H.E.R. Leads Bay Area Grammy Nominations With 8 Nods
A New Generation of Filipino Hip-Hop Builds On a Deep Bay Area Legacy
PHOTOS: H.E.R., Erykah Badu and Other R&B Stars Shine at Lights On Festival
The 2021 Oscars' Best Original Song Nominees, Cruelly Ranked
Fall Music Guide 2019: 10 Must-See Concerts in the Bay Area
A Complete Play-by-Play of the 2019 Grammy Awards
Bay Area Artists H.E.R., Fantastic Negrito and More Win Grammys
Vallejo-Raised Singer H.E.R. Snags 5 Grammy Nominations
Sponsored
Player sponsored by
window.__IS_SSR__=true
window.__INITIAL_STATE__={
"attachmentsReducer": {
"audio_0": {
"type": "attachments",
"id": "audio_0",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background0.jpg"
}
}
},
"audio_1": {
"type": "attachments",
"id": "audio_1",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background1.jpg"
}
}
},
"audio_2": {
"type": "attachments",
"id": "audio_2",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background2.jpg"
}
}
},
"audio_3": {
"type": "attachments",
"id": "audio_3",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background3.jpg"
}
}
},
"audio_4": {
"type": "attachments",
"id": "audio_4",
"imgSizes": {
"kqedFullSize": {
"file": "https://ww2.kqed.org/news/wp-content/themes/KQED-unified/img/audio_bgs/background4.jpg"
}
}
},
"placeholder": {
"type": "attachments",
"id": "placeholder",
"imgSizes": {
"thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-160x107.jpg",
"width": 160,
"height": 107,
"mimeType": "image/jpeg"
},
"medium": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-800x533.jpg",
"width": 800,
"height": 533,
"mimeType": "image/jpeg"
},
"medium_large": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-768x512.jpg",
"width": 768,
"height": 512,
"mimeType": "image/jpeg"
},
"large": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1020x680.jpg",
"width": 1020,
"height": 680,
"mimeType": "image/jpeg"
},
"1536x1536": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1536x1024.jpg",
"width": 1536,
"height": 1024,
"mimeType": "image/jpeg"
},
"fd-lrg": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1536x1024.jpg",
"width": 1536,
"height": 1024,
"mimeType": "image/jpeg"
},
"fd-med": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1020x680.jpg",
"width": 1020,
"height": 680,
"mimeType": "image/jpeg"
},
"fd-sm": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-800x533.jpg",
"width": 800,
"height": 533,
"mimeType": "image/jpeg"
},
"post-thumbnail": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"twentyfourteen-full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1038x576.jpg",
"width": 1038,
"height": 576,
"mimeType": "image/jpeg"
},
"xxsmall": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-160x107.jpg",
"width": 160,
"height": 107,
"mimeType": "image/jpeg"
},
"xsmall": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"small": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-672x372.jpg",
"width": 672,
"height": 372,
"mimeType": "image/jpeg"
},
"xlarge": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1020x680.jpg",
"width": 1020,
"height": 680,
"mimeType": "image/jpeg"
},
"full-width": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1-1920x1280.jpg",
"width": 1920,
"height": 1280,
"mimeType": "image/jpeg"
},
"guest-author-32": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 32,
"height": 32,
"mimeType": "image/jpeg"
},
"guest-author-50": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 50,
"height": 50,
"mimeType": "image/jpeg"
},
"guest-author-64": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 64,
"height": 64,
"mimeType": "image/jpeg"
},
"guest-author-96": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 96,
"height": 96,
"mimeType": "image/jpeg"
},
"guest-author-128": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 128,
"height": 128,
"mimeType": "image/jpeg"
},
"detail": {
"file": "https://cdn.kqed.org/wp-content/uploads/2025/01/KQED-Default-Image-816638274-1333x1333-1-160x160.jpg",
"width": 160,
"height": 160,
"mimeType": "image/jpeg"
},
"kqedFullSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/2024/12/KQED-Default-Image-816638274-2000x1333-1.jpg",
"width": 2000,
"height": 1333
}
}
},
"arts_13906441": {
"type": "attachments",
"id": "arts_13906441",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13906441",
"found": true
},
"parent": 13906436,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/11/GettyImages-1350956119-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/11/GettyImages-1350956119-160x107.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 107
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/11/GettyImages-1350956119-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/11/GettyImages-1350956119-scaled.jpg",
"width": 2560,
"height": 1707
},
"2048x2048": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/11/GettyImages-1350956119-2048x1365.jpg",
"width": 2048,
"mimeType": "image/jpeg",
"height": 1365
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/11/GettyImages-1350956119-1020x680.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 680
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/11/GettyImages-1350956119-1536x1024.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 1024
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/11/GettyImages-1350956119-1920x1280.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1280
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/11/GettyImages-1350956119-800x533.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 533
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/11/GettyImages-1350956119-768x512.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 512
}
},
"publishDate": 1637705870,
"modified": 1637705999,
"caption": "H.E.R. performs live at the Apollo Theater in Harlem, Nov. 2021.",
"description": null,
"title": "H.E.R. performs live at the Apollo Theater in Harlem, Nov. 2021.",
"credit": "Dimitrios Kambouris/Getty Images for SiriusXM",
"status": "inherit",
"altTag": "A Black woman wearing an oversized plaid shirt and sunglasses passionately plays an electric guitar on stage.",
"fetchFailed": false,
"isLoading": false
},
"arts_13905238": {
"type": "attachments",
"id": "arts_13905238",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13905238",
"found": true
},
"parent": 13905208,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/10/guapdad-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/10/guapdad-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/10/guapdad-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/10/guapdad.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/10/guapdad-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/10/guapdad-1536x864.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 864
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/10/guapdad-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/10/guapdad-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1635288938,
"modified": 1635288996,
"caption": "Guapdad 4000 attends the 62nd Annual GRAMMY Awards at STAPLES Center on January 26, 2020 in Los Angeles, California.",
"description": "Guapdad 4000 attends the 62nd Annual GRAMMY Awards at STAPLES Center on January 26, 2020 in Los Angeles, California.",
"title": "guapdad",
"credit": " Emma McIntyre/Getty Images for The Recording Academy",
"status": "inherit",
"altTag": null,
"fetchFailed": false,
"isLoading": false
},
"arts_13903461": {
"type": "attachments",
"id": "arts_13903461",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13903461",
"found": true
},
"parent": 13933276,
"imgSizes": {
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A5882-160x107.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 107
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A5882-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A5882.jpg",
"width": 800,
"height": 533
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A5882-768x512.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 512
}
},
"publishDate": 1632126648,
"modified": 1692214190,
"caption": "H.E.R. performs at Lights On Festival at Concord Pavilion on Sunday, Sept. 19, 2021.",
"description": "H.E.R. performs at Lights On Festival at Concord Pavilion on Sunday, Sept. 19, 2021.",
"title": "H.E.R. performs at Lights On Festival at Concord Pavilion on Sunday, Sept. 19, 2021.",
"credit": "Estefany Gonzalez",
"status": "inherit",
"altTag": null,
"fetchFailed": false,
"isLoading": false
},
"arts_13896128": {
"type": "attachments",
"id": "arts_13896128",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13896128",
"found": true
},
"parent": 13896127,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/04/euro_unit_21507r1_wide-991851f56ff23f7725293c4f73741361af3c3ad6-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/04/euro_unit_21507r1_wide-991851f56ff23f7725293c4f73741361af3c3ad6-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/04/euro_unit_21507r1_wide-991851f56ff23f7725293c4f73741361af3c3ad6-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/04/euro_unit_21507r1_wide-991851f56ff23f7725293c4f73741361af3c3ad6-scaled-e1619115538937.jpg",
"width": 1920,
"height": 1080
},
"2048x2048": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/04/euro_unit_21507r1_wide-991851f56ff23f7725293c4f73741361af3c3ad6-2048x1152.jpg",
"width": 2048,
"mimeType": "image/jpeg",
"height": 1152
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/04/euro_unit_21507r1_wide-991851f56ff23f7725293c4f73741361af3c3ad6-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"1536x1536": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/04/euro_unit_21507r1_wide-991851f56ff23f7725293c4f73741361af3c3ad6-1536x864.jpg",
"width": 1536,
"mimeType": "image/jpeg",
"height": 864
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/04/euro_unit_21507r1_wide-991851f56ff23f7725293c4f73741361af3c3ad6-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/04/euro_unit_21507r1_wide-991851f56ff23f7725293c4f73741361af3c3ad6-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2021/04/euro_unit_21507r1_wide-991851f56ff23f7725293c4f73741361af3c3ad6-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1619049499,
"modified": 1619115587,
"caption": "'Eurovision Song Contest: The Story of Fire Saga' pushes pageantry over the top while still generating material that would thrive on a real-life Eurovision stage.",
"description": "'Eurovision Song Contest: The Story of Fire Saga' pushes pageantry over the top while still generating material that would thrive on a real-life Eurovision stage.",
