday-August-5-2022.004-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/SZA-headlines-Outside-Lands-on-Friday-August-5-2022.004-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/SZA-headlines-Outside-Lands-on-Friday-August-5-2022.004-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/SZA-headlines-Outside-Lands-on-Friday-August-5-2022.004-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/SZA-headlines-Outside-Lands-on-Friday-August-5-2022.004-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/SZA-headlines-Outside-Lands-on-Friday-August-5-2022.004-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/SZA-headlines-Outside-Lands-on-Friday-August-5-2022.004.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">SZA headlines Outside Lands on Friday, August 5, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>SZA’s Glow-Up\u003c/h2>\n\u003cp>SZA wowed the crowd at the Lands End stage with one of the most intricates set at this year’s festival. Starting her set atop a lighthouse, the R&B singer had fans hanging on her every word from the moment she took the stage. The life-sized anchor, marine projections and custom-made pier took the audience to a musical paradise where SZA reigns as queen.\u003c/p>\n\u003cp>The night was a clear glow-up from the minimalist approach of SZA’s \u003ca href=\"https://www.kqed.org/arts/13832104/sza-brockhampton-kamaiyah-bring-blurry-vision-into-focus-in-oakland\" target=\"_blank\" rel=\"noopener noreferrer\">2018 headlining set in Oakland\u003c/a>. Her growth was not only evident in the stage design but her overall stage presence, with elaborate synchronized dance numbers and a colorful wardrobe.\u003c/p>\n\u003cp>Kicking things off with “All The Stars,” the singer’s collaboration with Kendrick Lamar, the night was full of new and old hits, including “Love Galore,” “The Weekend,” and “Normal Girl.”\u003c/p>\n\u003cp>Most impressively, SZA did this all after shortly recovering from COVID-19 last week. As she told the audience: “I was definitely fighting for my life to be with you.”—E.G.\u003c/p>\n\u003cfigure id=\"attachment_13917271\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917271\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Mac-DeMarco-performs-at-Outside-Lands-on-Saturday-August-6-2022.001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Mac-DeMarco-performs-at-Outside-Lands-on-Saturday-August-6-2022.001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Mac-DeMarco-performs-at-Outside-Lands-on-Saturday-August-6-2022.001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Mac-DeMarco-performs-at-Outside-Lands-on-Saturday-August-6-2022.001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Mac-DeMarco-performs-at-Outside-Lands-on-Saturday-August-6-2022.001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Mac-DeMarco-performs-at-Outside-Lands-on-Saturday-August-6-2022.001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Mac-DeMarco-performs-at-Outside-Lands-on-Saturday-August-6-2022.001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mac DeMarco performs at Outside Lands on Saturday, August 6, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Mac DeMarco: ‘They’re All Love Songs!’\u003c/h2>\n\u003cp>Known for alternative indie-rock classics and a history of unpredictable stage antics, Mac DeMarco began his Saturday set with mellow 2014 single “Salad Days.” Flashing his famous gap-toothed smile, his \u003cem>La-li-la-lala\u003c/em>s were mirrored by dedicated fans in the audience.\u003c/p>\n\u003cp>DeMarco’s ease on stage showed when he swung his mic around during “Chamber of Reflection,” cheekily smiling when it distorted the sound; when he periodically yelled during songs; and when, during a jazzy interlude of “Still Together,” he walked to each of his bandmates and asked them to improvise scat singing.\u003c/p>\n\u003cp>In his signature green bucket hat with a yellow smiley face, DeMarco laughed often and was eager to shout out his band members: guitarist Alec Meen, bassist Daryl Johns and drummer JD Beck. Together, they looked like a group of garage band kids, ecstatic to be in each other’s company as they played nostalgic riffs and sang along to the tender lyrics of DeMarco’s wide discography.\u003c/p>\n\u003cp>At one point, DeMarco admitted, “They’re all love songs!” With this in mind, it was hard not to have someone special in mind as he sang “Baby’s Wearing Blue Jeans,” “Let Her Go,” “Another One” and the rest of the set. Wistful and sincere, the evening was permeated with a feeling of yearning that stayed long after he played.\u003cem>—K.S.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13917275\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917275\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Parcels-perform-at-Outside-Lands-on-Saturday-August-6-2022.002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Parcels-perform-at-Outside-Lands-on-Saturday-August-6-2022.002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Parcels-perform-at-Outside-Lands-on-Saturday-August-6-2022.002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Parcels-perform-at-Outside-Lands-on-Saturday-August-6-2022.002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Parcels-perform-at-Outside-Lands-on-Saturday-August-6-2022.002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Parcels-perform-at-Outside-Lands-on-Saturday-August-6-2022.002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Parcels-perform-at-Outside-Lands-on-Saturday-August-6-2022.002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Parcels perform at Outside Lands on Saturday, August 6, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Parcels Electrify Crowds with Funk and Disco\u003c/h2>\n\u003cp>People eager to dance and groove packed the Sutro stage at dusk, awaiting the arrival of five-piece Australian band Parcels. When the clock struck seven, the members launched into a long musical intro, slowly building a simple guitar riff into a multilayered jam session with lush keyboard, drums and bass playing. After several minutes, this transitioned into their hit single, “Lightenup,” a soulful funk song with hypnotic vocal harmonizations reminiscent of Bee Gees-era disco.\u003c/p>\n\u003cp>As the last remnants of the day’s sun warmed the stage, guitarist and lead vocalist Jules Crommelin greeted the crowd. “San Francisco, this place is the best,” he said, smiling. “And the smell man. The smell! So good.”\u003c/p>\n\u003cp>With their remaining time, the Parcels played other crowd pleasers that included “Tieduprightnow,” “IknowhowIFeel” and an exhilarating cover of Lykke Li’s “I Follow Rivers” that blended the group’s penchant for genre melding and long, satisfying instrumental interludes that climb to euphoric and cinematic climaxes.\u003cem>—K.S.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13917269\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917269\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Kali-Uchis-performs-at-Outside-Lands-on-Saturday-August-6-2022.003-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Kali-Uchis-performs-at-Outside-Lands-on-Saturday-August-6-2022.003-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Kali-Uchis-performs-at-Outside-Lands-on-Saturday-August-6-2022.003-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Kali-Uchis-performs-at-Outside-Lands-on-Saturday-August-6-2022.003-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Kali-Uchis-performs-at-Outside-Lands-on-Saturday-August-6-2022.003-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Kali-Uchis-performs-at-Outside-Lands-on-Saturday-August-6-2022.003-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Kali-Uchis-performs-at-Outside-Lands-on-Saturday-August-6-2022.003.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kali Uchis performs at Outside Lands on Saturday, August 6, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Kali Uchis Serves Superstar Presence\u003c/h2>\n\u003cp>When R&B singer Kali Uchis strutted on stage Saturday night, attendees shivering in the cold suddenly lit up, jumping to their feet. Dressed in an all-white ensemble and donning her signature smokey cat eye and glossy pout, Uchis opened with “Dead to Me” while fiercely sashaying and gesturing to the audience. Uchis’ powerful dismissal of an obsessive former flame had crowd members shouting along to every word of the independent-hot-girl anthem.\u003c/p>\n\u003cp>As the music transitioned into the smooth house beats of “10%,” Uchis delivered commanding glances as she sang, one hand holding the mic and the other performing precise choreography in sync with her backup dancers. Despite a few audio issues, Uchis put on a captivating performance, embodying a siren-like quality with her velvety contralto vocals, enchanting stares and sensual dance moves. Singing in both Spanish and English, Uchis performed hits like “fue mejor” and “no eres tu (soy yo)” from her 2020 Spanish album \u003cem>Sin Miedo (del Amor y Otros Demonios)\u003c/em>, and even some older songs like “Loner” and “Speed” from her 2015’s \u003cem>Por Vida\u003c/em>.\u003c/p>\n\u003cp>Bathed in pink and purple light, Uchis bewitched the stage, and her voice—airy one moment and soulful the next—stirred the cold out of weary festival goers, ending the night with heat and dance.\u003cem>—K.S.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13917289\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917289\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Dominic-Fike-performs-at-Outside-Lands-on-Sunday-August-7-2022.001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Dominic-Fike-performs-at-Outside-Lands-on-Sunday-August-7-2022.001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Dominic-Fike-performs-at-Outside-Lands-on-Sunday-August-7-2022.001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Dominic-Fike-performs-at-Outside-Lands-on-Sunday-August-7-2022.001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Dominic-Fike-performs-at-Outside-Lands-on-Sunday-August-7-2022.001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Dominic-Fike-performs-at-Outside-Lands-on-Sunday-August-7-2022.001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Dominic-Fike-performs-at-Outside-Lands-on-Sunday-August-7-2022.001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dominic Fike performs at Outside Lands on Sunday, August 7, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Dominic Fike Jumps From the Screen to the Stage\u003c/h2>\n\u003cp>You may know Dominic Fike as one of the leads of HBO’s Emmy award-winning show \u003cem>Euphoria\u003c/em>, or as Lil Nas X’s love interest in Brockhampton’s music video for “Count On Me.” But for those who caught the actor’s set on Friday afternoon, Fike left his mark as a musician.\u003c/p>\n\u003cp>Coming off as a mix of an old soul and TikTok sensation, Fike fittingly kicked off with a cover of “Bad Reputation” by Joan Jett & the Blackhearts before launching into original numbers “Baby Doll” and “She Wants My Money,” the latter of which included an impressive guitar solo. Fike also performed “The Kiss Of Venus,” a song that he worked on with Paul McCartney.\u003c/p>\n\u003cp>Joined by New York musician Blu DeTiger on the bass, a star in her own right, Fike performed with a skilled set of young instrumentalists. The audience was mostly composed of young faces who sang along at the end, when Fike played his biggest hit to date, “3 Nights.”\u003c/p>\n\u003cfigure id=\"attachment_13917293\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917293\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Post-Malone-headlines-Outside-Lands-on-Sunday-August-7-2022.001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Post-Malone-headlines-Outside-Lands-on-Sunday-August-7-2022.001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Post-Malone-headlines-Outside-Lands-on-Sunday-August-7-2022.001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Post-Malone-headlines-Outside-Lands-on-Sunday-August-7-2022.001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Post-Malone-headlines-Outside-Lands-on-Sunday-August-7-2022.001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Post-Malone-headlines-Outside-Lands-on-Sunday-August-7-2022.001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Post-Malone-headlines-Outside-Lands-on-Sunday-August-7-2022.001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Post Malone headlines Outside Lands on Sunday, August 7, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Post Malone, the Relatable Sunday-Night Star\u003c/h2>\n\u003cp>Post Malone was all smiles at the Land End stage on Sunday Night. Raising a toast to the crowd with a red solo cup, the singer’s carefree attitude carried across Golden Gate Park.\u003c/p>\n\u003cp>Dressed in Converse high-tops, cutoff butterfly shorts and a large t-shirt, the Grammy award-winning artist could have passed for one of the many concertgoers who spent the weekend partying and enjoying music. Perhaps that explains his appeal: watching Malone perform felt like hanging out with a friend. He made heart shapes with his hands and directed them at people in the front row. He reached over the stage railing to fist-bump fans.\u003c/p>\n\u003cp>During “Circles” and “Better Now,” even those who’d been napping on the field seemed to rally enough energy to cheer for the closing set of the festival.\u003cem>—E.G.\u003c/em>\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>\u003cstrong>More photos below. \u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13917287\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917287\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Baby-Tate-performs-at-Outside-Lands-on-Sunday-August-7-2022.004-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Baby-Tate-performs-at-Outside-Lands-on-Sunday-August-7-2022.004-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Baby-Tate-performs-at-Outside-Lands-on-Sunday-August-7-2022.004-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Baby-Tate-performs-at-Outside-Lands-on-Sunday-August-7-2022.004-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Baby-Tate-performs-at-Outside-Lands-on-Sunday-August-7-2022.004-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Baby-Tate-performs-at-Outside-Lands-on-Sunday-August-7-2022.004-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Baby-Tate-performs-at-Outside-Lands-on-Sunday-August-7-2022.004.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Baby Tate performs at Outside Lands on Sunday, August 7, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917294\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917294\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Post-Malone-headlines-Outside-Lands-on-Sunday-August-7-2022.002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Post-Malone-headlines-Outside-Lands-on-Sunday-August-7-2022.002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Post-Malone-headlines-Outside-Lands-on-Sunday-August-7-2022.002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Post-Malone-headlines-Outside-Lands-on-Sunday-August-7-2022.002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Post-Malone-headlines-Outside-Lands-on-Sunday-August-7-2022.002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Post-Malone-headlines-Outside-Lands-on-Sunday-August-7-2022.002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Post-Malone-headlines-Outside-Lands-on-Sunday-August-7-2022.002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Post Malone headlines Outside Lands on Sunday, August 7, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917280\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917280\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Saturday-August-6-2022.002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Saturday-August-6-2022.002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Saturday-August-6-2022.002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Saturday-August-6-2022.002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Saturday-August-6-2022.002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Saturday-August-6-2022.002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Saturday-August-6-2022.002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands on Saturday, August 6, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917266\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917266\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Green-Day-headline-Outside-Lands-on-Saturday-August-6-2022.004-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Green-Day-headline-Outside-Lands-on-Saturday-August-6-2022.004-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Green-Day-headline-Outside-Lands-on-Saturday-August-6-2022.004-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Green-Day-headline-Outside-Lands-on-Saturday-August-6-2022.004-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Green-Day-headline-Outside-Lands-on-Saturday-August-6-2022.004-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Green-Day-headline-Outside-Lands-on-Saturday-August-6-2022.004-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Green-Day-headline-Outside-Lands-on-Saturday-August-6-2022.004.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Green Day headline Outside Lands on Saturday, August 6, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917247\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Spellling-performs-at-Outside-Lands-on-Friday-August-5-2022.--800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Spellling-performs-at-Outside-Lands-on-Friday-August-5-2022.--800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Spellling-performs-at-Outside-Lands-on-Friday-August-5-2022.--1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Spellling-performs-at-Outside-Lands-on-Friday-August-5-2022.--160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Spellling-performs-at-Outside-Lands-on-Friday-August-5-2022.--768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Spellling-performs-at-Outside-Lands-on-Friday-August-5-2022.--1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Spellling-performs-at-Outside-Lands-on-Friday-August-5-2022.-.