"title": "'Eurovision Song Contest: The Story of Fire Saga' pushes pageantry over the top while still generating material that would thrive on a real-life Eurovision stage.",
"credit": "John Wilson/Netflix",
"status": "inherit",
"altTag": "'Eurovision Song Contest: The Story of Fire Saga' pushes pageantry over the top while still generating material that would thrive on a real-life Eurovision stage.",
"fetchFailed": false,
"isLoading": false
},
"arts_13865178": {
"type": "attachments",
"id": "arts_13865178",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13865178",
"found": true
},
"parent": 13864717,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/GettyImages-1170195442-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/GettyImages-1170195442-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/GettyImages-1170195442-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/GettyImages-1170195442.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/GettyImages-1170195442-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/GettyImages-1170195442-1200x675.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 675
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/GettyImages-1170195442-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/GettyImages-1170195442-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/08/GettyImages-1170195442-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
}
},
"publishDate": 1567018040,
"modified": 1567018065,
"caption": "Ari Lennox speaks onstage at Black Girls Rock 2019 Hosted By Niecy Nash at NJPAC on August 25, 2019 in Newark, New Jersey. ",
"description": "Ari Lennox speaks onstage at Black Girls Rock 2019 Hosted By Niecy Nash at NJPAC on August 25, 2019 in Newark, New Jersey. ",
"title": "Black Girls Rock 2019 Hosted By Niecy Nash - Show",
"credit": "Paras Griffin/Getty Images for BET",
"status": "inherit",
"fetchFailed": false,
"isLoading": false
},
"arts_13850499": {
"type": "attachments",
"id": "arts_13850499",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13850499",
"found": true
},
"parent": 13850496,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/02/GettyImages-1097615198-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/02/GettyImages-1097615198-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/02/GettyImages-1097615198-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/02/GettyImages-1097615198.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/02/GettyImages-1097615198-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/02/GettyImages-1097615198-1200x675.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 675
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/02/GettyImages-1097615198-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/02/GettyImages-1097615198-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/02/GettyImages-1097615198-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/02/GettyImages-1097615198-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/02/GettyImages-1097615198-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/02/GettyImages-1097615198-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/02/GettyImages-1097615198-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/02/GettyImages-1097615198-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/02/GettyImages-1097615198-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1549860615,
"modified": 1549860657,
"caption": "Cardi B performs onstage during during the 61st Annual GRAMMY Awards at Staples Center on February 10, 2019 in Los Angeles, California. ",
"description": "Cardi B performs onstage during during the 61st Annual GRAMMY Awards at Staples Center on February 10, 2019 in Los Angeles, California. ",
"title": "61st Annual GRAMMY Awards - Inside",
"credit": "Photo by Emma McIntyre/Getty Images for The Recording Academy",
"status": "inherit",
"fetchFailed": false,
"isLoading": false
},
"arts_13850489": {
"type": "attachments",
"id": "arts_13850489",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13850489",
"found": true
},
"parent": 13850458,
"imgSizes": {
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/02/GettyImages-1097571910-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/02/GettyImages-1097571910-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/02/GettyImages-1097571910-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/02/GettyImages-1097571910.jpg",
"width": 2048,
"height": 1152
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/02/GettyImages-1097571910-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/02/GettyImages-1097571910-1200x675.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 675
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/02/GettyImages-1097571910-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/02/GettyImages-1097571910-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/02/GettyImages-1097571910-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/02/GettyImages-1097571910-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/02/GettyImages-1097571910-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/02/GettyImages-1097571910-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/02/GettyImages-1097571910-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/02/GettyImages-1097571910-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2019/02/GettyImages-1097571910-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
}
},
"publishDate": 1549852449,
"modified": 1549852490,
"caption": "H.E.R. performs onstage during the 61st Annual GRAMMY Awards at Staples Center on February 10, 2019 in Los Angeles, California. ",
"description": "H.E.R. performs onstage during the 61st Annual GRAMMY Awards at Staples Center on February 10, 2019 in Los Angeles, California. ",
"title": "61st Annual GRAMMY Awards - Inside",
"credit": "Kevin Winter/Getty Images for The Recording Academy)",
"status": "inherit",
"fetchFailed": false,
"isLoading": false
},
"arts_13846672": {
"type": "attachments",
"id": "arts_13846672",
"meta": {
"index": "attachments_1716263798",
"site": "arts",
"id": "13846672",
"found": true
},
"parent": 13846668,
"imgSizes": {
"small": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/12/GettyImages-800232432-520x293.jpg",
"width": 520,
"mimeType": "image/jpeg",
"height": 293
},
"twentyfourteen-full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/12/GettyImages-800232432-1038x576.jpg",
"width": 1038,
"mimeType": "image/jpeg",
"height": 576
},
"thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/12/GettyImages-800232432-160x90.jpg",
"width": 160,
"mimeType": "image/jpeg",
"height": 90
},
"fd-sm": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/12/GettyImages-800232432-960x540.jpg",
"width": 960,
"mimeType": "image/jpeg",
"height": 540
},
"post-thumbnail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/12/GettyImages-800232432-672x372.jpg",
"width": 672,
"mimeType": "image/jpeg",
"height": 372
},
"xsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/12/GettyImages-800232432-375x211.jpg",
"width": 375,
"mimeType": "image/jpeg",
"height": 211
},
"kqedFullSize": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/12/GettyImages-800232432.jpg",
"width": 1920,
"height": 1080
},
"large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/12/GettyImages-800232432-1020x574.jpg",
"width": 1020,
"mimeType": "image/jpeg",
"height": 574
},
"xlarge": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/12/GettyImages-800232432-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"complete_open_graph": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/12/GettyImages-800232432-1200x675.jpg",
"width": 1200,
"mimeType": "image/jpeg",
"height": 675
},
"guest-author-50": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/12/GettyImages-800232432-50x50.jpg",
"width": 50,
"mimeType": "image/jpeg",
"height": 50
},
"guest-author-96": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/12/GettyImages-800232432-96x96.jpg",
"width": 96,
"mimeType": "image/jpeg",
"height": 96
},
"medium": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/12/GettyImages-800232432-800x450.jpg",
"width": 800,
"mimeType": "image/jpeg",
"height": 450
},
"guest-author-64": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/12/GettyImages-800232432-64x64.jpg",
"width": 64,
"mimeType": "image/jpeg",
"height": 64
},
"guest-author-32": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/12/GettyImages-800232432-32x32.jpg",
"width": 32,
"mimeType": "image/jpeg",
"height": 32
},
"fd-lrg": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/12/GettyImages-800232432-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"fd-med": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/12/GettyImages-800232432-1180x664.jpg",
"width": 1180,
"mimeType": "image/jpeg",
"height": 664
},
"full-width": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/12/GettyImages-800232432-1920x1080.jpg",
"width": 1920,
"mimeType": "image/jpeg",
"height": 1080
},
"detail": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/12/GettyImages-800232432-150x150.jpg",
"width": 150,
"mimeType": "image/jpeg",
"height": 150
},
"medium_large": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/12/GettyImages-800232432-768x432.jpg",
"width": 768,
"mimeType": "image/jpeg",
"height": 432
},
"guest-author-128": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/12/GettyImages-800232432-128x128.jpg",
"width": 128,
"mimeType": "image/jpeg",
"height": 128
},
"xxsmall": {
"file": "https://ww2.kqed.org/app/uploads/sites/2/2018/12/GettyImages-800232432-240x135.jpg",
"width": 240,
"mimeType": "image/jpeg",
"height": 135
}
},
"publishDate": 1544212246,
"modified": 1544212307,
"caption": "H.E.R. performs onstage at night two of the STAPLES Center Concert during the 2017 BET Experience at LA Live on June 23, 2017 in Los Angeles, California. ",
"description": "H.E.R. performs onstage at night two of the STAPLES Center Concert during the 2017 BET Experience at LA Live on June 23, 2017 in Los Angeles, California. ",
"title": "2017 BET Experience - STAPLES Center Concert Presented By Coca-Cola - Night 2",
"credit": " Bennett Raglin/Getty Images for BET",
"status": "inherit",
"fetchFailed": false,
"isLoading": false
}
},
"audioPlayerReducer": {
"postId": "stream_live",
"isPaused": true,
"isPlaying": false,
"pfsActive": false,
"pledgeModalIsOpen": true,
"playerDrawerIsOpen": false
},
"authorsReducer": {
"byline_arts_13896127": {
"type": "authors",
"id": "byline_arts_13896127",
"meta": {
"override": true
},
"slug": "byline_arts_13896127",