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Spellling performs at Outside Lands on Friday, August 5, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917236\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917236\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Hiatus-Kaiyote-perform-at-Outside-Lands-on-Friday-August-5-2022.002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Hiatus-Kaiyote-perform-at-Outside-Lands-on-Friday-August-5-2022.002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Hiatus-Kaiyote-perform-at-Outside-Lands-on-Friday-August-5-2022.002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Hiatus-Kaiyote-perform-at-Outside-Lands-on-Friday-August-5-2022.002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Hiatus-Kaiyote-perform-at-Outside-Lands-on-Friday-August-5-2022.002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Hiatus-Kaiyote-perform-at-Outside-Lands-on-Friday-August-5-2022.002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Hiatus-Kaiyote-perform-at-Outside-Lands-on-Friday-August-5-2022.002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hiatus Kaiyote perform at Outside Lands on Friday, August 5, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917237\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917237\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Lil-Uzi-Vert-performs-at-Outside-Lands-on-Friday-August-5-2022.-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Lil-Uzi-Vert-performs-at-Outside-Lands-on-Friday-August-5-2022.-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Lil-Uzi-Vert-performs-at-Outside-Lands-on-Friday-August-5-2022.-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Lil-Uzi-Vert-performs-at-Outside-Lands-on-Friday-August-5-2022.-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Lil-Uzi-Vert-performs-at-Outside-Lands-on-Friday-August-5-2022.-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Lil-Uzi-Vert-performs-at-Outside-Lands-on-Friday-August-5-2022.-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Lil-Uzi-Vert-performs-at-Outside-Lands-on-Friday-August-5-2022..jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lil Uzi Vert performs at Outside Lands on Friday, August 5, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917270\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917270\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Kali-Uchis-performs-at-Outside-Lands-on-Saturday-August-6-2022.004-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Kali-Uchis-performs-at-Outside-Lands-on-Saturday-August-6-2022.004-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Kali-Uchis-performs-at-Outside-Lands-on-Saturday-August-6-2022.004-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Kali-Uchis-performs-at-Outside-Lands-on-Saturday-August-6-2022.004-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Kali-Uchis-performs-at-Outside-Lands-on-Saturday-August-6-2022.004-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Kali-Uchis-performs-at-Outside-Lands-on-Saturday-August-6-2022.004-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Kali-Uchis-performs-at-Outside-Lands-on-Saturday-August-6-2022.004.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kali Uchis performs at Outside Lands on Saturday, August 6, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917303\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917303\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Weezer-perform-at-Outside-Lands-on-Sunday-August-7-2022.001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Weezer-perform-at-Outside-Lands-on-Sunday-August-7-2022.001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Weezer-perform-at-Outside-Lands-on-Sunday-August-7-2022.001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Weezer-perform-at-Outside-Lands-on-Sunday-August-7-2022.001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Weezer-perform-at-Outside-Lands-on-Sunday-August-7-2022.001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Weezer-perform-at-Outside-Lands-on-Sunday-August-7-2022.001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Weezer-perform-at-Outside-Lands-on-Sunday-August-7-2022.001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Weezer perform at Outside Lands on Sunday, August 7, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917292\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917292\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Kim-Petras-performs-at-Outside-Lands-on-Sunday-August-7-2022.002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Kim-Petras-performs-at-Outside-Lands-on-Sunday-August-7-2022.002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Kim-Petras-performs-at-Outside-Lands-on-Sunday-August-7-2022.002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Kim-Petras-performs-at-Outside-Lands-on-Sunday-August-7-2022.002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Kim-Petras-performs-at-Outside-Lands-on-Sunday-August-7-2022.002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Kim-Petras-performs-at-Outside-Lands-on-Sunday-August-7-2022.002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Kim-Petras-performs-at-Outside-Lands-on-Sunday-August-7-2022.002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kim Petras performs at Outside Lands on Sunday, August 7, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917257\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917257\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Friday-August-5-2022.-005-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Friday-August-5-2022.-005-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Friday-August-5-2022.-005-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Friday-August-5-2022.-005-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Friday-August-5-2022.-005-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Friday-August-5-2022.-005-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Friday-August-5-2022.-005.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands on Friday, August 5, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917273\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917273\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/P-Lo-and-Thuy-performs-at-Outside-Lands-on-Saturday-August-6-2022.-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/P-Lo-and-Thuy-performs-at-Outside-Lands-on-Saturday-August-6-2022.-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/P-Lo-and-Thuy-performs-at-Outside-Lands-on-Saturday-August-6-2022.-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/P-Lo-and-Thuy-performs-at-Outside-Lands-on-Saturday-August-6-2022.-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/P-Lo-and-Thuy-performs-at-Outside-Lands-on-Saturday-August-6-2022.-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/P-Lo-and-Thuy-performs-at-Outside-Lands-on-Saturday-August-6-2022.-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/P-Lo-and-Thuy-performs-at-Outside-Lands-on-Saturday-August-6-2022..jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">P-Lo and Thuy perform at Outside Lands on Saturday, August 6, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917285\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917285\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Baby-Tate-performs-at-Outside-Lands-on-Sunday-August-7-2022.002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Baby-Tate-performs-at-Outside-Lands-on-Sunday-August-7-2022.002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Baby-Tate-performs-at-Outside-Lands-on-Sunday-August-7-2022.002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Baby-Tate-performs-at-Outside-Lands-on-Sunday-August-7-2022.002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Baby-Tate-performs-at-Outside-Lands-on-Sunday-August-7-2022.002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Baby-Tate-performs-at-Outside-Lands-on-Sunday-August-7-2022.002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Baby-Tate-performs-at-Outside-Lands-on-Sunday-August-7-2022.002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Baby Tate performs at Outside Lands on Sunday, August 7, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917277\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917277\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Saturday-August-6-2022-005-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Saturday-August-6-2022-005-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Saturday-August-6-2022-005-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Saturday-August-6-2022-005-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Saturday-August-6-2022-005-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Saturday-August-6-2022-005-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Saturday-August-6-2022-005.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands on Saturday, August 6, 2022. \u003ccite>( Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917264\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917264\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Green-Day-headline-Outside-Lands-on-Saturday-August-6-2022.002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Green-Day-headline-Outside-Lands-on-Saturday-August-6-2022.002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Green-Day-headline-Outside-Lands-on-Saturday-August-6-2022.002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Green-Day-headline-Outside-Lands-on-Saturday-August-6-2022.002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Green-Day-headline-Outside-Lands-on-Saturday-August-6-2022.002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Green-Day-headline-Outside-Lands-on-Saturday-August-6-2022.002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Green-Day-headline-Outside-Lands-on-Saturday-August-6-2022.002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Green Day headline Outside Lands on Saturday, August 6, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917248\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917248\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/SZA-headlines-Outside-Lands-on-Friday-August-5-2022.001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/SZA-headlines-Outside-Lands-on-Friday-August-5-2022.001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/SZA-headlines-Outside-Lands-on-Friday-August-5-2022.001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/SZA-headlines-Outside-Lands-on-Friday-August-5-2022.001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/SZA-headlines-Outside-Lands-on-Friday-August-5-2022.001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/SZA-headlines-Outside-Lands-on-Friday-August-5-2022.001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/SZA-headlines-Outside-Lands-on-Friday-August-5-2022.001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">SZA headlines Outside Lands on Friday, August 5, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917242\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917242\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Oliver-Tree-performs-at-Outside-Lands-on-Friday-August-5-2022.001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Oliver-Tree-performs-at-Outside-Lands-on-Friday-August-5-2022.001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Oliver-Tree-performs-at-Outside-Lands-on-Friday-August-5-2022.001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Oliver-Tree-performs-at-Outside-Lands-on-Friday-August-5-2022.001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Oliver-Tree-performs-at-Outside-Lands-on-Friday-August-5-2022.001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Oliver-Tree-performs-at-Outside-Lands-on-Friday-August-5-2022.001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Oliver-Tree-performs-at-Outside-Lands-on-Friday-August-5-2022.001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Oliver Tree performs at Outside Lands on Friday, August 5, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917281\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917281\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Saturday-August-6-2022.003-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Saturday-August-6-2022.003-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Saturday-August-6-2022.003-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Saturday-August-6-2022.003-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Saturday-August-6-2022.003-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Saturday-August-6-2022.003-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Saturday-August-6-2022.003.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands on Saturday, August 6, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917307\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917307\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Wet-Leg-perform-at-Outside-Lands-on-Sunday-August-7-2022.-002-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Wet-Leg-perform-at-Outside-Lands-on-Sunday-August-7-2022.-002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Wet-Leg-perform-at-Outside-Lands-on-Sunday-August-7-2022.-002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Wet-Leg-perform-at-Outside-Lands-on-Sunday-August-7-2022.-002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Wet-Leg-perform-at-Outside-Lands-on-Sunday-August-7-2022.-002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Wet-Leg-perform-at-Outside-Lands-on-Sunday-August-7-2022.-002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Wet-Leg-perform-at-Outside-Lands-on-Sunday-August-7-2022.-002.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Wet Leg perform at Outside Lands on Sunday, August 7, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917299\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917299\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Sunday-August-7-2022.003-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Sunday-August-7-2022.003-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Sunday-August-7-2022.003-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Sunday-August-7-2022.003-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Sunday-August-7-2022.003-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Sunday-August-7-2022.003-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Sunday-August-7-2022.003.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands on Sunday, August 7, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917295\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917295\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Post-Malone-headlines-Outside-Lands-on-Sunday-August-7-2022.004-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Post-Malone-headlines-Outside-Lands-on-Sunday-August-7-2022.004-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Post-Malone-headlines-Outside-Lands-on-Sunday-August-7-2022.004-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Post-Malone-headlines-Outside-Lands-on-Sunday-August-7-2022.004-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Post-Malone-headlines-Outside-Lands-on-Sunday-August-7-2022.004-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Post-Malone-headlines-Outside-Lands-on-Sunday-August-7-2022.004-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Post-Malone-headlines-Outside-Lands-on-Sunday-August-7-2022.004.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Post Malone headlines Outside Lands on Sunday, August 7, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917262\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917262\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Duckwrth-backstage-at-Outside-Lands-on-Friday-August-5-2022-011-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Duckwrth-backstage-at-Outside-Lands-on-Friday-August-5-2022-011-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Duckwrth-backstage-at-Outside-Lands-on-Friday-August-5-2022-011-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Duckwrth-backstage-at-Outside-Lands-on-Friday-August-5-2022-011-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Duckwrth-backstage-at-Outside-Lands-on-Friday-August-5-2022-011-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Duckwrth-backstage-at-Outside-Lands-on-Friday-August-5-2022-011-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Duckwrth-backstage-at-Outside-Lands-on-Friday-August-5-2022-011.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Duckwrth performs at Outside Lands on Friday, August 5, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917244\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917244\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/Phoebe-Bridgers-performs-at-Outside-Lands-on-Friday-August-5-2022.001-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Phoebe-Bridgers-performs-at-Outside-Lands-on-Friday-August-5-2022.001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Phoebe-Bridgers-performs-at-Outside-Lands-on-Friday-August-5-2022.001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Phoebe-Bridgers-performs-at-Outside-Lands-on-Friday-August-5-2022.001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Phoebe-Bridgers-performs-at-Outside-Lands-on-Friday-August-5-2022.001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Phoebe-Bridgers-performs-at-Outside-Lands-on-Friday-August-5-2022.001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/Phoebe-Bridgers-performs-at-Outside-Lands-on-Friday-August-5-2022.001.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Phoebe Bridgers performs at Outside Lands on Friday, August 5, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13917256\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13917256\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Friday-August-5-2022.-004-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Friday-August-5-2022.-004-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Friday-August-5-2022.-004-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Friday-August-5-2022.-004-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Friday-August-5-2022.-004-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Friday-August-5-2022.-004-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/08/The-crowd-at-Outside-Lands-on-Friday-August-5-2022.-004.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Outside Lands on Friday, August 5, 2022. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13917310/outside-lands-2022-photos-review",
"authors": [
"11813",
"11384"
],
"categories": [
"arts_1",
"arts_69"
],
"tags": [
"arts_10342",
"arts_1543",
"arts_1694",
"arts_1739",
"arts_2111",
"arts_924",
"arts_769"
],
"featImg": "arts_13917261",
"label": "arts"
},
"arts_13912128": {
"type": "posts",
"id": "arts_13912128",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13912128",
"score": null,
"sort": [
1650387614000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1650387614,
"format": "standard",
"title": "Green Day, SZA, Post Malone to Headline Outside Lands 2022",
"headTitle": "Green Day, SZA, Post Malone to Headline Outside Lands 2022 | KQED",
"content": "\u003cp>After a successful pandemic-era return last Halloween, \u003ca href=\"https://sfoutsidelands.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Outside Lands\u003c/a> comes back to Golden Gate Park Aug. 5-7 with headliners R&B singer SZA, rapper Post Malone and Berkeley pop-punk icons Green Day.\u003c/p>\n\u003cp>The festival attracts tens of thousands music fans to San Francisco each year for a weekend of performances, culinary delights and cannabis. The rest of the lineup, announced today, also features rappers Jack Harlow, Lil Uzi Vert and Pusha T; alternative rock acts like Weezer, Phoebe Bridgers, Mitski and Washed Out; electronic musicians Disclosure and Polo & Pan; and glitchy, experimental hyperpop artists 100 Gecs and Pussy Riot. [aside postid='arts_13905536']\u003c/p>\n\u003cp>In addition to Green Day, there are several Bay Area hometown heroes on the lineup, including rapper Larry June and orchestral pop artist Spellling. The rave-like SOMA Tent, which debuted last year, also makes a return with Dirtybird Records founder Claude Von Stroke, TOKiMONSTA and more.\u003c/p>\n\u003ch2>Full lineup\u003c/h2>\n\u003cp>\u003cstrong>Green Day\u003cbr>\nPost Malone\u003cbr>\nSZA\u003cbr>\nJack Harlow\u003cbr>\nWeezer\u003cbr>\nPhoebe Bridgers\u003cbr>\nIllenium\u003cbr>\nLil Uzi Vert\u003cbr>\nKali Uchis\u003cbr>\nDisclosure\u003cbr>\nMitski\u003cbr>\nPolo & Pan\u003cbr>\nAnitta\u003cbr>\nDominic Fike\u003cbr>\nOliver Tree\u003cbr>\nMac DeMarco\u003cbr>\nPusha T\u003cbr>\nMt. Joy\u003cbr>\nKim Petras\u003cbr>\nLocal Natives\u003cbr>\nThe Marías\u003cbr>\nLarry June\u003cbr>\n100 Gecs\u003cbr>\nParcels\u003cbr>\nDayglow\u003cbr>\nPurple Disco Machine\u003cbr>\nHiatus Kaiyote\u003cbr>\nWashed Out\u003cbr>\nAshe\u003cbr>\nSurf Mesa\u003cbr>\nWet Leg\u003cbr>\nSam Fender\u003cbr>\nRole Model\u003cbr>\nBaby Tate\u003cbr>\nThe Backseat Lovers\u003cbr>\nAmber Mark\u003cbr>\nBest Coast\u003cbr>\nFranc Moody\u003cbr>\nPussy Riot\u003cbr>\nDuckwrth\u003cbr>\nEmpress Of\u003cbr>\nRostam\u003cbr>\nZoe Wees\u003cbr>\nFaye Webster\u003cbr>\nGriff\u003cbr>\nAnna Lunoe\u003cbr>\nKennyHoopla\u003cbr>\nMaxo Kream\u003cbr>\nLido Pimienta\u003cbr>\nBriston Maroney\u003cbr>\nSampa The Great\u003cbr>\nDel Water Gap\u003cbr>\nRobert Glasper\u003cbr>\nInner Wave\u003cbr>\nTyla Yaweh\u003cbr>\nGlaive\u003cbr>\nThe Beths\u003cbr>\nPetey\u003cbr>\nOdie\u003cbr>\nBenny Sings\u003cbr>\nThuy\u003cbr>\nMICHELLE\u003cbr>\nJelani Aryeh\u003cbr>\nWilderado\u003cbr>\nCory Henry\u003cbr>\nThe Emo Night Tour\u003cbr>\nPawPaw Rod\u003cbr>\nL’Rain\u003cbr>\nCassandra Jenkins\u003cbr>\nUnusual Demont\u003cbr>\nForester\u003cbr>\nThe BLSSM\u003cbr>\nSPELLLING\u003cbr>\nTre’ Amani\u003c/strong>\u003c/p>\n\u003ch2>Soma Tent\u003c/h2>\n\u003cp>\u003cstrong>Claude VonStroke\u003cbr>\nDixon\u003cbr>\nTOKiMONSTA\u003cbr>\nAbsolute.\u003cbr>\nAMÉMÉ\u003cbr>\nANNA\u003cbr>\nAvalon Emerson\u003cbr>\nBarry Can’t Swim\u003cbr>\nCassian\u003cbr>\nDJ Minx\u003cbr>\nDJ Seinfeld\u003cbr>\nEllen Allien\u003cbr>\nIndia Jordan\u003cbr>\nJ. Worra\u003cbr>\nJOPLYN\u003cbr>\nMajor League Djz\u003cbr>\nMPHD b2b Tiffany Tyson\u003cbr>\nPerel\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 336,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 7
},
"modified": 1705006961,
"excerpt": "The festival returns Aug. 5-7 with performances by Pusha T, Phoebe Bridgers and many more. ",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The festival returns Aug. 5-7 with performances by Pusha T, Phoebe Bridgers and many more. ",
"title": "Green Day, SZA, Post Malone to Headline Outside Lands 2022 | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Green Day, SZA, Post Malone to Headline Outside Lands 2022",
"datePublished": "2022-04-19T10:00:14-07:00",
"dateModified": "2024-01-11T13:02:41-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "green-day-sza-post-malone-headline-outside-lands-2022",
"status": "publish",
"templateType": "standard",
"excludeFromSiteSearch": "Include",
"featuredImageType": "standard",
"sticky": false,
"path": "/arts/13912128/green-day-sza-post-malone-headline-outside-lands-2022",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>After a successful pandemic-era return last Halloween, \u003ca href=\"https://sfoutsidelands.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Outside Lands\u003c/a> comes back to Golden Gate Park Aug. 5-7 with headliners R&B singer SZA, rapper Post Malone and Berkeley pop-punk icons Green Day.\u003c/p>\n\u003cp>The festival attracts tens of thousands music fans to San Francisco each year for a weekend of performances, culinary delights and cannabis. The rest of the lineup, announced today, also features rappers Jack Harlow, Lil Uzi Vert and Pusha T; alternative rock acts like Weezer, Phoebe Bridgers, Mitski and Washed Out; electronic musicians Disclosure and Polo & Pan; and glitchy, experimental hyperpop artists 100 Gecs and Pussy Riot. \u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13905536",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In addition to Green Day, there are several Bay Area hometown heroes on the lineup, including rapper Larry June and orchestral pop artist Spellling. The rave-like SOMA Tent, which debuted last year, also makes a return with Dirtybird Records founder Claude Von Stroke, TOKiMONSTA and more.\u003c/p>\n\u003ch2>Full lineup\u003c/h2>\n\u003cp>\u003cstrong>Green Day\u003cbr>\nPost Malone\u003cbr>\nSZA\u003cbr>\nJack Harlow\u003cbr>\nWeezer\u003cbr>\nPhoebe Bridgers\u003cbr>\nIllenium\u003cbr>\nLil Uzi Vert\u003cbr>\nKali Uchis\u003cbr>\nDisclosure\u003cbr>\nMitski\u003cbr>\nPolo & Pan\u003cbr>\nAnitta\u003cbr>\nDominic Fike\u003cbr>\nOliver Tree\u003cbr>\nMac DeMarco\u003cbr>\nPusha T\u003cbr>\nMt. Joy\u003cbr>\nKim Petras\u003cbr>\nLocal Natives\u003cbr>\nThe Marías\u003cbr>\nLarry June\u003cbr>\n100 Gecs\u003cbr>\nParcels\u003cbr>\nDayglow\u003cbr>\nPurple Disco Machine\u003cbr>\nHiatus Kaiyote\u003cbr>\nWashed Out\u003cbr>\nAshe\u003cbr>\nSurf Mesa\u003cbr>\nWet Leg\u003cbr>\nSam Fender\u003cbr>\nRole Model\u003cbr>\nBaby Tate\u003cbr>\nThe Backseat Lovers\u003cbr>\nAmber Mark\u003cbr>\nBest Coast\u003cbr>\nFranc Moody\u003cbr>\nPussy Riot\u003cbr>\nDuckwrth\u003cbr>\nEmpress Of\u003cbr>\nRostam\u003cbr>\nZoe Wees\u003cbr>\nFaye Webster\u003cbr>\nGriff\u003cbr>\nAnna Lunoe\u003cbr>\nKennyHoopla\u003cbr>\nMaxo Kream\u003cbr>\nLido Pimienta\u003cbr>\nBriston Maroney\u003cbr>\nSampa The Great\u003cbr>\nDel Water Gap\u003cbr>\nRobert Glasper\u003cbr>\nInner Wave\u003cbr>\nTyla Yaweh\u003cbr>\nGlaive\u003cbr>\nThe Beths\u003cbr>\nPetey\u003cbr>\nOdie\u003cbr>\nBenny Sings\u003cbr>\nThuy\u003cbr>\nMICHELLE\u003cbr>\nJelani Aryeh\u003cbr>\nWilderado\u003cbr>\nCory Henry\u003cbr>\nThe Emo Night Tour\u003cbr>\nPawPaw Rod\u003cbr>\nL’Rain\u003cbr>\nCassandra Jenkins\u003cbr>\nUnusual Demont\u003cbr>\nForester\u003cbr>\nThe BLSSM\u003cbr>\nSPELLLING\u003cbr>\nTre’ Amani\u003c/strong>\u003c/p>\n\u003ch2>Soma Tent\u003c/h2>\n\u003cp>\u003cstrong>Claude VonStroke\u003cbr>\nDixon\u003cbr>\nTOKiMONSTA\u003cbr>\nAbsolute.\u003cbr>\nAMÉMÉ\u003cbr>\nANNA\u003cbr>\nAvalon Emerson\u003cbr>\nBarry Can’t Swim\u003cbr>\nCassian\u003cbr>\nDJ Minx\u003cbr>\nDJ Seinfeld\u003cbr>\nEllen Allien\u003cbr>\nIndia Jordan\u003cbr>\nJ. Worra\u003cbr>\nJOPLYN\u003cbr>\nMajor League Djz\u003cbr>\nMPHD b2b Tiffany Tyson\u003cbr>\nPerel\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13912128/green-day-sza-post-malone-headline-outside-lands-2022",
"authors": [
"11387"
],
"categories": [
"arts_1",
"arts_69",
"arts_235"
],
"tags": [
"arts_10278",
"arts_1543",
"arts_4418",
"arts_585"
],
"featImg": "arts_13912134",
"label": "arts"
},
"arts_13905411": {
"type": "posts",
"id": "arts_13905411",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13905411",
"score": null,
"sort": [
1635458725000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1635458725,
"format": "standard",
"title": "OK, So You're a Punk Rock 'Sellout.' Now What?",
"headTitle": "OK, So You’re a Punk Rock ‘Sellout.’ Now What? | KQED",
"content": "\u003cp>“It’s actually scientifically proven you’ll make more money on an independent label if you’re a not-so-great punk band like us,” Jawbreaker singer and guitarist Blake Schwarzenbach once told an \u003ca href=\"https://archive.org/details/jawbreaker07031993/12+indictment.m4a\" target=\"_blank\" rel=\"noopener noreferrer\">audience in 1993\u003c/a>. This, he said on stage, isn’t an empty play to the crowd, but rather good business advice. “The smart money stays on an independent, and actually gets richer. And you can do it scrupulously. So think about that.”\u003c/p>\n\u003cp>Not long after, Jawbreaker would sign a nearly \u003ca href=\"https://www.sfgate.com/entertainment/article/Jawbreaker-Swallows-Deal-With-Geffen-S-F-punk-3023361.php\" target=\"_blank\" rel=\"noopener noreferrer\">million-dollar record\u003c/a> deal with the label Geffen.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Cwyh9cCUzRI\u003c/p>\n\u003cp>And they weren’t the only ones. Immediately following the massive boom that was Nirvana, major labels began scouring local indie punk scenes looking for the next big thing. But if you were the kind of band that earned its cred giving the finger to corporate suits, how were you supposed to navigate shaking their hand for your shot at rock stardom?\u003c/p>\n\u003cp>That’s the question at the center of the new book \u003cem>Sellout: The Major Label Feeding Frenzy That Swept Punk, Emo, and Hardcore 1994 — 2007\u003c/em> from music writer Dan Ozzi. The book uses the major label debuts of 11 bands to examine a music industry in flux, fans feeling betrayed, and bands just trying to navigate the machine. “I wanted to know, what happens to the real people,” says Ozzi. “Is it worth it?”\u003c/p>\n\u003cfigure id=\"attachment_13905412\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13905412\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/sellout-9780358244301_custom-fe5de2ccd0318a39fbe53780d596014611f61e33-800x1192.jpg\" alt=\"\" width=\"800\" height=\"1192\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/sellout-9780358244301_custom-fe5de2ccd0318a39fbe53780d596014611f61e33-800x1192.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/sellout-9780358244301_custom-fe5de2ccd0318a39fbe53780d596014611f61e33-1020x1520.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/sellout-9780358244301_custom-fe5de2ccd0318a39fbe53780d596014611f61e33-160x238.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/sellout-9780358244301_custom-fe5de2ccd0318a39fbe53780d596014611f61e33-768x1144.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/sellout-9780358244301_custom-fe5de2ccd0318a39fbe53780d596014611f61e33-1031x1536.jpg 1031w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/sellout-9780358244301_custom-fe5de2ccd0318a39fbe53780d596014611f61e33-1375x2048.jpg 1375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/sellout-9780358244301_custom-fe5de2ccd0318a39fbe53780d596014611f61e33-scaled.jpg 1718w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Sellout’ by Dan Ozzi. \u003ccite>(Houghton Mifflin Harcourt)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Some chapters are straight-ahead success stories (Green Day, Blink-182, My Chemical Romance). Others, less so. Which brings us back to Jawbreaker.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postid='arts_13804539']“There are stories about kids sitting on the floor while they would play their major label songs, kids turning their back. They got spit on a lot,” says Ozzi.\u003c/p>\n\u003cp>It didn’t matter that their only major-label release, 1995’s \u003cem>Dear You,\u003c/em> was the hardest the band had pushed itself. Or that it was seminal in shaping what we know as emo today. Kids simply weren’t buying, and the band eventually broke up.\u003c/p>\n\u003cp>It’s easy to get cred for never selling out if nobody’s buying. But when you’re \u003cem>really\u003c/em> faced with that decision? “It made you do a lot of self-reflection about yourself as an artist,” says Tim McIlrath in an interview with NPR. McIlrath is the singer and guitarist for the band Rise Against.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=9-SQGOYOjxs\u003c/p>\n\u003cp>He found reading and participating in Ozzi’s book illuminating because bands going through this weren’t talking with each other about this stuff. “Maybe it was a combination of people were either embarrassed to talk about it, or still processing how they felt about it.”\u003c/p>\n\u003cp>And every band had a slightly different experience. Some, like the all-female band The Donnas, had label reps trying to micromanage and change their image.\u003c/p>\n\u003cp>“They had an A&R guy tell them, ‘Yeah, you guys are great. What we’re going to have you do is drop the instruments so you can sing and dance,'” says Ozzi. Which was a problem because they couldn’t dance. But also, why change now? Being who they were got them their success.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=nCvRT2sy5FE\u003c/p>\n\u003cp>But the picture Ozzi paints in the book isn’t as binary as the virtuous independent label vs. the evil and greedy major labels. He interviews various people from the corporate entities who came from punk scenes and really, truly wanted what was best for the bands. And there are, of course, shady actors coming from the indie labels, too. “There’s people not looking out for your best interests on either side of it,” he says.\u003c/p>\n\u003cp>Every art form deals with some variation of this question—what concessions are you willing to make for more eyeballs, more opportunity and more money. But money has always been a particularly sensitive topic for punk bands at any level.\u003c/p>\n\u003cp>[aside postid='arts_13894169']“Growing up in punk and hardcore, we have this thing called punk rock guilt,” says McIlrath. It’s a feeling of insecurity, of second-guessing if the choices you’re making are reflective of your values. Sometimes this pushes people to make somewhat ridiculous choices. (There’s a line in the book about McIlrath getting dropped off around the corner from a gig because he didn’t want people to see him getting out of his manager’s Mercedes).\u003c/p>\n\u003cp>But sometimes “selling out” afforded the band artistic opportunities it wouldn’t have had otherwise. For instance, during the height of the war in Iraq, Rise Against could call George Bush a liar in front of a small crowd of punks and, well, sure. Big surprise, there. But in front of a wider audience, where the cars in the parking lots are decked with American flags and “Support the Troops” stickers?\u003c/p>\n\u003cp>Ozzi writes:\u003c/p>\n\u003cblockquote>\u003cp>Sometimes, McIlrath saw his words lead to shoving matches and fistfights in the crowd. In more extreme cases, the band dodged cans that were thrown at them or were called f****ts or p*****s. McIlrath felt empowered by the combative atmosphere and enjoyed going into battle each night… It was as though the band had grown into their name.\u003c/p>\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>Of course, now in the streaming era, the economics of being in a band have changed. So that punk rock guilt barely exists anymore as most bands happily take beer ad money or agree to corporate brand sponsorships. Because just as you can’t pay your rent in punk cred, you also cannot escape marketing. “Maybe we’ve all just dealt with it,” says Ozzi. Or, maybe we’ve all just sold out.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=OK%2C+so+you%27re+a+%27Sellout.%27+Now+what%3F+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1016,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 20
},
"modified": 1705007549,
"excerpt": "In his new book, 'Sellout,' Dan Ozzi traces the battles between major and indie labels that dominated '90s punk.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "In his new book, 'Sellout,' Dan Ozzi traces the battles between major and indie labels that dominated '90s punk.",
"title": "OK, So You're a Punk Rock 'Sellout.' Now What? | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "OK, So You're a Punk Rock 'Sellout.' Now What?",
"datePublished": "2021-10-28T15:05:25-07:00",
"dateModified": "2024-01-11T13:12:29-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "ok-so-youre-a-punk-rock-sellout-now-what",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=1048005853&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprStoryDate": "Wed, 27 Oct 2021 17:04:06 -0400",
"excludeFromSiteSearch": "Include",
"nprLastModifiedDate": "Thu, 28 Oct 2021 08:44:02 -0400",
"featuredImageType": "standard",
"nprHtmlLink": "https://www.npr.org/2021/10/27/1048005853/sellout-dan-ozzi-punk-music-industry?ft=nprml&f=1048005853",
"nprAudio": "https://ondemand.npr.org/anon.npr-mp3/npr/atc/2021/10/20211026_atc_ok_so_youre_a_sellout_now_what_.mp3?orgId=1&topicId=1008&d=304&p=2&story=1048005853&ft=nprml&f=1048005853",
"nprImageAgency": "Houghton Mifflin Harcourt",
"nprAudioM3u": "http://api.npr.org/m3u/11049381436-841338.m3u?orgId=1&topicId=1008&d=304&p=2&story=1048005853&ft=nprml&f=1048005853",
"nprStoryId": "1048005853",
"nprByline": "Andrew Limbong",
"sticky": false,
"nprRetrievedStory": "1",
"nprPubDate": "Thu, 28 Oct 2021 08:44:00 -0400",
"path": "/arts/13905411/ok-so-youre-a-punk-rock-sellout-now-what",