"name": "Stephen Thompson",
"isLoading": false
},
"byline_arts_13850496": {
"type": "authors",
"id": "byline_arts_13850496",
"meta": {
"override": true
},
"slug": "byline_arts_13850496",
"name": "Jacob Ganz",
"isLoading": false
},
"ralexandra": {
"type": "authors",
"id": "11242",
"meta": {
"index": "authors_1716337520",
"id": "11242",
"found": true
},
"name": "Rae Alexandra",
"firstName": "Rae",
"lastName": "Alexandra",
"slug": "ralexandra",
"email": "ralexandra@kqed.org",
"display_author_email": true,
"staff_mastheads": [
"arts"
],
"title": "Reporter/Producer",
"bio": "Rae Alexandra is a Reporter/Producer for KQED Arts & Culture, and the creator/author of the \u003ca href=\"https://www.kqed.org/arts/program/rebel-girls-from-bay-area-history\">Rebel Girls From Bay Area History\u003c/a> and \u003ca href=\"https://www.kqed.org/bizarrebayarea\">Bizarre Bay Area\u003c/a> series. Her debut book, \u003ca href=\"https://citylights.com/politics-current-events-history/unsung-heroines35-women-who-changed/\">Unsung Heroines: 35 Women Who Changed the Bay Area\u003c/a> will be published by City Lights in Spring 2026. In 2023, Rae was awarded an SPJ Excellence in Journalism Award for Arts & Culture. Rae was born and raised in Wales and subsequently — even after two decades in Northern California — still uses phrases that regularly baffle her coworkers.",
"avatar": "https://secure.gravatar.com/avatar/d5ef3d663d9adae1345d06932a3951de?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"editor"
]
},
{
"site": "news",
"roles": [
"editor"
]
},
{
"site": "pop",
"roles": [
"editor"
]
},
{
"site": "bayareabites",
"roles": [
"editor"
]
},
{
"site": "science",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Rae Alexandra | KQED",
"description": "Reporter/Producer",
"ogImgSrc": "https://secure.gravatar.com/avatar/d5ef3d663d9adae1345d06932a3951de?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/d5ef3d663d9adae1345d06932a3951de?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/ralexandra"
},
"nvoynovskaya": {
"type": "authors",
"id": "11387",
"meta": {
"index": "authors_1716337520",
"id": "11387",
"found": true
},
"name": "Nastia Voynovskaya",
"firstName": "Nastia",
"lastName": "Voynovskaya",
"slug": "nvoynovskaya",
"email": "nvoynovskaya@kqed.org",
"display_author_email": false,
"staff_mastheads": [
"arts"
],
"title": "Editor and reporter",
"bio": "Nastia Voynovskaya is a reporter and editor at KQED Arts & Culture. She's been covering the arts in the Bay Area for over a decade, with a focus on music, queer culture, labor issues and grassroots organizing. She has edited KQED story series such as Trans Bay: A History of San Francisco's Gender-Diverse Community, and co-created KQED's Bay Area hip-hop history project, That's My Word. Nastia's work has been recognized by the Society of Professional Journalists and San Francisco Press Club. She holds a BA in comparative literature from UC Berkeley.",
"avatar": "https://secure.gravatar.com/avatar/310649817772dd2a98e5dfecb6b24842?s=600&d=blank&r=g",
"twitter": null,
"facebook": null,
"instagram": "https://www.instagram.com/nananastia/",
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"administrator"
]
},
{
"site": "news",
"roles": [
"editor"
]
},
{
"site": "pop",
"roles": [
"administrator"
]
},
{
"site": "bayareabites",
"roles": [
"editor"
]
},
{
"site": "podcasts",
"roles": [
"editor"
]
},
{
"site": "hiphop",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Nastia Voynovskaya | KQED",
"description": "Editor and reporter",
"ogImgSrc": "https://secure.gravatar.com/avatar/310649817772dd2a98e5dfecb6b24842?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/310649817772dd2a98e5dfecb6b24842?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/nvoynovskaya"
},
"achazaro": {
"type": "authors",
"id": "11748",
"meta": {
"index": "authors_1716337520",
"id": "11748",
"found": true
},
"name": "Alan Chazaro",
"firstName": "Alan",
"lastName": "Chazaro",
"slug": "achazaro",
"email": "agchazaro@gmail.com",
"display_author_email": true,
"staff_mastheads": [],
"title": "Food Writer and Reporter",
"bio": "Alan Chazaro is the author of \u003cem>This Is Not a Frank Ocean Cover Album\u003c/em> (Black Lawrence Press, 2019), \u003cem>Piñata Theory\u003c/em> (Black Lawrence Press, 2020), and \u003cem>Notes from the Eastern Span of the Bay Bridge\u003c/em> (Ghost City Press, 2021). He is a graduate of June Jordan’s Poetry for the People program at UC Berkeley and a former Lawrence Ferlinghetti Fellow at the University of San Francisco. He writes about sports, food, art, music, education, and culture while repping the Bay on \u003ca href=\"https://twitter.com/alan_chazaro\">Twitter\u003c/a> and \u003ca href=\"https://www.instagram.com/alan_chazaro/?hl=en\">Instagram\u003c/a> at @alan_chazaro.",
"avatar": "https://secure.gravatar.com/avatar/ea8b6dd970fc5c29e7a188e7d5861df7?s=600&d=blank&r=g",
"twitter": "alan_chazaro",
"facebook": null,
"instagram": null,
"linkedin": null,
"sites": [
{
"site": "arts",
"roles": [
"contributor"
]
},
{
"site": "news",
"roles": [
"editor"
]
}
],
"headData": {
"title": "Alan Chazaro | KQED",
"description": "Food Writer and Reporter",
"ogImgSrc": "https://secure.gravatar.com/avatar/ea8b6dd970fc5c29e7a188e7d5861df7?s=600&d=blank&r=g",
"twImgSrc": "https://secure.gravatar.com/avatar/ea8b6dd970fc5c29e7a188e7d5861df7?s=600&d=blank&r=g"
},
"isLoading": false,
"link": "/author/achazaro"
}
},
"breakingNewsReducer": {},
"pagesReducer": {},
"postsReducer": {
"stream_live": {
"type": "live",
"id": "stream_live",
"audioUrl": "https://streams.kqed.org/kqedradio",
"title": "Live Stream",
"excerpt": "Live Stream information currently unavailable.",
"link": "/radio",
"featImg": "",
"label": {
"name": "KQED Live",
"link": "/"
}
},
"stream_kqedNewscast": {
"type": "posts",
"id": "stream_kqedNewscast",
"audioUrl": "https://www.kqed.org/.stream/anon/radio/RDnews/newscast.mp3?_=1",
"title": "KQED Newscast",
"featImg": "",
"label": {
"name": "88.5 FM",
"link": "/"
}
},
"arts_13906436": {
"type": "posts",
"id": "arts_13906436",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13906436",
"score": null,
"sort": [
1637708714000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1637708714,
"format": "standard",
"title": "H.E.R. Leads Bay Area Grammy Nominations With 8 Nods",
"headTitle": "H.E.R. Leads Bay Area Grammy Nominations With 8 Nods | KQED",
"content": "\u003cp>The nominees for the 64th annual Grammy Awards were announced today, and while jazz musician John Batiste leads with 11 nominations, Vallejo-raised artist H.E.R. is not far behind, with an impressive eight nominations under her belt. (More than both Billie Eilish and Olivia Rodrigo!)\u003c/p>\n\u003cp>The singer-songwriter is up for Album of the Year and Best R&B album for \u003cem>Back of My Mind\u003c/em>; Best R&B Performance and Best R&B Song for “Damage”; Song of the Year, Best Traditional R&B Performance and Best Song Written for Visual Media for “Fight For You”; and Best Contemporary Christian Music Performance/Song for “Hold Us Together (Hope Mix).”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=PAFAfhod9TU\u003c/p>\n\u003cp>The only other Bay Area artist in a contemporary category is Saweetie, who’s nominated for Best New Artist. She’s also up for Best Rap Song for “Best Friend,” her track featuring Doja Cat.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_xJUCsyMQes\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Bay Area classical music fared a little better, fortunately. San Francisco Symphony Music Director Laureate Michael Tilson Thomas is included in a Best Classical Compendium nomination for his work on \u003cem>American Originals—A New World, A New Canon\u003c/em>.\u003c/p>\n\u003cp>San Francisco-based composer Jake Heggie received a Best Classical Solo Vocal Album nod for his work on Jamie Barton’s “Unexpected Shadows” record.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=CHqrh1Dl4oA\u003c/p>\n\u003cp>San Francisco Symphony collaborative partner Nico Muhly received a Best Orchestral Performance nomination for “Muhly: Throughline.” And in the same category, Berkeley composer John Adams wrote two of the pieces that resulted in a nomination for Nashville Symphony Orchestra conductor Giancarlo Guerrero.\u003c/p>\n\u003cp>And… uh. That’s it!\u003c/p>\n\u003cp>How much you care about any of this is probably contingent on how enraged you are by the many prior sins of the Recording Academy. Most notably, side-lining Black artists into smaller categories, which leads to shocking snubs. Like that time in 2017 when Beyoncé didn’t win Album of the Year for \u003cem>Lemonade\u003c/em>. (Some of us have never recovered.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Still, it’s nice to have someone local to root for. Go get ’em, H.E.R.!\u003c/p>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 382,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 11
},
"modified": 1705007458,
"excerpt": "Saweetie and the San Francisco Symphony also received nods.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Saweetie and the San Francisco Symphony also received nods.",
"title": "H.E.R. Leads Bay Area Grammy Nominations With 8 Nods | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "H.E.R. Leads Bay Area Grammy Nominations With 8 Nods",
"datePublished": "2021-11-23T15:05:14-08:00",
"dateModified": "2024-01-11T13:10:58-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "her-saweetie-grammy-awards-san-francisco-symphony-doja-cat-grammys",
"status": "publish",
"templateType": "standard",
"excludeFromSiteSearch": "Include",
"featuredImageType": "standard",
"sticky": false,