"audioUrl": "https://ondemand.npr.org/anon.npr-mp3/npr/atc/2021/10/20211026_atc_ok_so_youre_a_sellout_now_what_.mp3?orgId=1&topicId=1008&d=304&p=2&story=1048005853&ft=nprml&f=1048005853",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“It’s actually scientifically proven you’ll make more money on an independent label if you’re a not-so-great punk band like us,” Jawbreaker singer and guitarist Blake Schwarzenbach once told an \u003ca href=\"https://archive.org/details/jawbreaker07031993/12+indictment.m4a\" target=\"_blank\" rel=\"noopener noreferrer\">audience in 1993\u003c/a>. This, he said on stage, isn’t an empty play to the crowd, but rather good business advice. “The smart money stays on an independent, and actually gets richer. And you can do it scrupulously. So think about that.”\u003c/p>\n\u003cp>Not long after, Jawbreaker would sign a nearly \u003ca href=\"https://www.sfgate.com/entertainment/article/Jawbreaker-Swallows-Deal-With-Geffen-S-F-punk-3023361.php\" target=\"_blank\" rel=\"noopener noreferrer\">million-dollar record\u003c/a> deal with the label Geffen.\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/Cwyh9cCUzRI'\n title='//www.youtube.com/embed/Cwyh9cCUzRI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>And they weren’t the only ones. Immediately following the massive boom that was Nirvana, major labels began scouring local indie punk scenes looking for the next big thing. But if you were the kind of band that earned its cred giving the finger to corporate suits, how were you supposed to navigate shaking their hand for your shot at rock stardom?\u003c/p>\n\u003cp>That’s the question at the center of the new book \u003cem>Sellout: The Major Label Feeding Frenzy That Swept Punk, Emo, and Hardcore 1994 — 2007\u003c/em> from music writer Dan Ozzi. The book uses the major label debuts of 11 bands to examine a music industry in flux, fans feeling betrayed, and bands just trying to navigate the machine. “I wanted to know, what happens to the real people,” says Ozzi. “Is it worth it?”\u003c/p>\n\u003cfigure id=\"attachment_13905412\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13905412\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/sellout-9780358244301_custom-fe5de2ccd0318a39fbe53780d596014611f61e33-800x1192.jpg\" alt=\"\" width=\"800\" height=\"1192\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/sellout-9780358244301_custom-fe5de2ccd0318a39fbe53780d596014611f61e33-800x1192.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/sellout-9780358244301_custom-fe5de2ccd0318a39fbe53780d596014611f61e33-1020x1520.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/sellout-9780358244301_custom-fe5de2ccd0318a39fbe53780d596014611f61e33-160x238.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/sellout-9780358244301_custom-fe5de2ccd0318a39fbe53780d596014611f61e33-768x1144.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/sellout-9780358244301_custom-fe5de2ccd0318a39fbe53780d596014611f61e33-1031x1536.jpg 1031w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/sellout-9780358244301_custom-fe5de2ccd0318a39fbe53780d596014611f61e33-1375x2048.jpg 1375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/sellout-9780358244301_custom-fe5de2ccd0318a39fbe53780d596014611f61e33-scaled.jpg 1718w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Sellout’ by Dan Ozzi. \u003ccite>(Houghton Mifflin Harcourt)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Some chapters are straight-ahead success stories (Green Day, Blink-182, My Chemical Romance). Others, less so. Which brings us back to Jawbreaker.\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_13804539",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>“There are stories about kids sitting on the floor while they would play their major label songs, kids turning their back. They got spit on a lot,” says Ozzi.\u003c/p>\n\u003cp>It didn’t matter that their only major-label release, 1995’s \u003cem>Dear You,\u003c/em> was the hardest the band had pushed itself. Or that it was seminal in shaping what we know as emo today. Kids simply weren’t buying, and the band eventually broke up.\u003c/p>\n\u003cp>It’s easy to get cred for never selling out if nobody’s buying. But when you’re \u003cem>really\u003c/em> faced with that decision? “It made you do a lot of self-reflection about yourself as an artist,” says Tim McIlrath in an interview with NPR. McIlrath is the singer and guitarist for the band Rise Against.\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/9-SQGOYOjxs'\n title='//www.youtube.com/embed/9-SQGOYOjxs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>He found reading and participating in Ozzi’s book illuminating because bands going through this weren’t talking with each other about this stuff. “Maybe it was a combination of people were either embarrassed to talk about it, or still processing how they felt about it.”\u003c/p>\n\u003cp>And every band had a slightly different experience. Some, like the all-female band The Donnas, had label reps trying to micromanage and change their image.\u003c/p>\n\u003cp>“They had an A&R guy tell them, ‘Yeah, you guys are great. What we’re going to have you do is drop the instruments so you can sing and dance,'” says Ozzi. Which was a problem because they couldn’t dance. But also, why change now? Being who they were got them their success.\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/nCvRT2sy5FE'\n title='//www.youtube.com/embed/nCvRT2sy5FE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But the picture Ozzi paints in the book isn’t as binary as the virtuous independent label vs. the evil and greedy major labels. He interviews various people from the corporate entities who came from punk scenes and really, truly wanted what was best for the bands. And there are, of course, shady actors coming from the indie labels, too. “There’s people not looking out for your best interests on either side of it,” he says.\u003c/p>\n\u003cp>Every art form deals with some variation of this question—what concessions are you willing to make for more eyeballs, more opportunity and more money. But money has always been a particularly sensitive topic for punk bands at any level.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13894169",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>“Growing up in punk and hardcore, we have this thing called punk rock guilt,” says McIlrath. It’s a feeling of insecurity, of second-guessing if the choices you’re making are reflective of your values. Sometimes this pushes people to make somewhat ridiculous choices. (There’s a line in the book about McIlrath getting dropped off around the corner from a gig because he didn’t want people to see him getting out of his manager’s Mercedes).\u003c/p>\n\u003cp>But sometimes “selling out” afforded the band artistic opportunities it wouldn’t have had otherwise. For instance, during the height of the war in Iraq, Rise Against could call George Bush a liar in front of a small crowd of punks and, well, sure. Big surprise, there. But in front of a wider audience, where the cars in the parking lots are decked with American flags and “Support the Troops” stickers?\u003c/p>\n\u003cp>Ozzi writes:\u003c/p>\n\u003cblockquote>\u003cp>Sometimes, McIlrath saw his words lead to shoving matches and fistfights in the crowd. In more extreme cases, the band dodged cans that were thrown at them or were called f****ts or p*****s. McIlrath felt empowered by the combative atmosphere and enjoyed going into battle each night… It was as though the band had grown into their name.\u003c/p>\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>Of course, now in the streaming era, the economics of being in a band have changed. So that punk rock guilt barely exists anymore as most bands happily take beer ad money or agree to corporate brand sponsorships. Because just as you can’t pay your rent in punk cred, you also cannot escape marketing. “Maybe we’ve all just dealt with it,” says Ozzi. Or, maybe we’ve all just sold out.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=OK%2C+so+you%27re+a+%27Sellout.%27+Now+what%3F+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13905411/ok-so-youre-a-punk-rock-sellout-now-what",
"authors": [
"byline_arts_13905411"
],
"categories": [
"arts_1",
"arts_73",
"arts_69"
],
"tags": [
"arts_15961",
"arts_1543",
"arts_913",
"arts_905"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13905414",
"label": "arts_137"
},
"arts_13875669": {
"type": "posts",
"id": "arts_13875669",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13875669",
"score": null,
"sort": [
1582909813000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1582909813,
"format": "standard",
"title": "Coronavirus Concerns Cancel Tour Dates for Pop Groups, Rock Bands, Orchestras",
"headTitle": "Coronavirus Concerns Cancel Tour Dates for Pop Groups, Rock Bands, Orchestras | KQED",
"content": "\u003cp>The coronavirus has begun to halt touring plans for some of the world’s biggest pop groups, rock bands and symphony orchestras.\u003c/p>\n\u003cp>K-pop superstars BTS canceled an upcoming concert series in South Korea’s capital as the country tries to contain the COVID-19 virus outbreak. \u003c/p>\n\u003cp>BTS, which performed at the Grammys and at New York’s Grand Central Terminal for \u003cem>The Tonight Show\u003c/em> in recent weeks, is seen as an emblem of South Korea’s cultural and economic power. The canceled concerts were the inaugural leg of the band’s new world tour.\u003c/p>\n\u003cp>“We regret to announce that the BTS MAP OF THE SOUL TOUR … has been cancelled,” the band’s agency Big Hit Entertainment said, in a statement.\u003c/p>\n\u003cp>The management agency said the outbreak in South Korea, which has more than 2,000 cases so far, made it impossible to predict the scale of the outbreak by April 11-12 and April 18-19, when the group was set to perform at Seoul’s Olympic Stadium.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>On Thursday, Bay Area rock band Green Day also canceled upcoming tour dates in March throughout Asia, including shows in Singapore, Bangkok, Manila, Taipei, Hong Kong, Seoul, Osaka and Tokyo.\u003c/p>\n\u003cp>“We have unfortunately made the difficult decision to postpone our upcoming shows in Asia due to the health + travel concerns with coronavirus,” the band said in a statement. “We know it sucks, as we were looking forward to seeing you all, but hold on to your tickets we’ll be announcing the new dates very soon.“\u003c/p>\n\u003cp>Also, the National Symphony Orchestra canceled the five remaining performances in Japan of its Asian tour due to the epidemic.\u003c/p>\n\u003cp>The orchestra originally was to play eight concerts in its first international tour with music director Gianandrea Noseda. On Feb. 4, the NSO called off shows in Beijing on March 13 and 14 and one in Shanghai on March 17.\u003c/p>\n\u003cp>In an announcement Thursday night, the orchestra scrapped performances from March 6-11 in Fukui, Sakai, Hiroshima and Tokyo. It cited a recommendation from Japanese Prime Minister Shinzo Abe that major cultural events be canceled for the next two weeks.\u003c/p>\n\u003cp>“After multiple consultations with officials at U.S. government agencies and recommendations from the Japanese government, it became clear that these evolving circumstances are beyond our control,” NSO executive director Gary Ginstling said in a statement.\u003c/p>\n\u003cp>The NSO is based at the Kennedy Center in Washington, D.C., and hopes fill the void in its schedule with orchestra and chamber music in the Washington area.\u003c/p>\n\u003cp>The Boston Symphony Orchestra canceled an Asian tour from Feb. 6-16 that had included performances in Seoul, South Korea; Taipei, Taiwan; Shanghai and Hong Kong.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The COVID-19 illness caused by a new type of coronavirus has sickened tens of thousands of people, most of them in China. Japan and South Korea also have been hard hit among Asian countries.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 500,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 16
},
"modified": 1705021206,
"excerpt": "BTS, Green Day and the National Symphony Orchestra have all canceled upcoming Asian tour dates. ",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "BTS, Green Day and the National Symphony Orchestra have all canceled upcoming Asian tour dates. ",
"title": "Coronavirus Concerns Cancel Tour Dates for Pop Groups, Rock Bands, Orchestras | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Coronavirus Concerns Cancel Tour Dates for Pop Groups, Rock Bands, Orchestras",
"datePublished": "2020-02-28T09:10:13-08:00",
"dateModified": "2024-01-11T17:00:06-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "coronavirus-concerns-cancel-tour-dates-for-pop-groups-rock-bands-orchestras",
"status": "publish",
"templateType": "standard",
"nprByline": "Hyung-Jin Kim, Associated Press, and Gabe Meline, KQED",
"featuredImageType": "standard",
"sticky": false,
"path": "/arts/13875669/coronavirus-concerns-cancel-tour-dates-for-pop-groups-rock-bands-orchestras",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The coronavirus has begun to halt touring plans for some of the world’s biggest pop groups, rock bands and symphony orchestras.\u003c/p>\n\u003cp>K-pop superstars BTS canceled an upcoming concert series in South Korea’s capital as the country tries to contain the COVID-19 virus outbreak. \u003c/p>\n\u003cp>BTS, which performed at the Grammys and at New York’s Grand Central Terminal for \u003cem>The Tonight Show\u003c/em> in recent weeks, is seen as an emblem of South Korea’s cultural and economic power. The canceled concerts were the inaugural leg of the band’s new world tour.\u003c/p>\n\u003cp>“We regret to announce that the BTS MAP OF THE SOUL TOUR … has been cancelled,” the band’s agency Big Hit Entertainment said, in a statement.\u003c/p>\n\u003cp>The management agency said the outbreak in South Korea, which has more than 2,000 cases so far, made it impossible to predict the scale of the outbreak by April 11-12 and April 18-19, when the group was set to perform at Seoul’s Olympic Stadium.\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>On Thursday, Bay Area rock band Green Day also canceled upcoming tour dates in March throughout Asia, including shows in Singapore, Bangkok, Manila, Taipei, Hong Kong, Seoul, Osaka and Tokyo.\u003c/p>\n\u003cp>“We have unfortunately made the difficult decision to postpone our upcoming shows in Asia due to the health + travel concerns with coronavirus,” the band said in a statement. “We know it sucks, as we were looking forward to seeing you all, but hold on to your tickets we’ll be announcing the new dates very soon.“\u003c/p>\n\u003cp>Also, the National Symphony Orchestra canceled the five remaining performances in Japan of its Asian tour due to the epidemic.\u003c/p>\n\u003cp>The orchestra originally was to play eight concerts in its first international tour with music director Gianandrea Noseda. On Feb. 4, the NSO called off shows in Beijing on March 13 and 14 and one in Shanghai on March 17.\u003c/p>\n\u003cp>In an announcement Thursday night, the orchestra scrapped performances from March 6-11 in Fukui, Sakai, Hiroshima and Tokyo. It cited a recommendation from Japanese Prime Minister Shinzo Abe that major cultural events be canceled for the next two weeks.\u003c/p>\n\u003cp>“After multiple consultations with officials at U.S. government agencies and recommendations from the Japanese government, it became clear that these evolving circumstances are beyond our control,” NSO executive director Gary Ginstling said in a statement.\u003c/p>\n\u003cp>The NSO is based at the Kennedy Center in Washington, D.C., and hopes fill the void in its schedule with orchestra and chamber music in the Washington area.\u003c/p>\n\u003cp>The Boston Symphony Orchestra canceled an Asian tour from Feb. 6-16 that had included performances in Seoul, South Korea; Taipei, Taiwan; Shanghai and Hong Kong.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The COVID-19 illness caused by a new type of coronavirus has sickened tens of thousands of people, most of them in China. Japan and South Korea also have been hard hit among Asian countries.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13875669/coronavirus-concerns-cancel-tour-dates-for-pop-groups-rock-bands-orchestras",
"authors": [
"byline_arts_13875669"
],
"categories": [
"arts_69",
"arts_235"
],
"tags": [
"arts_10124",
"arts_10126",
"arts_10127",
"arts_1543"
],
"featImg": "arts_13875671",
"label": "arts"
},
"arts_13871151": {
"type": "posts",
"id": "arts_13871151",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13871151",
"score": null,
"sort": [
1575939692000
]
},
"guestAuthors": [],
"slug": "murray-bowles-legendary-bay-area-punk-photographer-dies-at-68",
"title": "Murray Bowles, Legendary Bay Area Punk Photographer, Dies at 68",
"publishDate": 1575939692,
"format": "standard",
"headTitle": "Murray Bowles, Legendary Bay Area Punk Photographer, Dies at 68 | KQED",
"labelTerm": {
"site": "arts"
},
"content": "\u003cp>Murray Bowles, the photographer who chronicled the characters, chaos and energy of the Bay Area’s punk scene for over three decades, died at his home in Sacramento on Sunday. He was 68.\u003c/p>\n\u003cp>Often seen in the middle of swirling crowds, one arm lifting his camera into the air, Bowles created tens of thousands of images that captured the close-up intensity of a punk show. Many of his photos became defining images, particularly in the East Bay punk scene, and his photos graced magazines, record artwork and film documentaries.\u003c/p>\n\u003cp>“One of the great rites of passage of being a teenage Berkeley punk rocker was finally getting into one of Murray’s pictures,” said close friend Anna Brown. “It meant that you were \u003cem>in\u003c/em>.”\u003c/p>\n\u003cfigure id=\"attachment_13232566\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-800x533.jpg\" alt=\"Billie Joe Armstrong (third from right) sings with Operation Ivy onstage at 924 Gilman, circa 1988.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13232566\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-520x347.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Billie Joe Armstrong (third from right) sings with Operation Ivy onstage at 924 Gilman, circa 1988. \u003ccite>(Photo: Murray Bowles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bowles photographed thousands of bands, including many at Berkeley punk club 924 Gilman during the 1980s and 1990s. Along with bands like Crucifix, Filth, Crimpshrine and Fang, some of Bowles’ most iconic early photos capture young bands that went on to become globally known, like Operation Ivy, Neurosis, and Green Day.\u003c/p>\n\u003cp>But Bowles preferred the warehouses and basements.\u003c/p>\n\u003cfigure id=\"attachment_13871168\" class=\"wp-caption alignright\" style=\"max-width: 1080px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/Richie.Murray.jpg\" alt=\"Murray Bowles depicted on the cover of Green Day's album 'Dookie.'\" width=\"1080\" height=\"1080\" class=\"size-full wp-image-13871168\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Richie.Murray.jpg 1080w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Richie.Murray-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Richie.Murray-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Richie.Murray-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Richie.Murray-1020x1020.jpg 1020w\" sizes=\"auto, (max-width: 1080px) 100vw, 1080px\">\u003cfigcaption class=\"wp-caption-text\">Murray Bowles depicted on the cover of Green Day’s album ‘Dookie.’ \u003ccite>(Richie Bucher)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“He was right in there with the gritty basement shows, with kids, just sweaty, wild and free,” Brown said. “And I think that one of the things that’s so great about Murrays’ pictures is that sort of joyfulness. Even if was the most violent, negative band, the pictures came across as really sweet.”\u003c/p>\n\u003cp>Bowles was such a ubiquitous presence at Bay Area punk shows that he was included by artist Richie Bucher \u003ca href=\"https://www.instagram.com/p/B51xw5phoJrsez1PWqTuOOzRAFGOnbtN0ESHKc0/\" rel=\"noopener noreferrer\" target=\"_blank\">on the cover\u003c/a> of Green Day’s 1994 breakthrough album \u003cem>Dookie\u003c/em>, in his signature point-and-shoot pose. \u003c/p>\n\u003cp>“For me, he’s the most important part of that drawing,” said Bucher, who initially wanted to include everyone in the Berkeley punk scene in the tableau, an impossible task. “I don’t know if I thought about it at the time, but I realize now that by putting him in there, I wasn’t leaving anybody out. Because everybody from our scene could connect to him.”\u003c/p>\n\u003cp>“Murray, you are a legend,” wrote Green Day’s Billie Joe Armstrong \u003ca href=\"https://www.instagram.com/p/B51rOYnHlA4/\" rel=\"noopener noreferrer\" target=\"_blank\">on Instagram\u003c/a> on Monday. “I remember seeing your photos up on the walls at Gilman the first time I ever went there. Amazing photographer, musician. The nicest man and a great friend to the punks. East Bay punk has a heavy heart today.”\u003c/p>\n\u003cp>\u003cstrong>\u003cem>[See a giant collection of Murray Bowles’ photos \u003ca href=\"https://www.facebook.com/profile.php?id=100005407748464&sk=media_set&set=a.211229612400629&type=3\" rel=\"noopener noreferrer\" target=\"_blank\">here\u003c/a>.]\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Questions about the future of Bowles’ archive have already been addressed. Brown said that, with Bowles, she’s planned for decades to publish a book of his photographs, a project she still hopes to see to fruition. Bowles selected all the images before he died, and helped with an outline for the book. \u003c/p>\n\u003cp>Corbett Redford, director of the documentary \u003cem>\u003ca href=\"https://www.kqed.org/arts/13239750/the-definitive-documentary-on-east-bay-punk-is-coming-pit-warning\" rel=\"noopener noreferrer\" target=\"_blank\">Turn It Around: The Story of East Bay Punk\u003c/a>\u003c/em>, said that having access to Bowles’ archive was a crucial component to the film. “He was so generous to give [his archive] to us. We would not have a documentary if it was not for him.”\u003c/p>\n\u003cfigure id=\"attachment_13871189\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/DavidHayes.Murray-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13871189\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/DavidHayes.Murray-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/DavidHayes.Murray-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/DavidHayes.Murray-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/DavidHayes.Murray-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/DavidHayes.Murray-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/DavidHayes.Murray.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Murray Bowles (R) with Very Small Records founder David Hayes. \u003ccite>(Courtesy Corbett Redford)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It was through the making of \u003cem>Turn It Around\u003c/em> that 25 years of Bowles’ photos were finally preserved. Redford tells the story of driving to Bowles’ San Jose home with fanzine editor Robert Eggplant and Tim Armstrong from the band Rancid. There, the three went through decades of old photos and negatives.\u003c/p>\n\u003cp>“It was all gathering dust in his closet—30,000 negatives that were pretty disorganized,” Redford said. The three loaded all of Bowles’ negatives into the trunk, and drove back to Oakland to be cleaned and digitized over time by Caoimhe Carty, the film’s online editor. \u003c/p>\n\u003cp>“When I was driving back, I had what I felt was the Tiffany Diamond in the trunk,” Redford said. “I kept thinking, ‘Please don’t get in an accident. If I do, the entire history is gone.’”\u003c/p>\n\u003cfigure id=\"attachment_13243294\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-800x533.jpg\" alt=\"Green Day with first drummer John Kiffmeyer at Gilman, circa 1990.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13243294\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-520x347.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Green Day with first drummer John Kiffmeyer at Gilman, circa 1990. \u003ccite>(Murray Bowles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bowles was raised in San Gabriel, California, and learned photography from his grandfather. Upon graduating from UC Berkeley in 1976, he found work as a computer programmer in San Jose, but an assignment to photograph a show for the fanzine \u003cem>Ripper\u003c/em> got him hooked on the action of punk. “I started bringing my camera to every show I went to,” he told \u003cem>Maximum RocknRoll\u003c/em> in \u003ca href=\"http://maximumrocknroll.com/murray-bowles/\" rel=\"noopener noreferrer\" target=\"_blank\">a 2009 interview\u003c/a>. “It was addictive.”\u003c/p>\n\u003cp>Bowles initially distributed his photos by bringing a box of them to shows and selling them for 15 cents each to cover development costs, eventually raising the price to a quarter. It became a tradition among punks to scrape together change and buy pictures of themselves at shows from the week prior. In 1987, \u003cem>Maximum RockNRoll\u003c/em> published a special issue dedicated to Bowles’ photography, titled \u003cem>If Life is a Bowl of Cherries, Why am I in the Pit?\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13871178\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/GBH.Bowles-800x596.jpg\" alt=\"A stagediver at a GBH show in the early 1980s. \" width=\"800\" height=\"596\" class=\"size-medium wp-image-13871178\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/GBH.Bowles.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/GBH.Bowles-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/GBH.Bowles-768x572.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A stagediver at a GBH show in the early 1980s, from ‘If Life is a Bowl of Cherries, Why am I in the Pit?’. \u003ccite>(Murray Bowles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Later, Bowles maintained an \u003ca href=\"https://www.instagram.com/murraybowles/?hl=en\" rel=\"noopener noreferrer\" target=\"_blank\">active Instagram account\u003c/a>, posting pictures from shows along with his other hobbies: food, beer, bicycling, nature. He also played the viola for several bands, as well as the Peninsula Symphony and the occasional theatre pit orchestra. He worked for Dell Computers until his retirement, when he moved to Sacramento.\u003c/p>\n\u003cp>There, Brown said, he continued to go to underground shows up until the end, always taking photos. “He really captured this side of punk that was not cliché,” Brown said. “He really got it.”\u003c/p>\n\u003cfigure id=\"attachment_13871203\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/MurrayViola-2.jpg\" alt=\"Murray Bowles, playing his viola.\" width=\"600\" height=\"400\" class=\"size-full wp-image-13871203\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/MurrayViola-2.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/MurrayViola-2-160x107.jpg 160w\" sizes=\"auto, (max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Murray Bowles, playing his viola. \u003ccite>(Courtesy Corbett Redford)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Matt Saincome, founder of the punk satire site The Hard Times, remembered Bowles for his commitment and tenacity.\u003c/p>\n\u003cp>“My friends and I, we threw a show at a barn in Clayton when I was 16,” Saincome said. “There were 12 people there, out in the middle of nowhere, up this mountain, it didn’t even have an address. Absolutely no one came. No popular bands. And all of a sudden, Murray popped up. It’s me and 12 of my friends, and then him… His dedication to punk went so far that he wasn’t just going to a couple venues here and there. He said, ‘I’m gonna drive up this mountain in Clayton, to a barn with cows and chickens.’”\u003c/p>\n\u003cfigure id=\"attachment_13871194\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/MurrayBowles.AnnaBrown-800x530.jpg\" alt=\"Murray Bowles at Sibley Park, in the East Bay hills.\" width=\"800\" height=\"530\" class=\"size-medium wp-image-13871194\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/MurrayBowles.AnnaBrown-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/MurrayBowles.AnnaBrown-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/MurrayBowles.AnnaBrown-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/MurrayBowles.AnnaBrown-1020x676.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/MurrayBowles.AnnaBrown-1200x796.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/MurrayBowles.AnnaBrown.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Murray Bowles at Sibley Park, in the East Bay hills. \u003ccite>(Anna Brown)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Saincome echoed the sentiment that Bowles chronicled people, music and moments that would otherwise be forgotten, with an eye for people’s humanity. “If you’re a Bay Area punk kid, you can go to \u003ca href=\"https://pbase.com/murraybowles/\" rel=\"noopener noreferrer\" target=\"_blank\">his website\u003c/a> and watch yourself grow up in real time through his photos,” Saincome said.\u003c/p>\n\u003cp>“Just the fact that it was him taking your picture—it made you feel legitimate, and valuable, and part of something,” said Bucher. “I had trouble feeling part of anything. But if Murray’s there, then it’s hard not to feel included.”\u003c/p>\n\u003cp>As Becca Bolo, a Gilman regular in the 1990s, put it, “Murray was an incredibly talented person who gave us the gift of seeing ourselves as the beautiful humans that we are.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
"blocks": [],
"excerpt": "Shooting from the crowd, Bowles captured the intimate energy of punk's brightest figures.",
"status": "publish",
"parent": 0,
"modified": 1743405158,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 26,
"wordCount": 1321
},
"headData": {
"title": "Murray Bowles, Legendary Bay Area Punk Photographer, Dies at 68 | KQED",
"description": "Shooting from the crowd, Bowles captured the intimate energy of punk's brightest figures.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Murray Bowles, Legendary Bay Area Punk Photographer, Dies at 68",
"datePublished": "2019-12-09T17:01:32-08:00",
"dateModified": "2025-03-31T00:12:38-07:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"sticky": false,
"templateType": "standard",
"featuredImageType": "standard",
"excludeFromSiteSearch": "Include",
"articleAge": "0",
"path": "/arts/13871151/murray-bowles-legendary-bay-area-punk-photographer-dies-at-68",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Murray Bowles, the photographer who chronicled the characters, chaos and energy of the Bay Area’s punk scene for over three decades, died at his home in Sacramento on Sunday. He was 68.\u003c/p>\n\u003cp>Often seen in the middle of swirling crowds, one arm lifting his camera into the air, Bowles created tens of thousands of images that captured the close-up intensity of a punk show. Many of his photos became defining images, particularly in the East Bay punk scene, and his photos graced magazines, record artwork and film documentaries.\u003c/p>\n\u003cp>“One of the great rites of passage of being a teenage Berkeley punk rocker was finally getting into one of Murray’s pictures,” said close friend Anna Brown. “It meant that you were \u003cem>in\u003c/em>.”\u003c/p>\n\u003cfigure id=\"attachment_13232566\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-800x533.jpg\" alt=\"Billie Joe Armstrong (third from right) sings with Operation Ivy onstage at 924 Gilman, circa 1988.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13232566\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/BILLIE-JOE-SINGS-WITH-TIM-OF-OPERATION-IVY-1988-PHOTO-BY-MURRAY-BOWLES-520x347.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Billie Joe Armstrong (third from right) sings with Operation Ivy onstage at 924 Gilman, circa 1988. \u003ccite>(Photo: Murray Bowles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bowles photographed thousands of bands, including many at Berkeley punk club 924 Gilman during the 1980s and 1990s. Along with bands like Crucifix, Filth, Crimpshrine and Fang, some of Bowles’ most iconic early photos capture young bands that went on to become globally known, like Operation Ivy, Neurosis, and Green Day.\u003c/p>\n\u003cp>But Bowles preferred the warehouses and basements.\u003c/p>\n\u003cfigure id=\"attachment_13871168\" class=\"wp-caption alignright\" style=\"max-width: 1080px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/Richie.Murray.jpg\" alt=\"Murray Bowles depicted on the cover of Green Day's album 'Dookie.'\" width=\"1080\" height=\"1080\" class=\"size-full wp-image-13871168\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Richie.Murray.jpg 1080w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Richie.Murray-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Richie.Murray-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Richie.Murray-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Richie.Murray-1020x1020.jpg 1020w\" sizes=\"auto, (max-width: 1080px) 100vw, 1080px\">\u003cfigcaption class=\"wp-caption-text\">Murray Bowles depicted on the cover of Green Day’s album ‘Dookie.’ \u003ccite>(Richie Bucher)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“He was right in there with the gritty basement shows, with kids, just sweaty, wild and free,” Brown said. “And I think that one of the things that’s so great about Murrays’ pictures is that sort of joyfulness. Even if was the most violent, negative band, the pictures came across as really sweet.”\u003c/p>\n\u003cp>Bowles was such a ubiquitous presence at Bay Area punk shows that he was included by artist Richie Bucher \u003ca href=\"https://www.instagram.com/p/B51xw5phoJrsez1PWqTuOOzRAFGOnbtN0ESHKc0/\" rel=\"noopener noreferrer\" target=\"_blank\">on the cover\u003c/a> of Green Day’s 1994 breakthrough album \u003cem>Dookie\u003c/em>, in his signature point-and-shoot pose. \u003c/p>\n\u003cp>“For me, he’s the most important part of that drawing,” said Bucher, who initially wanted to include everyone in the Berkeley punk scene in the tableau, an impossible task. “I don’t know if I thought about it at the time, but I realize now that by putting him in there, I wasn’t leaving anybody out. Because everybody from our scene could connect to him.”\u003c/p>\n\u003cp>“Murray, you are a legend,” wrote Green Day’s Billie Joe Armstrong \u003ca href=\"https://www.instagram.com/p/B51rOYnHlA4/\" rel=\"noopener noreferrer\" target=\"_blank\">on Instagram\u003c/a> on Monday. “I remember seeing your photos up on the walls at Gilman the first time I ever went there. Amazing photographer, musician. The nicest man and a great friend to the punks. East Bay punk has a heavy heart today.”\u003c/p>\n\u003cp>\u003cstrong>\u003cem>[See a giant collection of Murray Bowles’ photos \u003ca href=\"https://www.facebook.com/profile.php?id=100005407748464&sk=media_set&set=a.211229612400629&type=3\" rel=\"noopener noreferrer\" target=\"_blank\">here\u003c/a>.]\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Questions about the future of Bowles’ archive have already been addressed. Brown said that, with Bowles, she’s planned for decades to publish a book of his photographs, a project she still hopes to see to fruition. Bowles selected all the images before he died, and helped with an outline for the book. \u003c/p>\n\u003cp>Corbett Redford, director of the documentary \u003cem>\u003ca href=\"https://www.kqed.org/arts/13239750/the-definitive-documentary-on-east-bay-punk-is-coming-pit-warning\" rel=\"noopener noreferrer\" target=\"_blank\">Turn It Around: The Story of East Bay Punk\u003c/a>\u003c/em>, said that having access to Bowles’ archive was a crucial component to the film. “He was so generous to give [his archive] to us. We would not have a documentary if it was not for him.”\u003c/p>\n\u003cfigure id=\"attachment_13871189\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/DavidHayes.Murray-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13871189\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/DavidHayes.Murray-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/DavidHayes.Murray-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/DavidHayes.Murray-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/DavidHayes.Murray-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/DavidHayes.Murray-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/DavidHayes.Murray.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Murray Bowles (R) with Very Small Records founder David Hayes. \u003ccite>(Courtesy Corbett Redford)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It was through the making of \u003cem>Turn It Around\u003c/em> that 25 years of Bowles’ photos were finally preserved. Redford tells the story of driving to Bowles’ San Jose home with fanzine editor Robert Eggplant and Tim Armstrong from the band Rancid. There, the three went through decades of old photos and negatives.\u003c/p>\n\u003cp>“It was all gathering dust in his closet—30,000 negatives that were pretty disorganized,” Redford said. The three loaded all of Bowles’ negatives into the trunk, and drove back to Oakland to be cleaned and digitized over time by Caoimhe Carty, the film’s online editor. \u003c/p>\n\u003cp>“When I was driving back, I had what I felt was the Tiffany Diamond in the trunk,” Redford said. “I kept thinking, ‘Please don’t get in an accident. If I do, the entire history is gone.’”\u003c/p>\n\u003cfigure id=\"attachment_13243294\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-800x533.jpg\" alt=\"Green Day with first drummer John Kiffmeyer at Gilman, circa 1990.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13243294\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/GREEN-DAY-AT-GILMAN-1990-PHOTO-BY-MURRAY-BOWLES-520x347.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Green Day with first drummer John Kiffmeyer at Gilman, circa 1990. \u003ccite>(Murray Bowles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bowles was raised in San Gabriel, California, and learned photography from his grandfather. Upon graduating from UC Berkeley in 1976, he found work as a computer programmer in San Jose, but an assignment to photograph a show for the fanzine \u003cem>Ripper\u003c/em> got him hooked on the action of punk. “I started bringing my camera to every show I went to,” he told \u003cem>Maximum RocknRoll\u003c/em> in \u003ca href=\"http://maximumrocknroll.com/murray-bowles/\" rel=\"noopener noreferrer\" target=\"_blank\">a 2009 interview\u003c/a>. “It was addictive.”\u003c/p>\n\u003cp>Bowles initially distributed his photos by bringing a box of them to shows and selling them for 15 cents each to cover development costs, eventually raising the price to a quarter. It became a tradition among punks to scrape together change and buy pictures of themselves at shows from the week prior. In 1987, \u003cem>Maximum RockNRoll\u003c/em> published a special issue dedicated to Bowles’ photography, titled \u003cem>If Life is a Bowl of Cherries, Why am I in the Pit?