"path": "/arts/13906436/her-saweetie-grammy-awards-san-francisco-symphony-doja-cat-grammys",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The nominees for the 64th annual Grammy Awards were announced today, and while jazz musician John Batiste leads with 11 nominations, Vallejo-raised artist H.E.R. is not far behind, with an impressive eight nominations under her belt. (More than both Billie Eilish and Olivia Rodrigo!)\u003c/p>\n\u003cp>The singer-songwriter is up for Album of the Year and Best R&B album for \u003cem>Back of My Mind\u003c/em>; Best R&B Performance and Best R&B Song for “Damage”; Song of the Year, Best Traditional R&B Performance and Best Song Written for Visual Media for “Fight For You”; and Best Contemporary Christian Music Performance/Song for “Hold Us Together (Hope Mix).”\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/PAFAfhod9TU'\n title='//www.youtube.com/embed/PAFAfhod9TU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The only other Bay Area artist in a contemporary category is Saweetie, who’s nominated for Best New Artist. She’s also up for Best Rap Song for “Best Friend,” her track featuring Doja Cat.\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/_xJUCsyMQes'\n title='//www.youtube.com/embed/_xJUCsyMQes'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Bay Area classical music fared a little better, fortunately. San Francisco Symphony Music Director Laureate Michael Tilson Thomas is included in a Best Classical Compendium nomination for his work on \u003cem>American Originals—A New World, A New Canon\u003c/em>.\u003c/p>\n\u003cp>San Francisco-based composer Jake Heggie received a Best Classical Solo Vocal Album nod for his work on Jamie Barton’s “Unexpected Shadows” record.\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/CHqrh1Dl4oA'\n title='//www.youtube.com/embed/CHqrh1Dl4oA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>San Francisco Symphony collaborative partner Nico Muhly received a Best Orchestral Performance nomination for “Muhly: Throughline.” And in the same category, Berkeley composer John Adams wrote two of the pieces that resulted in a nomination for Nashville Symphony Orchestra conductor Giancarlo Guerrero.\u003c/p>\n\u003cp>And… uh. That’s it!\u003c/p>\n\u003cp>How much you care about any of this is probably contingent on how enraged you are by the many prior sins of the Recording Academy. Most notably, side-lining Black artists into smaller categories, which leads to shocking snubs. Like that time in 2017 when Beyoncé didn’t win Album of the Year for \u003cem>Lemonade\u003c/em>. (Some of us have never recovered.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Still, it’s nice to have someone local to root for. Go get ’em, H.E.R.!\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13906436/her-saweetie-grammy-awards-san-francisco-symphony-doja-cat-grammys",
"authors": [
"11242"
],
"categories": [
"arts_1",
"arts_69",
"arts_75"
],
"tags": [
"arts_6187",
"arts_1677",
"arts_1366",
"arts_1367",
"arts_8682"
],
"featImg": "arts_13906441",
"label": "arts"
},
"arts_13905208": {
"type": "posts",
"id": "arts_13905208",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13905208",
"score": null,
"sort": [
1635290931000
]
},
"guestAuthors": [],
"slug": "a-new-generation-of-filipino-hip-hop-builds-on-a-deep-bay-area-legacy",
"title": "A New Generation of Filipino Hip-Hop Builds On a Deep Bay Area Legacy",
"publishDate": 1635290931,
"format": "standard",
"headTitle": "A New Generation of Filipino Hip-Hop Builds On a Deep Bay Area Legacy | KQED",
"labelTerm": {
"term": 22314,
"site": "arts"
},
"content": "\u003cp>\u003cspan style=\"font-weight: 400\">Guapdad 4000 isn’t your prototypical rapper. For starters, the West Oakland artist is part of the Marvel Universe’s \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Shang-Chi and the Legend of the Ten Rings\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> soundtrack, something he’s proud about as a comic head.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I’m a huge Marvel fan and it was the first Asian American movie. I knew they was finna go crazy,” he says. “I was juiced. Especially to champion my Filipino side as a part of that. And it takes place in the Bay? Not even Thanos could snap me out of that.” [aside postid='arts_13902470']\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">If you don’t know Guap, he’s an essential player in the Bay Area’s latest wave of Filipino American artists who’ve taken over the scene with their eclectically unparalleled vibrancy. You can’t talk about Bay Area music in 2021 without mentioning him or the “\u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=0SeZHOqSsZA\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">same squad, same squad\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">” of Fil Ams from here, including H.E.R, Ruby Ibarra, \u003ca href=\"https://www.kqed.org/arts/13924828/rocky-rivera-ruckus-magazine-hyphy-movement-hip-hop\">Rocky Rivera\u003c/a>, P-Lo, Kuya Beats and Saweetie, to name a a few. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Saweetie has \u003c/span>\u003ca href=\"https://www.billboard.com/articles/columns/hip-hop/9446648/saweetie-tap-in-top-10-rb-hip-hop-songs-chart\">\u003cspan style=\"font-weight: 400\">two chart-topping singles\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> and a McDonald’s meal with her name on it. P-Lo \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13899945/how-the-bay-area-reshaped-a-classic-soundtrack\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">produced “About That Time,”\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> the most-streamed song from this summer’s \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Space Jam: A New Legacy\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> soundtrack, featuring verses from NBA All Star Damian Lillard, G-Eazy and White Dave. H.E.R won four Grammys and launched the \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13903394/photos-h-e-r-erykah-badu-and-other-rb-stars-shine-at-lights-on-festival\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Lights On Festival\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, with nearly 6 million followers on Instagram. Rivera added “author” to her resume with the \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13894648/rapper-and-activist-rocky-rivera-embraces-growth-in-her-first-book-snakeskin\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">publication of her debut book\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. Ibarra is literally \u003ca href=\"https://www.kqed.org/arts/13887169/whats-on-your-ballot-ruby-ibarra-rapper-and-scientist\" target=\"_blank\" rel=\"noopener noreferrer\">a scientist\u003c/a> and \u003c/span>\u003ca href=\"https://www.nbcbayarea.com/community/asian-pacific-america/scientist-and-rapper-ruby-ibarra-on-asian-pacific-america/2580781/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">co-founded the Pinays Rising Scholarship Program\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. And that’s just in the past few months.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This list doesn’t even include the unquantifiable amount of genuine community work, activism and representation each artist has provided throughout Northern California and beyond over their careers and lifetimes. It also doesn’t even touch on the OG Pinoys and Pinays who certainly paved the path for this ascendance to happen.\u003c/span>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13903463\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13903463\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A5910.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5910.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5910-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5910-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">H.E.R. performs at Lights On Festival at Concord Pavilion on Sunday, Sept. 19, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A-Side: Chicken Adobo\u003c/h2>\n\u003cp>\u003cspan style=\"font-weight: 400\">“My mother’s side is Filipino. My grandma is a short, 5’3” lady from Zambales in the Philippines. My grandfather is Black and was a merchant marine out there on a military base. They met and decided to move to Oakland and that’s how my roots started in the Bay,” Guap says.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It’s a relatable truth for many Bay Area locals, who’ve grown up here with mixed backgrounds and a fluid sense of self across the generations. Alongside his Fil Am peers, Guap is voicing his multi-ethnic experience in an idiosyncratic, hyphy-melodic way, narrating where he’s from and his journey navigating the world as a Black Pinoy.\u003c/span>\u003c/p>\n\u003cp>https://youtu.be/1DaovaJgytE\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">With his popular single “Chicken Adobo” (a love song inspired by his lola’s cooking) and his feature on Thundercat’s “\u003ca href=\"https://youtu.be/T2bcUZj6LAc\" target=\"_blank\" rel=\"noopener noreferrer\">Dragonball Durag\u003c/a>” (a tribute to the classic anime), Guap is constantly dropping hints about his Asian American upbringing and identity—though, most people admittedly don’t perceive him as Filipino upon initially seeing him.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“My direct portion is one-fourth Filipino,” he says. “I don’t use that mindstate though. I’m equal Black and Filipino. My lola raised me in a biracial household, cooking and speaking both languages. I went to an all-Filipino church for 15 years. I was immersed in the culture. Hella [stuff] in my upbringing comes straight from my Filipino side.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Guap’s style and albums are reflective of his modern Filipino upbringing in the Bay Area—which is to say, it’s not singularly limited. It’s multidimensional and authentic, an unapologetic fusion. And it’s helping to put Filipino Americans back on the map. \u003c/span>\u003cspan style=\"font-weight: 400\">But he’s not alone. He just happens to be one \u003c/span>\u003cspan style=\"font-weight: 400\">“\u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=zQuajCfNBA8\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Alpha\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">”\u003c/span>\u003cspan style=\"font-weight: 400\"> in this group of trendsetters. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13867199\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867199\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/09/Saweetie-800x450.jpg\" alt=\"Saweetie performs at Rolling Loud 2018 in Oakland.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Saweetie.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Saweetie-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Saweetie-768x432.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Saweetie performs at Rolling Loud 2018 in Oakland. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">“If you look at every pillar in hip-hop that exists, all of ’em, it’s gonna be at least one Filipino in there that’s a legend,” Guapdad says. “Chad Hugo [from The Neptunes]. H.E.R. Qbert. Jabbawockeez. Over the years Filipinos have found ways to integrate themselves seamlessly. It’s global but it’s also bringing that back to a local scale.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In other words, they got roots.