\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13871178\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/GBH.Bowles-800x596.jpg\" alt=\"A stagediver at a GBH show in the early 1980s. \" width=\"800\" height=\"596\" class=\"size-medium wp-image-13871178\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/GBH.Bowles.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/GBH.Bowles-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/GBH.Bowles-768x572.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A stagediver at a GBH show in the early 1980s, from ‘If Life is a Bowl of Cherries, Why am I in the Pit?’. \u003ccite>(Murray Bowles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Later, Bowles maintained an \u003ca href=\"https://www.instagram.com/murraybowles/?hl=en\" rel=\"noopener noreferrer\" target=\"_blank\">active Instagram account\u003c/a>, posting pictures from shows along with his other hobbies: food, beer, bicycling, nature. He also played the viola for several bands, as well as the Peninsula Symphony and the occasional theatre pit orchestra. He worked for Dell Computers until his retirement, when he moved to Sacramento.\u003c/p>\n\u003cp>There, Brown said, he continued to go to underground shows up until the end, always taking photos. “He really captured this side of punk that was not cliché,” Brown said. “He really got it.”\u003c/p>\n\u003cfigure id=\"attachment_13871203\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/MurrayViola-2.jpg\" alt=\"Murray Bowles, playing his viola.\" width=\"600\" height=\"400\" class=\"size-full wp-image-13871203\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/MurrayViola-2.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/MurrayViola-2-160x107.jpg 160w\" sizes=\"auto, (max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Murray Bowles, playing his viola. \u003ccite>(Courtesy Corbett Redford)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Matt Saincome, founder of the punk satire site The Hard Times, remembered Bowles for his commitment and tenacity.\u003c/p>\n\u003cp>“My friends and I, we threw a show at a barn in Clayton when I was 16,” Saincome said. “There were 12 people there, out in the middle of nowhere, up this mountain, it didn’t even have an address. Absolutely no one came. No popular bands. And all of a sudden, Murray popped up. It’s me and 12 of my friends, and then him… His dedication to punk went so far that he wasn’t just going to a couple venues here and there. He said, ‘I’m gonna drive up this mountain in Clayton, to a barn with cows and chickens.’”\u003c/p>\n\u003cfigure id=\"attachment_13871194\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/MurrayBowles.AnnaBrown-800x530.jpg\" alt=\"Murray Bowles at Sibley Park, in the East Bay hills.\" width=\"800\" height=\"530\" class=\"size-medium wp-image-13871194\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/MurrayBowles.AnnaBrown-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/MurrayBowles.AnnaBrown-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/MurrayBowles.AnnaBrown-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/MurrayBowles.AnnaBrown-1020x676.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/MurrayBowles.AnnaBrown-1200x796.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/MurrayBowles.AnnaBrown.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Murray Bowles at Sibley Park, in the East Bay hills. \u003ccite>(Anna Brown)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Saincome echoed the sentiment that Bowles chronicled people, music and moments that would otherwise be forgotten, with an eye for people’s humanity. “If you’re a Bay Area punk kid, you can go to \u003ca href=\"https://pbase.com/murraybowles/\" rel=\"noopener noreferrer\" target=\"_blank\">his website\u003c/a> and watch yourself grow up in real time through his photos,” Saincome said.\u003c/p>\n\u003cp>“Just the fact that it was him taking your picture—it made you feel legitimate, and valuable, and part of something,” said Bucher. “I had trouble feeling part of anything. But if Murray’s there, then it’s hard not to feel included.”\u003c/p>\n\u003cp>As Becca Bolo, a Gilman regular in the 1990s, put it, “Murray was an incredibly talented person who gave us the gift of seeing ourselves as the beautiful humans that we are.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "floatright"
},
"numeric": [
"floatright"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13871151/murray-bowles-legendary-bay-area-punk-photographer-dies-at-68",
"authors": [
"185"
],
"categories": [
"arts_69",
"arts_235",
"arts_1564",
"arts_70"
],
"tags": [
"arts_21795",
"arts_1118",
"arts_1543",
"arts_822",
"arts_913"
],
"featImg": "arts_13871186",
"label": "arts"
}
},
"podcastsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"podcasts": {}
},
"radioProgramsReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": false,
"radioPrograms": {}
},
"radioSearchSegmentsReducer": {},
"programsReducer": {
"all-things-considered": {
"id": "all-things-considered",
"title": "All Things Considered",
"info": "Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. Michel Martin hosts on the weekends.",
"airtime": "MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/all-things-considered/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/all-things-considered"
},
"american-suburb-podcast": {
"id": "american-suburb-podcast",
"title": "American Suburb: The Podcast",
"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg",
"officialWebsiteLink": "/news/series/american-suburb-podcast",
"meta": {
"site": "news",
"source": "kqed",
"order": 19
},
"link": "/news/series/american-suburb-podcast/",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/RBrW",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328",
"tuneIn": "https://tunein.com/radio/American-Suburb-p1086805/",
"rss": "https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"
}
},
"baycurious": {
"id": "baycurious",
"title": "Bay Curious",
"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Bay Curious",
"officialWebsiteLink": "/news/series/baycurious",
"meta": {
"site": "news",
"source": "kqed",
"order": 3
},
"link": "/podcasts/baycurious",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/bay-curious/id1172473406",
"npr": "https://www.npr.org/podcasts/500557090/bay-curious",
"rss": "https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast",
"amazon": "https://music.amazon.com/podcasts/9a90d476-aa04-455d-9a4c-0871ed6216d4/bay-curious",
"stitcher": "https://www.stitcher.com/podcast/kqed/bay-curious",
"spotify": "https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"
}
},
"bbc-world-service": {
"id": "bbc-world-service",
"title": "BBC World Service",
"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
"airtime": "MON-FRI 9pm-10pm, TUE-FRI 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.bbc.co.uk/sounds/play/live:bbc_world_service",
"meta": {
"site": "news",
"source": "BBC World Service"
},
"link": "/radio/program/bbc-world-service",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2",
"tuneIn": "https://tunein.com/radio/BBC-World-Service-p455581/",
"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report",
"officialWebsiteLink": "/californiareport",
"meta": {
"site": "news",
"source": "kqed",
"order": 8
},
"link": "/californiareport",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-the-california-report/id79681292",
"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
"npr": "https://www.npr.org/podcasts/432285393/the-california-report",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-the-california-report-podcast-8838",
"rss": "https://ww2.kqed.org/news/tag/tcram/feed/podcast"
}
},
"californiareportmagazine": {
"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Magazine-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report Magazine",
"officialWebsiteLink": "/californiareportmagazine",
"meta": {
"site": "news",
"source": "kqed",
"order": 10
},
"link": "/californiareportmagazine",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-california-report-magazine/id1314750545",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
"npr": "https://www.npr.org/podcasts/564733126/the-california-report-magazine",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-california-report-magazine",
"rss": "https://ww2.kqed.org/news/tag/tcrmag/feed/podcast"
}
},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
"tagline": "Your irreverent guide to the trends redefining our world",
"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/02/CAT_2_Tile-scaled.jpg",
"imageAlt": "KQED Close All Tabs",
"officialWebsiteLink": "/podcasts/closealltabs",
"meta": {
"site": "news",
"source": "kqed",
"order": 1
},
"link": "/podcasts/closealltabs",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/close-all-tabs/id214663465",
"rss": "https://feeds.megaphone.fm/KQINC6993880386",
"amazon": "https://music.amazon.com/podcasts/92d9d4ac-67a3-4eed-b10a-fb45d45b1ef2/close-all-tabs",
"spotify": "https://open.spotify.com/show/6LAJFHnGK1pYXYzv6SIol6?si=deb0cae19813417c"
}
},
"code-switch-life-kit": {
"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
"airtime": "SUN 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/code-switch-life-kit",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
"spotify": "https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV",
"rss": "https://feeds.npr.org/510312/podcast.xml"
}
},
"commonwealth-club": {
"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
"tuneIn": "https://tunein.com/radio/Commonwealth-Club-of-California-p1060/"
}
},
"forum": {
"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
"officialWebsiteLink": "/forum",
"meta": {
"site": "news",
"source": "kqed",
"order": 9
},
"link": "/forum",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/kqeds-forum/id73329719",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
"npr": "https://www.npr.org/podcasts/432307980/forum",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-forum-podcast",
"rss": "https://feeds.megaphone.fm/KQINC9557381633"
}
},
"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
"airtime": "MON-FRI 7pm-8pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Fresh-Air-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/fresh-air/",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/fresh-air",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Fresh-Air-p17/",
"rss": "https://feeds.npr.org/381444908/podcast.xml"
}
},
"here-and-now": {
"id": "here-and-now",
"title": "Here & Now",
"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
"airtime": "MON-THU 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Here-And-Now-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://www.wbur.org/hereandnow",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/here-and-now",
"subsdcribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=426698661",
"tuneIn": "https://tunein.com/radio/Here--Now-p211/",
"rss": "https://feeds.npr.org/510051/podcast.xml"
}
},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/hiddenbrain.jpg",
"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/hidden-brain/id1028908750?mt=2",
"tuneIn": "https://tunein.com/podcasts/Science-Podcasts/Hidden-Brain-p787503/",
"rss": "https://feeds.npr.org/510308/podcast.xml"
}
},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
"tuneIn": "https://tunein.com/podcasts/Arts--Culture-Podcasts/How-I-Built-This-p910896/",
"rss": "https://feeds.npr.org/510313/podcast.xml"
}
},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
"site": "news",
"source": "kqed",
"order": 15
},
"link": "/podcasts/hyphenacion",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/hyphenaci%C3%B3n/id1191591838",
"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
"youtube": "https://www.youtube.com/c/kqedarts",
"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
"site": "news",
"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
"subscribe": {
"npr": "https://www.npr.org/podcasts/790253322/the-political-mind-of-jerry-brown",
"apple": "https://itunes.apple.com/us/podcast/id1492194549",
"rss": "https://ww2.kqed.org/news/series/jerrybrown/feed/podcast/",
"tuneIn": "http://tun.in/pjGcK",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-political-mind-of-jerry-brown",
"spotify": "https://open.spotify.com/show/54C1dmuyFyKMFttY6X2j6r?si=K8SgRCoISNK6ZbjpXrX5-w",
"amazon": "https://music.amazon.com/podcasts/44420f75-3b0e-4301-ab3b-16da6b09e543/the-political-mind-of-jerry-brown"
}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/xtTd",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Latino-USA-p621/",
"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201853034&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/APM-Marketplace-p88/",
"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
"site": "news",
"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
"spotify": "https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"
}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
"npr": "https://rpb3r.app.goo.gl/onourwatch",
"spotify": "https://open.spotify.com/show/0OLWoyizopu6tY1XiuX70x",
"tuneIn": "https://tunein.com/radio/On-Our-Watch-p1436229/",
"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
"site": "news",
"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
"site": "radio",
"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
}
},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
"site": "radio",
"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/political-breakdown/id1327641087",
"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
"stitcher": "https://www.stitcher.com/podcast/kqed/political-breakdown",
"spotify": "https://open.spotify.com/show/07RVyIjIdk2WDuVehvBMoN",
"rss": "https://ww2.kqed.org/news/tag/political-breakdown/feed/podcast"
}
},
"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
"meta": {
"site": "news",
"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/possible/id1677184070",
"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
}
},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pri.org/programs/the-world",
"meta": {
"site": "news",
"source": "PRI"
},
"link": "/radio/program/pri-the-world",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pris-the-world-latest-edition/id278196007?mt=2",
"tuneIn": "https://tunein.com/podcasts/News--Politics-Podcasts/PRIs-The-World-p24/",
"rss": "http://feeds.feedburner.com/pri/theworld"
}
},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
"airtime": "SUN 12am-1am, SAT 2pm-3pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/radiolab1400.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/radiolab/",
"meta": {
"site": "science",
"source": "WNYC"
},
"link": "/radio/program/radiolab",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/radiolab/id152249110?mt=2",
"tuneIn": "https://tunein.com/radio/RadioLab-p68032/",
"rss": "https://feeds.wnyc.org/radiolab"
}
},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png",
"officialWebsiteLink": "https://www.revealnews.org/episodes/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/reveal",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/reveal/id886009669",
"tuneIn": "https://tunein.com/radio/Reveal-p679597/",
"rss": "http://feeds.revealradio.org/revealpodcast"
}
},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Rightnowish-Podcast-Tile-500x500-1.jpg",
"imageAlt": "KQED Rightnowish with Pendarvis Harshaw",
"officialWebsiteLink": "/podcasts/rightnowish",
"meta": {
"site": "arts",
"source": "kqed",
"order": 16
},
"link": "/podcasts/rightnowish",
"subscribe": {
"npr": "https://www.npr.org/podcasts/721590300/rightnowish",
"rss": "https://ww2.kqed.org/arts/programs/rightnowish/feed/podcast",
"apple": "https://podcasts.apple.com/us/podcast/rightnowish/id1482187648",
"stitcher": "https://www.stitcher.com/podcast/kqed/rightnowish",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMxMjU5MTY3NDc4",
"spotify": "https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I"
}
},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
"airtime": "FRI 11am-1pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Science-Friday-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/science-friday",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/science-friday",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=73329284&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Science-Friday-p394/",
"rss": "http://feeds.wnyc.org/science-friday"
}
},
"snap-judgment": {
"id": "snap-judgment",
"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
"airtime": "SAT 1pm-2pm, 9pm-10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/05/Snap-Judgment-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Snap Judgment",
"officialWebsiteLink": "https://snapjudgment.org",
"meta": {
"site": "arts",
"source": "kqed",
"order": 4
},
"link": "https://snapjudgment.org",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/snap-judgment/id283657561",
"npr": "https://www.npr.org/podcasts/449018144/snap-judgment",
"stitcher": "https://www.pandora.com/podcast/snap-judgment/PC:241?source=stitcher-sunset",
"spotify": "https://open.spotify.com/show/3Cct7ZWmxHNAtLgBTqjC5v",
"rss": "https://snap.feed.snapjudgment.org/"
}
},
"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Sold-Out-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Sold Out: Rethinking Housing in America",
"officialWebsiteLink": "/podcasts/soldout",
"meta": {
"site": "news",
"source": "kqed",
"order": 13
},
"link": "/podcasts/soldout",
"subscribe": {
"npr": "https://www.npr.org/podcasts/911586047/s-o-l-d-o-u-t-a-new-future-for-housing",
"apple": "https://podcasts.apple.com/us/podcast/introducing-sold-out-rethinking-housing-in-america/id1531354937",
"rss": "https://feeds.megaphone.fm/soldout",
"spotify": "https://open.spotify.com/show/38dTBSk2ISFoPiyYNoKn1X",
"stitcher": "https://www.stitcher.com/podcast/kqed/sold-out-rethinking-housing-in-america",
"tunein": "https://tunein.com/radio/SOLD-OUT-Rethinking-Housing-in-America-p1365871/"
}
},
"spooked": {
"id": "spooked",
"title": "Spooked",
"tagline": "True-life supernatural stories",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/10/Spooked-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Spooked",
"officialWebsiteLink": "https://spookedpodcast.org/",
"meta": {
"site": "news",
"source": "kqed",
"order": 7
},
"link": "https://spookedpodcast.org/",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/spooked/id1279361017",
"npr": "https://www.npr.org/podcasts/549547848/snap-judgment-presents-spooked",
"spotify": "https://open.spotify.com/show/76571Rfl3m7PLJQZKQIGCT",
"rss": "https://feeds.simplecast.com/TBotaapn"
}
},
"tech-nation": {
"id": "tech-nation",
"title": "Tech Nation Radio Podcast",