\u003c/span>\u003c/p>\n\u003ch2>B-Side: Origins and Migrations\u003c/h2>\n\u003cp>\u003cspan style=\"font-weight: 400\">With over 310,000 Filipino residents, \u003c/span>\u003ca href=\"https://www.asianjournal.com/usa/dateline-usa/pew-research-over-4-2m-filipino-americans-in-the-us/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">the San Francisco Bay Area boasts the second-largest population of the diaspora in the United States\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. Per capita, it’s among the most densely populated Filipino areas outside of the Philippines. It’s no surprise then that \u003c/span>\u003ca href=\"https://www.vox.com/2020/3/10/21172993/filipino-neighborhood-san-francisco-destroyed-i-hotel\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">there was once a Manilatown in San Francisco\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, which blossomed from the 1920s through the 1970s until it was systematically dismantled and cannibalized as part of the “Manhattanization” of downtown’s Financial District. Starting in the 1950s, low-income Filipinos were evicted to make room for “a Wall Street of the West.” The story is just one chapter of the ongoing battle to maintain affordable housing in one of the world’s most expensive cities. \u003c/span>\u003c/p>\n\u003cp>https://youtu.be/tcsdglJFT0M\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Still, Filipinos have thrived along the Bay Area’s shorelines, allowing for many artists, activists and changemakers to emerge and collaboratively grow here—especially through the rebellion of hip-hop.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We were raised by brown immigrants in America, but immigrants who were educated in American colonial systems,” says \u003ca href=\"https://barbarajanereyes.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Barbara Jane Reyes\u003c/a>, a Manila-born poet and professor at the University of San Francisco. “Our parents’ aesthetic preferences were rooted in colonial whiteness. So seeing brown kids having a good time while listening to what we were told was the music of Black people seemed scary to them.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">By adopting hip-hop as a form of self expression, many Filipinos during the 1980s were able to create a sense of selfhood that might’ve otherwise felt trampled on or neglected by previous generations and institutional ideologies. [aside postid='arts_13812554']\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But how exactly did so many Filipinos like Reyes, who grew up in the East Bay, and her family end up migrating to the San Francisco Bay Area—where they’ve been able to directly participate in hip-hop’s growth—to begin with? \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The story spans centuries, but Reyes tells me there was a turning point in 1965, when President Lyndon B. Johnson signed the \u003c/span>\u003ca href=\"https://www.history.com/topics/immigration/us-immigration-since-1965\">\u003cspan style=\"font-weight: 400\">The Immigration and Nationality Act\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. In an effort to attract skilled labor, the law abolished discriminatory quotas that once prevented Asians and Pacific Islanders from entering the country after World War II. The decision might’ve been the most influential factor in allowing Filipino families to spread across California, forever changing the demographics of coastal North America.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We had migrant laborers who came to the territory of Hawai’i in 1905. Then laborers who came to the continental West Coast in the ’20s and ’30s,” says Professor Reyes. “Then World War II happened and there’s another wave of migration with [Filipino] Americans who enlist in the military, go to the Philippines to fight, and come back with war brides to the States and raise their families here. It wasn’t until ’65 til that all opened up more. And we’ve been here ever since.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Importantly, the 1965 Act was largely a result of monumental liberation efforts made during the Civil Rights, Chicano and United Farmworkers Movements. That unity among multi-ethnic, working-class communities foreshadowed an allyship that would eventually coalesce organically into hip-hop.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“It wasn’t about popular entertainment but had something to do with making cultural and political statements,” says Reyes. “Listening to hip-hop, I realized something else was happening that made me have to look at my parents’ colonial education and love for whiteness. Going to rap was part of that exploration of asking, ‘Why do you love whiteness so much and why is Blackness so scary to you?’ How do we find kinship in those communities?” [aside postid=\"arts_13895462']\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">By the late 1980s, Filipinos had fully integrated themselves into Bay Area shipyards and city centers as military personnel and blue-collar workers. They also moved into suburbs and middle-class areas with access to college and professional careers in health, education and other fields. Their proliferation led to more intersectional involvement in Americanized cultures, such as\u003c/span>\u003ca href=\"https://www.undiscoveredsf.com/blog/2019/7/13/a-look-back-at-filipino-american-rampb-music-of-the-1990s\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\"> freestyle and R&B of the ’90s\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">With a visible community already established, and clearly growing, conditions led to the formation of tightly-connected enclaves in places like Fremont, Vallejo and, most famously, Daly City.\u003c/span>\u003c/p>\n\u003ch2>C-Side: Spinning Records, Breaking Barriers\u003c/h2>\n\u003cp>\u003cspan style=\"font-weight: 400\">Filipinos have always been present in Bay Area hip-hop. Ever since the artform emerged as a vehicle for social justice and cultural empowerment, they’ve been among the most active participants in DJing, breakdancing, graffiti and MCing—from Daly City to Vallejo and back down to San Jose. Like many diverse immigrant diasporas who serendipitously arrive in the Golden State, Fil Ams have been a true staple in our neighborhoods, and their role in hip-hop is a reflection of that shared, liberating transcendence.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“My aunt, \u003c/span>\u003ca href=\"https://www.hopclear.com/filipino-amerian-mom-goes-viral-for-being-an-awesome-dj/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">DJ Lady Ames\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, was one of the first Pinay DJs to come out of San Francisco. She went to Balboa High \u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=XbnDXp4lYuk\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">during the ’80s while the mobile DJing scene was happening\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, and she started a crew with her friends,” says Delrokz.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13905237\" class=\"wp-caption alignright\" style=\"max-width: 512px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13905237\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/delrokz.jpg\" alt=\"\" width=\"512\" height=\"341\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/delrokz.jpg 512w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/delrokz-160x107.jpg 160w\" sizes=\"(max-width: 512px) 100vw, 512px\">\u003cfigcaption class=\"wp-caption-text\">Delrokz in his Hayward record shop, The Stacks. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Del is a DJ and b-boy who has lived all over the “Yay Area,” but is currently posted up in downtown Hayward, where he owns his new record shop, \u003ca href=\"https://www.thestacksrecordshop.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The Stacks\u003c/a>.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“To be Filipina and have a whole crew of DJs, that was revolutionary at its time in the early ’80s,” he says. “They were an all Pinay group, The GoGos. There really weren’t that many women DJs getting attention back then. But I grew up around her and my uncles and that whole culture. It’s part of who I am.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Del is the founder and organizer of \u003c/span>\u003ca href=\"https://www.instagram.com/breakthebay/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Break the Bay\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, an annual five-on-five breakdance competition that spins on principles of community, fun and “healthy competition.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It’s yet another manifestation of how the Filipino homies have not only been a part of the culture, but have pioneered spaces for others to be a part of the culture, too—regardless of gender or age.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Del emphasizes that he is a second-generation Fil Am, whose mom immigrated from the islands at a very early age, and whose dad was born here. It’s an important detail to distinguish.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“My parents listened to hip-hop,” he explains. “I had a different experience than someone who’s parents immigrated here directly. Hip-hop culture is so deep within the Filipino Bay Area because it’s been passed for so long. We also just have a lot of parties, so having good DJs makes a lot of sense for us.”\u003c/span>\u003c/p>\n\u003cp>https://vimeo.com/239151243\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">To say Bay Area Filipinos have become good DJs is an understatement. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Widely credited as the most innovative turntablists in modern hip-hop history, the Invisibl Skratch Piklz symbolize everything that Bay Area Filipinos have meant to the world of DJing. Their members—DJ QBert, Mixmaster Mike, DJ Apollo, Shortkut and D-Styles, to name some—have been dominant in global competitions such as the International Turntablist Federation battles since the ’80s. At one point, they received so many awards that other crews didn’t even show up to compete. By the late 90s, their members were frequently asked to be \u003ca href=\"https://www.mtv.com/news/tmaa3x/infamous-scratches-out-victory-in-us-dj-competition\">judges for the nation’s best DJ competitions\u003c/a>.\u003c/span>\u003c/p>\n\u003cp>\u003ca href=\"https://www.factmag.com/2016/09/08/invisibl-skratch-piklz-the-13th-floor/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Underground hip-hip historian Laurent Fintoni\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">—the author of \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Bedroom Beats & B-Sides: Instrumental Hip-Hop and Electronic Music at the Turn of the Century\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">—lauded the Piklz as the original group who “invented the concept of a DJ band, elevated the turntablist art form to new technical and creative heights and helped drive technological innovation.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Connecting five turntables to scratch, mix and fade all at once, live on stage? Yup. These Filipino DJs are known for popularizing that. Their craft went on to birth future groups in the genre of turntablism, such as The X-Ecutioners from New York City.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Between the Piklz, DJ Lady Ames, Delrokz and so many other Filipino Americans from this time and place, DJing went from inside the garages of Daly City’s battling crews to a globally revolutionized way of life.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_10345320\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10345320\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2015/01/QBertMain-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/QBertMain.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/QBertMain-400x225.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">DJ QBert. \u003ccite>(Thud Rumble)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>D-Side: Underground Legends\u003c/h2>\n\u003cp>\u003cspan style=\"font-weight: 400\">If you’ve ever noticed “TDK” tagged on any Bay Area surface, then you’ve likely seen the work of Vogue and \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13863999/dream-day-2019-celebrating-mike-dream-franciscos-50th-birthday\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">the late Mike Dream Francisco\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. They are—in the opinion of every Bay Area graffiti artist I know—two of the most iconic dudes to ever wield cans of aerosol. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">You shouldn’t be surprised to learn that they’re Filipinos. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Here are a few more Pinoy names you may or may not have heard about who have helped to shape, or are currently shaping, Bay Area culture: \u003c/span>\u003cspan style=\"font-weight: 400\">\u003ca href=\"https://www.instagram.com/reyresurreccion/?hl=en\">Rey Resurrection\u003c/a>, \u003c/span>\u003ca href=\"https://www.kqed.org/arts/10445851/from-gangs-to-glory-bambus-political-hip-hop-for-the-people\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Bambu\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, Celskiii, Deeandroid, \u003c/span>\u003ca href=\"https://www.instagram.com/dj_bitesize/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">DJ Bitesize\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, and the \u003c/span>\u003ca href=\"https://dothebay.com/artists/knuckle-neck-tribe\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Knuckle Neck Tribe\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And who can forget one of the most influential sound architects of the entire hyphy movement?\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Dustin “Nump” Perfetto is a 707 product who has been inside studios with everyone’s favorite musicians, from E-40 to Green Day. \u003ca href=\"https://www.kqed.org/arts/13924042/nump-hyphy-i-gott-grapes-interview\">He operated as the recording engineer\u003c/a> on countless albums from that glorious era in Bay Area music history, including \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Rick Rock Presents Federation: The Album\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, which features the timeless anthem, “\u003ca href=\"https://youtu.be/oe7ohnlZhBc\" target=\"_blank\" rel=\"noopener noreferrer\">Hyphy\u003c/a>.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Filipinos play a major part behind the scenes but it hasn’t always been as popular for us to be mainstream,” Perfetto says. “I won’t stop ’til we get that respect.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13887463\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13887463\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/10/RubyIbarra.MAIN_.jpg\" alt=\"Ruby Ibarra in an East Bay park.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/RubyIbarra.MAIN_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/RubyIbarra.MAIN_-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/RubyIbarra.MAIN_-768x432.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ruby Ibarra. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">By promoting his pride in launching his own clothing line, Gorillapino, and collaborating with former and current Fil Am artists (including Ruby Ibarra on her incisive 2017 album, \u003c/span>\u003ca href=\"https://pinoyhiphopsuperstar.com/ruby-ibarra-circa-91-album-review/\">\u003ci>\u003cspan style=\"font-weight: 400\">CIRCA91\u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\">, which includes extensive verses in Tagalog) Perfetto personifies the undying grit and collective strength of the Fil Am hip hop community that has always been \u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=Ccm73eJo2_U\">\u003cspan style=\"font-weight: 400\">“Going Off”\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> for the Bay.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“\u003ca href=\"https://theculturetrip.com/asia/philippines/articles/the-story-of-lapu-lapu-the-legendary-filipino-hero/\" target=\"_blank\" rel=\"noopener noreferrer\">Lapulapu\u003c/a> is the original Filipino warrior who cut off Magellan’s head when they tried to conquer us,” Perfetto says. “That’s the energy I move with. That’s who we are.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Translation: Filipinos stand united for anything they believe in. And local history underscores how they’ve always utilized the powers of music and community for good.\u003c/span>\u003c/p>\n\u003cp>https://youtu.be/xOrYbSM1ArI\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Perfetto and the rest of these artists making waves out here can definitely wreck microphones, but they can just as easily build across communities to reach audiences of any background. More than anything, they represent how the Bay is a soil of innovation and solidarity—how we’re all building towards communal celebration.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We have a lot of similarities with other cultures,” Guapdad reminds me. “It’s just something we need to celebrate more.”\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
"blocks": [],
"excerpt": "Guapdad, Saweetie and some of today's best-known Bay Area artists rep their Filipino heritage, continuing a tradition going back to the '80s.",
"status": "publish",
"parent": 0,
"modified": 1726791251,
"stats": {
"hasAudio": false,
"hasVideo": false,
"hasChartOrMap": false,
"iframeSrcs": [],
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"hasPolis": false,
"paragraphCount": 49,
"wordCount": 2670
},
"headData": {
"title": "A New Generation of Filipino Hip-Hop Builds On a Deep Bay Area Legacy | KQED",
"description": "Guapdad, Saweetie and some of today's best-known Bay Area artists rep their Filipino heritage, continuing a tradition going back to the '80s.",
"ogTitle": "",
"ogDescription": "",
"ogImgId": "",
"twTitle": "",
"twDescription": "",
"twImgId": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "A New Generation of Filipino Hip-Hop Builds On a Deep Bay Area Legacy",
"datePublished": "2021-10-26T16:28:51-07:00",
"dateModified": "2024-09-19T17:14:11-07:00",
"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/13905208/a-new-generation-of-filipino-hip-hop-builds-on-a-deep-bay-area-legacy",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">Guapdad 4000 isn’t your prototypical rapper. For starters, the West Oakland artist is part of the Marvel Universe’s \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Shang-Chi and the Legend of the Ten Rings\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> soundtrack, something he’s proud about as a comic head.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I’m a huge Marvel fan and it was the first Asian American movie. I knew they was finna go crazy,” he says. “I was juiced. Especially to champion my Filipino side as a part of that. And it takes place in the Bay? Not even Thanos could snap me out of that.” \u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13902470",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">If you don’t know Guap, he’s an essential player in the Bay Area’s latest wave of Filipino American artists who’ve taken over the scene with their eclectically unparalleled vibrancy. You can’t talk about Bay Area music in 2021 without mentioning him or the “\u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=0SeZHOqSsZA\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">same squad, same squad\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">” of Fil Ams from here, including H.E.R, Ruby Ibarra, \u003ca href=\"https://www.kqed.org/arts/13924828/rocky-rivera-ruckus-magazine-hyphy-movement-hip-hop\">Rocky Rivera\u003c/a>, P-Lo, Kuya Beats and Saweetie, to name a a few. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Saweetie has \u003c/span>\u003ca href=\"https://www.billboard.com/articles/columns/hip-hop/9446648/saweetie-tap-in-top-10-rb-hip-hop-songs-chart\">\u003cspan style=\"font-weight: 400\">two chart-topping singles\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> and a McDonald’s meal with her name on it. P-Lo \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13899945/how-the-bay-area-reshaped-a-classic-soundtrack\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">produced “About That Time,”\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> the most-streamed song from this summer’s \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Space Jam: A New Legacy\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> soundtrack, featuring verses from NBA All Star Damian Lillard, G-Eazy and White Dave. H.E.R won four Grammys and launched the \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13903394/photos-h-e-r-erykah-badu-and-other-rb-stars-shine-at-lights-on-festival\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Lights On Festival\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, with nearly 6 million followers on Instagram. Rivera added “author” to her resume with the \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13894648/rapper-and-activist-rocky-rivera-embraces-growth-in-her-first-book-snakeskin\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">publication of her debut book\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. Ibarra is literally \u003ca href=\"https://www.kqed.org/arts/13887169/whats-on-your-ballot-ruby-ibarra-rapper-and-scientist\" target=\"_blank\" rel=\"noopener noreferrer\">a scientist\u003c/a> and \u003c/span>\u003ca href=\"https://www.nbcbayarea.com/community/asian-pacific-america/scientist-and-rapper-ruby-ibarra-on-asian-pacific-america/2580781/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">co-founded the Pinays Rising Scholarship Program\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. And that’s just in the past few months.