"info": "Tech Nation is a weekly public radio program, hosted by Dr. Moira Gunn. Founded in 1993, it has grown from a simple interview show to a multi-faceted production, featuring conversations with noted technology and science leaders, and a weekly science and technology-related commentary.",
"airtime": "FRI 10pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Tech-Nation-Radio-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "http://technation.podomatic.com/",
"meta": {
"site": "science",
"source": "Tech Nation Media"
},
"link": "/radio/program/tech-nation",
"subscribe": {
"rss": "https://technation.podomatic.com/rss2.xml"
}
},
"ted-radio-hour": {
"id": "ted-radio-hour",
"title": "TED Radio Hour",
"info": "The TED Radio Hour is a journey through fascinating ideas, astonishing inventions, fresh approaches to old problems, and new ways to think and create.",
"airtime": "SUN 3pm-4pm, SAT 10pm-11pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/tedRadioHour.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/ted-radio-hour/?showDate=2018-06-22",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/ted-radio-hour",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/8vsS",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=523121474&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/TED-Radio-Hour-p418021/",
"rss": "https://feeds.npr.org/510298/podcast.xml"
}
},
"thebay": {
"id": "thebay",
"title": "The Bay",
"tagline": "Local news to keep you rooted",
"info": "Host Devin Katayama walks you through the biggest story of the day with reporters and newsmakers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Bay-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Bay",
"officialWebsiteLink": "/podcasts/thebay",
"meta": {
"site": "radio",
"source": "kqed",
"order": 2
},
"link": "/podcasts/thebay",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-bay/id1350043452",
"amazon": "https://music.amazon.com/podcasts/d800ea4c-7a2c-42f2-b861-edaf78a5db0b/the-bay",
"npr": "https://www.npr.org/podcasts/586725995/the-bay",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-bay",
"spotify": "https://open.spotify.com/show/4BIKBKIujizLHlIlBNaAqQ",
"rss": "https://feeds.megaphone.fm/KQINC8259786327"
}
},
"thelatest": {
"id": "thelatest",
"title": "The Latest",
"tagline": "Trusted local news in real time",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/05/The-Latest-2025-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Latest",
"officialWebsiteLink": "/thelatest",
"meta": {
"site": "news",
"source": "kqed",
"order": 6
},
"link": "/thelatest",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-latest-from-kqed/id1197721799",
"npr": "https://www.npr.org/podcasts/1257949365/the-latest-from-k-q-e-d",
"spotify": "https://open.spotify.com/show/5KIIXMgM9GTi5AepwOYvIZ?si=bd3053fec7244dba",
"rss": "https://feeds.megaphone.fm/KQINC9137121918"
}
},
"theleap": {
"id": "theleap",
"title": "The Leap",
"tagline": "What if you closed your eyes, and jumped?",
"info": "Stories about people making dramatic, risky changes, told by award-winning public radio reporter Judy Campbell.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Leap-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Leap",
"officialWebsiteLink": "/podcasts/theleap",
"meta": {
"site": "news",
"source": "kqed",
"order": 17
},
"link": "/podcasts/theleap",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/the-leap/id1046668171",
"npr": "https://www.npr.org/podcasts/447248267/the-leap",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-leap",
"spotify": "https://open.spotify.com/show/3sSlVHHzU0ytLwuGs1SD1U",
"rss": "https://ww2.kqed.org/news/programs/the-leap/feed/podcast"
}
},
"the-moth-radio-hour": {
"id": "the-moth-radio-hour",
"title": "The Moth Radio Hour",
"info": "Since its launch in 1997, The Moth has presented thousands of true stories, told live and without notes, to standing-room-only crowds worldwide. Moth storytellers stand alone, under a spotlight, with only a microphone and a roomful of strangers. The storyteller and the audience embark on a high-wire act of shared experience which is both terrifying and exhilarating. Since 2008, The Moth podcast has featured many of our favorite stories told live on Moth stages around the country. For information on all of our programs and live events, visit themoth.org.",
"airtime": "SAT 8pm-9pm and SUN 11am-12pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/theMoth.jpg",
"officialWebsiteLink": "https://themoth.org/",
"meta": {
"site": "arts",
"source": "prx"
},
"link": "/radio/program/the-moth-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/the-moth-podcast/id275699983?mt=2",
"tuneIn": "https://tunein.com/radio/The-Moth-p273888/",
"rss": "http://feeds.themoth.org/themothpodcast"
}
},
"the-new-yorker-radio-hour": {
"id": "the-new-yorker-radio-hour",
"title": "The New Yorker Radio Hour",
"info": "The New Yorker Radio Hour is a weekly program presented by the magazine's editor, David Remnick, and produced by WNYC Studios and The New Yorker. Each episode features a diverse mix of interviews, profiles, storytelling, and an occasional burst of humor inspired by the magazine, and shaped by its writers, artists, and editors. This isn't a radio version of a magazine, but something all its own, reflecting the rich possibilities of audio storytelling and conversation. Theme music for the show was composed and performed by Merrill Garbus of tUnE-YArDs.",
"airtime": "SAT 10am-11am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-New-Yorker-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/tnyradiohour",
"meta": {
"site": "arts",
"source": "WNYC"
},
"link": "/radio/program/the-new-yorker-radio-hour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/id1050430296",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/New-Yorker-Radio-Hour-p803804/",
"rss": "https://feeds.feedburner.com/newyorkerradiohour"
}
},
"the-sam-sanders-show": {
"id": "the-sam-sanders-show",
"title": "The Sam Sanders Show",
"info": "One of public radio's most dynamic voices, Sam Sanders helped launch The NPR Politics Podcast and hosted NPR's hit show It's Been A Minute. Now, the award-winning host returns with something brand new, The Sam Sanders Show. Every week, Sam Sanders and friends dig into the culture that shapes our lives: what's driving the biggest trends, how artists really think, and even the memes you can't stop scrolling past. Sam is beloved for his way of unpacking the world and bringing you up close to fresh currents and engaging conversations. The Sam Sanders Show is smart, funny and always a good time.",
"airtime": "FRI 12-1pm AND SAT 11am-12pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/11/The-Sam-Sanders-Show-Podcast-Tile-400x400-1.jpg",
"officialWebsiteLink": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"meta": {
"site": "arts",
"source": "KCRW"
},
"link": "https://www.kcrw.com/shows/the-sam-sanders-show/latest",
"subscribe": {
"rss": "https://feed.cdnstream1.com/zjb/feed/download/ac/28/59/ac28594c-e1d0-4231-8728-61865cdc80e8.xml"
}
},
"the-splendid-table": {
"id": "the-splendid-table",
"title": "The Splendid Table",
"info": "\u003cem>The Splendid Table\u003c/em> hosts our nation's conversations about cooking, sustainability and food culture.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Splendid-Table-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.splendidtable.org/",
"airtime": "SUN 10-11 pm",
"meta": {
"site": "radio",
"source": "npr"
},
"link": "/radio/program/the-splendid-table"
},
"this-american-life": {
"id": "this-american-life",
"title": "This American Life",
"info": "This American Life is a weekly public radio show, heard by 2.2 million people on more than 500 stations. Another 2.5 million people download the weekly podcast. It is hosted by Ira Glass, produced in collaboration with Chicago Public Media, delivered to stations by PRX The Public Radio Exchange, and has won all of the major broadcasting awards.",
"airtime": "SAT 12pm-1pm, 7pm-8pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/thisAmericanLife.png",
"officialWebsiteLink": "https://www.thisamericanlife.org/",
"meta": {
"site": "news",
"source": "wbez"
},
"link": "/radio/program/this-american-life",
"subscribe": {
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201671138&at=11l79Y&ct=nprdirectory",
"rss": "https://www.thisamericanlife.org/podcast/rss.xml"
}
},
"tinydeskradio": {
"id": "tinydeskradio",
"title": "Tiny Desk Radio",
"info": "We're bringing the best of Tiny Desk to the airwaves, only on public radio.",
"airtime": "SUN 8pm and SAT 9pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/04/300x300-For-Member-Station-Logo-Tiny-Desk-Radio-@2x.png",
"officialWebsiteLink": "https://www.npr.org/series/g-s1-52030/tiny-desk-radio",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/tinydeskradio",
"subscribe": {
"rss": "https://feeds.npr.org/g-s1-52030/rss.xml"
}
},
"wait-wait-dont-tell-me": {
"id": "wait-wait-dont-tell-me",
"title": "Wait Wait... Don't Tell Me!",
"info": "Peter Sagal and Bill Kurtis host the weekly NPR News quiz show alongside some of the best and brightest news and entertainment personalities.",
"airtime": "SUN 10am-11am, SAT 11am-12pm, SAT 6pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Wait-Wait-Podcast-Tile-300x300-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/wait-wait-dont-tell-me/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/wait-wait-dont-tell-me",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/Xogv",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=121493804&at=11l79Y&ct=nprdirectory",
"tuneIn": "https://tunein.com/radio/Wait-Wait-Dont-Tell-Me-p46/",
"rss": "https://feeds.npr.org/344098539/podcast.xml"
}
},
"weekend-edition-saturday": {
"id": "weekend-edition-saturday",
"title": "Weekend Edition Saturday",
"info": "Weekend Edition Saturday wraps up the week's news and offers a mix of analysis and features on a wide range of topics, including arts, sports, entertainment, and human interest stories. The two-hour program is hosted by NPR's Peabody Award-winning Scott Simon.",
"airtime": "SAT 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-saturday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-saturday"
},
"weekend-edition-sunday": {
"id": "weekend-edition-sunday",
"title": "Weekend Edition Sunday",
"info": "Weekend Edition Sunday features interviews with newsmakers, artists, scientists, politicians, musicians, writers, theologians and historians. The program has covered news events from Nelson Mandela's 1990 release from a South African prison to the capture of Saddam Hussein.",
"airtime": "SUN 5am-10am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Weekend-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/weekend-edition-sunday/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/weekend-edition-sunday"
}
},
"racesReducer": {},
"racesGenElectionReducer": {},
"racesGenElection2026Reducer": {},
"racesGenElection2026PresidentialReducer": {},
"radioSchedulesReducer": {},
"listsReducer": {
"posts/arts?tag=green-day": {
"isFetching": false,
"latestQuery": {
"from": 0,
"size": 12
},
"vitalsOnly": false,
"totalRequested": 12,
"isLoading": false,
"isLoadingMore": true,
"total": {
"value": 22,
"relation": "eq"
},
"items": [
"arts_13994190",
"arts_13985540",
"arts_13979518",
"arts_13972636",
"arts_13967900",
"arts_13955312",
"arts_13954949",
"arts_13917310",
"arts_13912128",
"arts_13905411",
"arts_13875669",
"arts_13871151"
],
"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_green-day": {
"isLoading": true
},
"arts_1543": {
"type": "terms",
"id": "arts_1543",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1543",
"found": true
},
"relationships": {},
"featImg": null,
"name": "green day",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "green day Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1555,
"slug": "green-day",
"isLoading": false,
"link": "/arts/tag/green-day"
},
"source_arts_13994190": {
"type": "terms",
"id": "source_arts_13994190",
"meta": {
"override": true
},
"name": "The Do List",
"link": "https://www.kqed.org/thedolist",
"isLoading": false
},
"arts_140": {
"type": "terms",
"id": "arts_140",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "140",
"found": true
},
"relationships": {},
"name": "The Do List",
"slug": "the-do-list",
"taxonomy": "program",
"description": null,
"featImg": "https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/The-Do-LIst-logo-2014-horizontal-015.png",
"headData": {
"title": "The Do List Archives | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 141,
"isLoading": false,
"link": "/arts/program/the-do-list"
},
"arts_1": {
"type": "terms",
"id": "arts_1",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Arts",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Arts Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1,
"slug": "arts",
"isLoading": false,
"link": "/arts/category/arts"
},
"arts_69": {
"type": "terms",
"id": "arts_69",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "69",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Music",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Music Archives | KQED Arts",
"ogDescription": null
},
"ttid": 70,
"slug": "music",
"isLoading": false,
"link": "/arts/category/music"
},
"arts_22313": {
"type": "terms",
"id": "arts_22313",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "22313",
"found": true
},
"relationships": {},
"name": "The Do List",
"slug": "the-do-list",
"taxonomy": "category",
"description": null,
"featImg": null,
"headData": {
"title": "The Do List | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 22325,
"isLoading": false,
"link": "/arts/category/the-do-list"
},
"arts_22068": {
"type": "terms",
"id": "arts_22068",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "22068",
"found": true
},
"relationships": {},
"featImg": null,
"name": "festivals",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "festivals Archives | KQED Arts",
"ogDescription": null
},
"ttid": 22080,
"slug": "festivals",
"isLoading": false,
"link": "/arts/tag/festivals"
},
"arts_659": {
"type": "terms",
"id": "arts_659",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "659",
"found": true
},
"relationships": {},
"featImg": null,
"name": "free",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "free Archives | KQED Arts",
"ogDescription": null
},
"ttid": 668,
"slug": "free",
"isLoading": false,
"link": "/arts/tag/free"
},
"arts_913": {
"type": "terms",
"id": "arts_913",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "913",
"found": true
},
"relationships": {},
"featImg": null,
"name": "punk",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "punk Archives | KQED Arts",
"ogDescription": null
},
"ttid": 931,
"slug": "punk",
"isLoading": false,
"link": "/arts/tag/punk"
},
"arts_22122": {
"type": "terms",
"id": "arts_22122",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "22122",
"found": true
},
"relationships": {},
"featImg": null,
"name": "rock music",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "rock music Archives | KQED Arts",
"ogDescription": null
},
"ttid": 22134,
"slug": "rock-music",
"isLoading": false,
"link": "/arts/tag/rock-music"
},
"arts_585": {
"type": "terms",
"id": "arts_585",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "585",
"found": true
},
"relationships": {},
"featImg": null,
"name": "thedolist",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "thedolist Archives | KQED Arts",
"ogDescription": null
},
"ttid": 590,
"slug": "thedolist",
"isLoading": false,
"link": "/arts/tag/thedolist"
},
"arts_21866": {
"type": "terms",
"id": "arts_21866",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21866",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Arts and Culture",
"description": null,
"taxonomy": "interest",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Arts and Culture Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21878,
"slug": "arts-and-culture",
"isLoading": false,
"link": "/arts/interest/arts-and-culture"
},
"arts_22662": {
"type": "terms",
"id": "arts_22662",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "22662",
"found": true
},
"relationships": {},
"name": "Music",
"slug": "music",
"taxonomy": "interest",
"description": null,
"featImg": null,
"headData": {
"title": "Music | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 22674,
"isLoading": false,
"link": "/arts/interest/music"
},
"arts_21863": {
"type": "terms",
"id": "arts_21863",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21863",
"found": true
},
"relationships": {},
"featImg": null,
"name": "News",
"description": null,
"taxonomy": "interest",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "News Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21875,
"slug": "news",
"isLoading": false,
"link": "/arts/interest/news"
},
"arts_75": {
"type": "terms",
"id": "arts_75",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "75",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Pop Culture",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Pop Culture Archives | KQED Arts",
"ogDescription": null
},
"ttid": 76,
"slug": "popculture",
"isLoading": false,
"link": "/arts/category/popculture"
},
"arts_13238": {
"type": "terms",
"id": "arts_13238",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "13238",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Sports",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Sports Archives | KQED Arts",
"ogDescription": null
},
"ttid": 13250,
"slug": "sports",
"isLoading": false,
"link": "/arts/category/sports"
},
"arts_8273": {
"type": "terms",
"id": "arts_8273",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "8273",
"found": true
},
"relationships": {},
"featImg": null,
"name": "football",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "football Archives | KQED Arts",
"ogDescription": null
},
"ttid": 8285,
"slug": "football",
"isLoading": false,
"link": "/arts/tag/football"
},
"arts_3842": {
"type": "terms",
"id": "arts_3842",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3842",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Super Bowl",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Super Bowl Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3854,
"slug": "super-bowl",
"isLoading": false,
"link": "/arts/tag/super-bowl"
},
"arts_21868": {
"type": "terms",
"id": "arts_21868",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21868",
"found": true
},
"relationships": {},
"featImg": null,
"name": "California",
"description": null,
"taxonomy": "interest",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "California Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21880,
"slug": "california",
"isLoading": false,
"link": "/arts/interest/california"
},
"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_21861": {
"type": "terms",
"id": "arts_21861",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21861",