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This list doesn’t even include the unquantifiable amount of genuine community work, activism and representation each artist has provided throughout Northern California and beyond over their careers and lifetimes. It also doesn’t even touch on the OG Pinoys and Pinays who certainly paved the path for this ascendance to happen.\u003c/span>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13903463\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13903463\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A5910.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5910.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5910-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5910-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">H.E.R. performs at Lights On Festival at Concord Pavilion on Sunday, Sept. 19, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A-Side: Chicken Adobo\u003c/h2>\n\u003cp>\u003cspan style=\"font-weight: 400\">“My mother’s side is Filipino. My grandma is a short, 5’3” lady from Zambales in the Philippines. My grandfather is Black and was a merchant marine out there on a military base. They met and decided to move to Oakland and that’s how my roots started in the Bay,” Guap says.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It’s a relatable truth for many Bay Area locals, who’ve grown up here with mixed backgrounds and a fluid sense of self across the generations. Alongside his Fil Am peers, Guap is voicing his multi-ethnic experience in an idiosyncratic, hyphy-melodic way, narrating where he’s from and his journey navigating the world as a Black Pinoy.\u003c/span>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/1DaovaJgytE'\n title='//www.youtube.com/embed/1DaovaJgytE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">With his popular single “Chicken Adobo” (a love song inspired by his lola’s cooking) and his feature on Thundercat’s “\u003ca href=\"https://youtu.be/T2bcUZj6LAc\" target=\"_blank\" rel=\"noopener noreferrer\">Dragonball Durag\u003c/a>” (a tribute to the classic anime), Guap is constantly dropping hints about his Asian American upbringing and identity—though, most people admittedly don’t perceive him as Filipino upon initially seeing him.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“My direct portion is one-fourth Filipino,” he says. “I don’t use that mindstate though. I’m equal Black and Filipino. My lola raised me in a biracial household, cooking and speaking both languages. I went to an all-Filipino church for 15 years. I was immersed in the culture. Hella [stuff] in my upbringing comes straight from my Filipino side.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Guap’s style and albums are reflective of his modern Filipino upbringing in the Bay Area—which is to say, it’s not singularly limited. It’s multidimensional and authentic, an unapologetic fusion. And it’s helping to put Filipino Americans back on the map. \u003c/span>\u003cspan style=\"font-weight: 400\">But he’s not alone. He just happens to be one \u003c/span>\u003cspan style=\"font-weight: 400\">“\u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=zQuajCfNBA8\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Alpha\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">”\u003c/span>\u003cspan style=\"font-weight: 400\"> in this group of trendsetters. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13867199\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867199\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/09/Saweetie-800x450.jpg\" alt=\"Saweetie performs at Rolling Loud 2018 in Oakland.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Saweetie.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Saweetie-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Saweetie-768x432.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Saweetie performs at Rolling Loud 2018 in Oakland. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">“If you look at every pillar in hip-hop that exists, all of ’em, it’s gonna be at least one Filipino in there that’s a legend,” Guapdad says. “Chad Hugo [from The Neptunes]. H.E.R. Qbert. Jabbawockeez. Over the years Filipinos have found ways to integrate themselves seamlessly. It’s global but it’s also bringing that back to a local scale.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In other words, they got roots.\u003c/span>\u003c/p>\n\u003ch2>B-Side: Origins and Migrations\u003c/h2>\n\u003cp>\u003cspan style=\"font-weight: 400\">With over 310,000 Filipino residents, \u003c/span>\u003ca href=\"https://www.asianjournal.com/usa/dateline-usa/pew-research-over-4-2m-filipino-americans-in-the-us/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">the San Francisco Bay Area boasts the second-largest population of the diaspora in the United States\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. Per capita, it’s among the most densely populated Filipino areas outside of the Philippines. It’s no surprise then that \u003c/span>\u003ca href=\"https://www.vox.com/2020/3/10/21172993/filipino-neighborhood-san-francisco-destroyed-i-hotel\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">there was once a Manilatown in San Francisco\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, which blossomed from the 1920s through the 1970s until it was systematically dismantled and cannibalized as part of the “Manhattanization” of downtown’s Financial District. Starting in the 1950s, low-income Filipinos were evicted to make room for “a Wall Street of the West.” The story is just one chapter of the ongoing battle to maintain affordable housing in one of the world’s most expensive cities. \u003c/span>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/tcsdglJFT0M'\n title='//www.youtube.com/embed/tcsdglJFT0M'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">Still, Filipinos have thrived along the Bay Area’s shorelines, allowing for many artists, activists and changemakers to emerge and collaboratively grow here—especially through the rebellion of hip-hop.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We were raised by brown immigrants in America, but immigrants who were educated in American colonial systems,” says \u003ca href=\"https://barbarajanereyes.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Barbara Jane Reyes\u003c/a>, a Manila-born poet and professor at the University of San Francisco. “Our parents’ aesthetic preferences were rooted in colonial whiteness. So seeing brown kids having a good time while listening to what we were told was the music of Black people seemed scary to them.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">By adopting hip-hop as a form of self expression, many Filipinos during the 1980s were able to create a sense of selfhood that might’ve otherwise felt trampled on or neglected by previous generations and institutional ideologies. \u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"postid": "arts_13812554",
"label": ""
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But how exactly did so many Filipinos like Reyes, who grew up in the East Bay, and her family end up migrating to the San Francisco Bay Area—where they’ve been able to directly participate in hip-hop’s growth—to begin with? \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The story spans centuries, but Reyes tells me there was a turning point in 1965, when President Lyndon B. Johnson signed the \u003c/span>\u003ca href=\"https://www.history.com/topics/immigration/us-immigration-since-1965\">\u003cspan style=\"font-weight: 400\">The Immigration and Nationality Act\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. In an effort to attract skilled labor, the law abolished discriminatory quotas that once prevented Asians and Pacific Islanders from entering the country after World War II. The decision might’ve been the most influential factor in allowing Filipino families to spread across California, forever changing the demographics of coastal North America.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We had migrant laborers who came to the territory of Hawai’i in 1905. Then laborers who came to the continental West Coast in the ’20s and ’30s,” says Professor Reyes. “Then World War II happened and there’s another wave of migration with [Filipino] Americans who enlist in the military, go to the Philippines to fight, and come back with war brides to the States and raise their families here. It wasn’t until ’65 til that all opened up more. And we’ve been here ever since.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Importantly, the 1965 Act was largely a result of monumental liberation efforts made during the Civil Rights, Chicano and United Farmworkers Movements. That unity among multi-ethnic, working-class communities foreshadowed an allyship that would eventually coalesce organically into hip-hop.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“It wasn’t about popular entertainment but had something to do with making cultural and political statements,” says Reyes. “Listening to hip-hop, I realized something else was happening that made me have to look at my parents’ colonial education and love for whiteness. Going to rap was part of that exploration of asking, ‘Why do you love whiteness so much and why is Blackness so scary to you?’ How do we find kinship in those communities?” \u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "aside",
"attributes": {
"named": {
"label": "postid=\"arts_13895462'"