"found": true
},
"relationships": {},
"featImg": null,
"name": "South Bay",
"description": null,
"taxonomy": "interest",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "South Bay Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21873,
"slug": "south-bay",
"isLoading": false,
"link": "/arts/interest/south-bay"
},
"arts_235": {
"type": "terms",
"id": "arts_235",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "235",
"found": true
},
"relationships": {},
"featImg": null,
"name": "News",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "News Archives | KQED Arts",
"ogDescription": null
},
"ttid": 236,
"slug": "news",
"isLoading": false,
"link": "/arts/category/news"
},
"arts_21795": {
"type": "terms",
"id": "arts_21795",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21795",
"found": true
},
"relationships": {},
"featImg": null,
"name": "924 gilman",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "924 gilman Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21807,
"slug": "924-gilman",
"isLoading": false,
"link": "/arts/tag/924-gilman"
},
"arts_7705": {
"type": "terms",
"id": "arts_7705",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "7705",
"found": true
},
"relationships": {},
"featImg": null,
"name": "archives",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "archives Archives | KQED Arts",
"ogDescription": null
},
"ttid": 7717,
"slug": "archives",
"isLoading": false,
"link": "/arts/tag/archives"
},
"arts_10342": {
"type": "terms",
"id": "arts_10342",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "10342",
"found": true
},
"relationships": {},
"featImg": null,
"name": "editorspick",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "editorspick Archives | KQED Arts",
"ogDescription": null
},
"ttid": 10354,
"slug": "editorspick",
"isLoading": false,
"link": "/arts/tag/editorspick"
},
"arts_10278": {
"type": "terms",
"id": "arts_10278",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "10278",
"found": true
},
"relationships": {},
"featImg": null,
"name": "featured-arts",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "featured-arts Archives | KQED Arts",
"ogDescription": null
},
"ttid": 10290,
"slug": "featured-arts",
"isLoading": false,
"link": "/arts/tag/featured-arts"
},
"arts_10422": {
"type": "terms",
"id": "arts_10422",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "10422",
"found": true
},
"relationships": {},
"featImg": null,
"name": "featured-news",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "featured-news Archives | KQED Arts",
"ogDescription": null
},
"ttid": 10434,
"slug": "featured-news",
"isLoading": false,
"link": "/arts/tag/featured-news"
},
"arts_994": {
"type": "terms",
"id": "arts_994",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "994",
"found": true
},
"relationships": {},
"featImg": null,
"name": "metal",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "metal Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1012,
"slug": "metal",
"isLoading": false,
"link": "/arts/tag/metal"
},
"arts_1010": {
"type": "terms",
"id": "arts_1010",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1010",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Metallica",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Metallica Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1027,
"slug": "metallica",
"isLoading": false,
"link": "/arts/tag/metallica"
},
"arts_5779": {
"type": "terms",
"id": "arts_5779",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "5779",
"found": true
},
"relationships": {},
"featImg": null,
"name": "sacramento",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "sacramento Archives | KQED Arts",
"ogDescription": null
},
"ttid": 5791,
"slug": "sacramento",
"isLoading": false,
"link": "/arts/tag/sacramento"
},
"arts_21871": {
"type": "terms",
"id": "arts_21871",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21871",
"found": true
},
"relationships": {},
"featImg": null,
"name": "East Bay",
"description": null,
"taxonomy": "interest",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "East Bay Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21883,
"slug": "east-bay",
"isLoading": false,
"link": "/arts/interest/east-bay"
},
"arts_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_10092": {
"type": "terms",
"id": "arts_10092",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "10092",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Baseball",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Baseball Archives | KQED Arts",
"ogDescription": null
},
"ttid": 10104,
"slug": "baseball",
"isLoading": false,
"link": "/arts/tag/baseball"
},
"arts_1143": {
"type": "terms",
"id": "arts_1143",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1143",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Oakland",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Oakland Archives | KQED Arts",
"ogDescription": null
},
"ttid": 692,
"slug": "oakland",
"isLoading": false,
"link": "/arts/tag/oakland"
},
"arts_1551": {
"type": "terms",
"id": "arts_1551",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1551",
"found": true
},
"relationships": {},
"featImg": null,
"name": "oakland a's",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "oakland a's Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1563,
"slug": "oakland-as",
"isLoading": false,
"link": "/arts/tag/oakland-as"
},
"arts_21764": {
"type": "terms",
"id": "arts_21764",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21764",
"found": true
},
"relationships": {},
"name": "Oakland Ballers",
"slug": "oakland-ballers",
"taxonomy": "tag",
"description": null,
"featImg": null,
"headData": {
"title": "Oakland Ballers | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 21776,
"isLoading": false,
"link": "/arts/tag/oakland-ballers"
},
"arts_3478": {
"type": "terms",
"id": "arts_3478",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3478",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Too Short",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Too Short Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3490,
"slug": "too-short",
"isLoading": false,
"link": "/arts/tag/too-short"
},
"arts_21860": {
"type": "terms",
"id": "arts_21860",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21860",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Oakland",
"description": null,
"taxonomy": "interest",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Oakland Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21872,
"slug": "oakland",
"isLoading": false,
"link": "/arts/interest/oakland"
},
"arts_6180": {
"type": "terms",
"id": "arts_6180",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "6180",
"found": true
},
"relationships": {},
"featImg": null,
"name": "esa-pekka salonen",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "esa-pekka salonen Archives | KQED Arts",
"ogDescription": null
},
"ttid": 6192,
"slug": "esa-pekka-salonen",
"isLoading": false,
"link": "/arts/tag/esa-pekka-salonen"
},
"arts_21916": {
"type": "terms",
"id": "arts_21916",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21916",
"found": true
},
"relationships": {},
"featImg": null,
"name": "grammy awards",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "grammy awards Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21928,
"slug": "grammy-awards",
"isLoading": false,
"link": "/arts/tag/grammy-awards"
},
"arts_1677": {
"type": "terms",
"id": "arts_1677",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1677",
"found": true
},
"relationships": {},
"featImg": null,
"name": "john adams",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "john adams Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1689,
"slug": "john-adams",
"isLoading": false,
"link": "/arts/tag/john-adams"
},
"arts_1829": {
"type": "terms",
"id": "arts_1829",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1829",
"found": true
},
"relationships": {},
"featImg": null,
"name": "kehlani",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "kehlani Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1841,
"slug": "kehlani",
"isLoading": false,
"link": "/arts/tag/kehlani"
},
"arts_1367": {
"type": "terms",
"id": "arts_1367",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1367",
"found": true
},
"relationships": {},
"featImg": null,
"name": "San Francisco Symphony",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "San Francisco Symphony Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1379,
"slug": "san-francisco-symphony",
"isLoading": false,
"link": "/arts/tag/san-francisco-symphony"
},
"arts_21872": {
"type": "terms",
"id": "arts_21872",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "21872",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Berkeley",
"description": null,
"taxonomy": "interest",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Berkeley Archives | KQED Arts",
"ogDescription": null
},
"ttid": 21884,
"slug": "berkeley",
"isLoading": false,
"link": "/arts/interest/berkeley"
},
"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_9964": {
"type": "terms",
"id": "arts_9964",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "9964",
"found": true
},
"relationships": {},
"featImg": null,
"name": "bay area punk",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "bay area punk Archives | KQED Arts",
"ogDescription": null
},
"ttid": 9976,
"slug": "bay-area-punk",
"isLoading": false,
"link": "/arts/tag/bay-area-punk"
},
"arts_22057": {
"type": "terms",
"id": "arts_22057",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "22057",
"found": true
},
"relationships": {},
"featImg": null,
"name": "punk rock",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "punk rock Archives | KQED Arts",
"ogDescription": null
},
"ttid": 22069,
"slug": "punk-rock",
"isLoading": false,
"link": "/arts/tag/punk-rock"
},
"arts_769": {
"type": "terms",
"id": "arts_769",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "769",
"found": true
},
"relationships": {},
"featImg": null,
"name": "review",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "review Archives | KQED Arts",
"ogDescription": null
},
"ttid": 787,
"slug": "review",
"isLoading": false,
"link": "/arts/tag/review"
},
"arts_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_2996": {
"type": "terms",
"id": "arts_2996",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2996",
"found": true
},
"relationships": {},
"featImg": null,
"name": "the fillmore",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "the fillmore Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3008,
"slug": "the-fillmore",
"isLoading": false,
"link": "/arts/tag/the-fillmore"
},
"arts_22351": {
"type": "terms",
"id": "arts_22351",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "22351",
"found": true
},
"relationships": {},
"name": "Climate",
"slug": "climate",
"taxonomy": "category",
"description": null,
"featImg": null,
"headData": {
"title": "Climate | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 22363,
"isLoading": false,
"link": "/arts/category/climate"
},
"arts_1407": {
"type": "terms",
"id": "arts_1407",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1407",
"found": true
},
"relationships": {},
"featImg": null,
"name": "climate change",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "climate change Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1419,
"slug": "climate-change",
"isLoading": false,
"link": "/arts/tag/climate-change"
},
"arts_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_1739": {
"type": "terms",
"id": "arts_1739",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1739",
"found": true
},
"relationships": {},
"name": "Outside Lands",
"slug": "outside-lands",
"taxonomy": "tag",
"description": null,
"featImg": null,
"headData": {
"title": "Outside Lands | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 1751,
"isLoading": false,
"link": "/arts/tag/outside-lands"
},
"arts_2111": {
"type": "terms",
"id": "arts_2111",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2111",
"found": true
},
"relationships": {},
"featImg": null,
"name": "outside lands photos",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "outside lands photos Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2123,
"slug": "outside-lands-photos",
"isLoading": false,
"link": "/arts/tag/outside-lands-photos"
},
"arts_924": {
"type": "terms",
"id": "arts_924",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "924",
"found": true
},
"relationships": {},
"featImg": null,
"name": "R&B",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "R&B Archives | KQED Arts",
"ogDescription": null
},
"ttid": 942,
"slug": "rb",
"isLoading": false,
"link": "/arts/tag/rb"
},
"arts_4418": {
"type": "terms",
"id": "arts_4418",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "4418",
"found": true
},
"relationships": {},
"featImg": null,
"name": "outside lands lineup",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "outside lands lineup Archives | KQED Arts",
"ogDescription": null
},
"ttid": 4430,
"slug": "outside-lands-lineup",
"isLoading": false,
"link": "/arts/tag/outside-lands-lineup"
},
"arts_73": {
"type": "terms",
"id": "arts_73",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "73",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Books",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Books Archives | KQED Arts",
"ogDescription": null
},
"ttid": 74,
"slug": "literature",
"isLoading": false,
"link": "/arts/category/literature"
},
"arts_15961": {
"type": "terms",
"id": "arts_15961",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "15961",
"found": true
},
"relationships": {},
"featImg": null,
"name": "emo",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "emo Archives | KQED Arts",
"ogDescription": null
},
"ttid": 15973,
"slug": "emo",
"isLoading": false,
"link": "/arts/tag/emo"
},
"arts_905": {
"type": "terms",
"id": "arts_905",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "905",
"found": true
},
"relationships": {},
"featImg": null,
"name": "rock",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "rock Archives | KQED Arts",
"ogDescription": null
},
"ttid": 923,
"slug": "rock",
"isLoading": false,
"link": "/arts/tag/rock"
},
"arts_137": {
"type": "terms",
"id": "arts_137",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "137",
"found": true
},
"relationships": {},
"featImg": "https://ww2.kqed.org/app/uploads/sites/2/2014/04/logo-npr-lg1.png",
"name": "NPR",
"description": null,
"taxonomy": "affiliate",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "NPR Archives | KQED Arts",
"ogDescription": null
},
"ttid": 138,
"slug": "npr",
"isLoading": false,
"link": "/arts/affiliate/npr"
},
"arts_10124": {
"type": "terms",
"id": "arts_10124",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "10124",
"found": true
},
"relationships": {},
"featImg": null,
"name": "bts",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "bts Archives | KQED Arts",
"ogDescription": null
},
"ttid": 10136,
"slug": "bts",
"isLoading": false,
"link": "/arts/tag/bts"
},
"arts_10126": {
"type": "terms",
"id": "arts_10126",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "10126",
"found": true
},
"relationships": {},
"featImg": null,
"name": "coronavirus",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "coronavirus Archives | KQED Arts",
"ogDescription": null
},
"ttid": 10138,
"slug": "coronavirus",
"isLoading": false,
"link": "/arts/tag/coronavirus"
},
"arts_10127": {
"type": "terms",
"id": "arts_10127",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "10127",
"found": true
},
"relationships": {},
"featImg": null,
"name": "covid-19",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "covid-19 Archives | KQED Arts",
"ogDescription": null
},
"ttid": 10139,
"slug": "covid-19",
"isLoading": false,
"link": "/arts/tag/covid-19"
},
"arts_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_70": {
"type": "terms",
"id": "arts_70",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "70",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Visual Arts",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Visual Arts Archives | KQED Arts",
"ogDescription": null
},
"ttid": 71,
"slug": "visualarts",
"isLoading": false,
"link": "/arts/category/visualarts"
},
"arts_1118": {
"type": "terms",
"id": "arts_1118",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1118",
"found": true
},
"relationships": {},
"featImg": null,
"name": "featured",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "featured Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1135,
"slug": "featured",
"isLoading": false,
"link": "/arts/tag/featured"
},
"arts_822": {
"type": "terms",
"id": "arts_822",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "822",
"found": true
},
"relationships": {},
"featImg": null,
"name": "photography",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "photography Archives | KQED Arts",
"ogDescription": null
},
"ttid": 840,
"slug": "photography",
"isLoading": false,
"link": "/arts/tag/photography"
}
},
"userPermissionsReducer": {
"wpLoggedIn": false
},
"eventsReducer": {},
"fssReducer": {},
"tvDailyScheduleReducer": {},
"tvWeeklyScheduleReducer": {},
"tvPrimetimeScheduleReducer": {},
"tvMonthlyScheduleReducer": {},
"userAccountReducer": {
"user": {
"email": null,
"emailStatus": "EMAIL_UNVALIDATED",
"loggedStatus": "LOGGED_OUT",
"loggingChecked": false,
"articles": [],
"firstName": null,
"lastName": null,
"phoneNumber": null,
"fetchingMembership": false,
"membershipError": false,
"memberships": [
{
"id": null,
"startDate": null,
"firstName": null,
"lastName": null,
"familyNumber": null,
"memberNumber": null,
"memberSince": null,
"expirationDate": null,
"pfsEligible": false,
"isSustaining": false,
"membershipLevel": "Prospect",
"membershipStatus": "Non Member",
"lastGiftDate": null,
"renewalDate": null,
"lastDonationAmount": null
}
]
},
"authModal": {
"isOpen": false,
"view": "LANDING_VIEW"
},
"error": null
},
"youthMediaReducer": {},
"checkPleaseReducer": {
"filterData": {
"region": {
"key": "Restaurant Region",
"filters": [
"Any Region"
]
},
"cuisine": {
"key": "Restaurant Cuisine",
"filters": [
"Any Cuisine"
]
}
},
"restaurantDataById": {},
"restaurantIdsSorted": [],
"error": null
},
"userAgentReducer": {
"userAgent": "Mozilla/5.0 AppleWebKit/537.36 (KHTML, like Gecko; compatible; ClaudeBot/1.0; +claudebot@anthropic.com)",
"isBot": true
},
"requestOutcomesReducer": {
"notFound": []
},
"navPromosReducer": {
"isFetching": false,
"fetchFailed": false,
"hasFetched": true,
"promos": {
"news": {
"name": "2026 Voter Guide",
"link": "/voterguide",
"imageURL": "https://cdn.kqed.org/wp-content/uploads/2026/10/Nav-News-Nov2026ElectionCoverage@2x-7bd4aad4.png",
"description": "Get informed in minutes with our Voter Guide for California’s November 3 election."
},
"podcasts-radio": {},
"video-tv": {},
"events": {},
"support": {}
}
}
}