},
"numeric": [
"postid=\"arts_13895462'"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">By the late 1980s, Filipinos had fully integrated themselves into Bay Area shipyards and city centers as military personnel and blue-collar workers. They also moved into suburbs and middle-class areas with access to college and professional careers in health, education and other fields. Their proliferation led to more intersectional involvement in Americanized cultures, such as\u003c/span>\u003ca href=\"https://www.undiscoveredsf.com/blog/2019/7/13/a-look-back-at-filipino-american-rampb-music-of-the-1990s\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\"> freestyle and R&B of the ’90s\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">With a visible community already established, and clearly growing, conditions led to the formation of tightly-connected enclaves in places like Fremont, Vallejo and, most famously, Daly City.\u003c/span>\u003c/p>\n\u003ch2>C-Side: Spinning Records, Breaking Barriers\u003c/h2>\n\u003cp>\u003cspan style=\"font-weight: 400\">Filipinos have always been present in Bay Area hip-hop. Ever since the artform emerged as a vehicle for social justice and cultural empowerment, they’ve been among the most active participants in DJing, breakdancing, graffiti and MCing—from Daly City to Vallejo and back down to San Jose. Like many diverse immigrant diasporas who serendipitously arrive in the Golden State, Fil Ams have been a true staple in our neighborhoods, and their role in hip-hop is a reflection of that shared, liberating transcendence.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“My aunt, \u003c/span>\u003ca href=\"https://www.hopclear.com/filipino-amerian-mom-goes-viral-for-being-an-awesome-dj/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">DJ Lady Ames\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, was one of the first Pinay DJs to come out of San Francisco. She went to Balboa High \u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=XbnDXp4lYuk\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">during the ’80s while the mobile DJing scene was happening\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, and she started a crew with her friends,” says Delrokz.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13905237\" class=\"wp-caption alignright\" style=\"max-width: 512px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13905237\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/delrokz.jpg\" alt=\"\" width=\"512\" height=\"341\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/delrokz.jpg 512w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/delrokz-160x107.jpg 160w\" sizes=\"(max-width: 512px) 100vw, 512px\">\u003cfigcaption class=\"wp-caption-text\">Delrokz in his Hayward record shop, The Stacks. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Del is a DJ and b-boy who has lived all over the “Yay Area,” but is currently posted up in downtown Hayward, where he owns his new record shop, \u003ca href=\"https://www.thestacksrecordshop.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The Stacks\u003c/a>.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“To be Filipina and have a whole crew of DJs, that was revolutionary at its time in the early ’80s,” he says. “They were an all Pinay group, The GoGos. There really weren’t that many women DJs getting attention back then. But I grew up around her and my uncles and that whole culture. It’s part of who I am.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Del is the founder and organizer of \u003c/span>\u003ca href=\"https://www.instagram.com/breakthebay/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Break the Bay\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, an annual five-on-five breakdance competition that spins on principles of community, fun and “healthy competition.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It’s yet another manifestation of how the Filipino homies have not only been a part of the culture, but have pioneered spaces for others to be a part of the culture, too—regardless of gender or age.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Del emphasizes that he is a second-generation Fil Am, whose mom immigrated from the islands at a very early age, and whose dad was born here. It’s an important detail to distinguish.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“My parents listened to hip-hop,” he explains. “I had a different experience than someone who’s parents immigrated here directly. Hip-hop culture is so deep within the Filipino Bay Area because it’s been passed for so long. We also just have a lot of parties, so having good DJs makes a lot of sense for us.”\u003c/span>\u003c/p>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "vimeoLink",
"attributes": {
"named": {
"vimeoId": "239151243"
},
"numeric": []
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">To say Bay Area Filipinos have become good DJs is an understatement. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Widely credited as the most innovative turntablists in modern hip-hop history, the Invisibl Skratch Piklz symbolize everything that Bay Area Filipinos have meant to the world of DJing. Their members—DJ QBert, Mixmaster Mike, DJ Apollo, Shortkut and D-Styles, to name some—have been dominant in global competitions such as the International Turntablist Federation battles since the ’80s. At one point, they received so many awards that other crews didn’t even show up to compete. By the late 90s, their members were frequently asked to be \u003ca href=\"https://www.mtv.com/news/tmaa3x/infamous-scratches-out-victory-in-us-dj-competition\">judges for the nation’s best DJ competitions\u003c/a>.\u003c/span>\u003c/p>\n\u003cp>\u003ca href=\"https://www.factmag.com/2016/09/08/invisibl-skratch-piklz-the-13th-floor/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Underground hip-hip historian Laurent Fintoni\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">—the author of \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Bedroom Beats & B-Sides: Instrumental Hip-Hop and Electronic Music at the Turn of the Century\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">—lauded the Piklz as the original group who “invented the concept of a DJ band, elevated the turntablist art form to new technical and creative heights and helped drive technological innovation.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Connecting five turntables to scratch, mix and fade all at once, live on stage? Yup. These Filipino DJs are known for popularizing that. Their craft went on to birth future groups in the genre of turntablism, such as The X-Ecutioners from New York City.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Between the Piklz, DJ Lady Ames, Delrokz and so many other Filipino Americans from this time and place, DJing went from inside the garages of Daly City’s battling crews to a globally revolutionized way of life.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_10345320\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10345320\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2015/01/QBertMain-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/QBertMain.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/QBertMain-400x225.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">DJ QBert. \u003ccite>(Thud Rumble)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>D-Side: Underground Legends\u003c/h2>\n\u003cp>\u003cspan style=\"font-weight: 400\">If you’ve ever noticed “TDK” tagged on any Bay Area surface, then you’ve likely seen the work of Vogue and \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13863999/dream-day-2019-celebrating-mike-dream-franciscos-50th-birthday\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">the late Mike Dream Francisco\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. They are—in the opinion of every Bay Area graffiti artist I know—two of the most iconic dudes to ever wield cans of aerosol. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">You shouldn’t be surprised to learn that they’re Filipinos. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Here are a few more Pinoy names you may or may not have heard about who have helped to shape, or are currently shaping, Bay Area culture: \u003c/span>\u003cspan style=\"font-weight: 400\">\u003ca href=\"https://www.instagram.com/reyresurreccion/?hl=en\">Rey Resurrection\u003c/a>, \u003c/span>\u003ca href=\"https://www.kqed.org/arts/10445851/from-gangs-to-glory-bambus-political-hip-hop-for-the-people\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Bambu\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, Celskiii, Deeandroid, \u003c/span>\u003ca href=\"https://www.instagram.com/dj_bitesize/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">DJ Bitesize\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, and the \u003c/span>\u003ca href=\"https://dothebay.com/artists/knuckle-neck-tribe\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Knuckle Neck Tribe\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And who can forget one of the most influential sound architects of the entire hyphy movement?\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Dustin “Nump” Perfetto is a 707 product who has been inside studios with everyone’s favorite musicians, from E-40 to Green Day. \u003ca href=\"https://www.kqed.org/arts/13924042/nump-hyphy-i-gott-grapes-interview\">He operated as the recording engineer\u003c/a> on countless albums from that glorious era in Bay Area music history, including \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Rick Rock Presents Federation: The Album\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, which features the timeless anthem, “\u003ca href=\"https://youtu.be/oe7ohnlZhBc\" target=\"_blank\" rel=\"noopener noreferrer\">Hyphy\u003c/a>.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Filipinos play a major part behind the scenes but it hasn’t always been as popular for us to be mainstream,” Perfetto says. “I won’t stop ’til we get that respect.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13887463\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13887463\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/10/RubyIbarra.MAIN_.jpg\" alt=\"Ruby Ibarra in an East Bay park.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/RubyIbarra.MAIN_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/RubyIbarra.MAIN_-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/RubyIbarra.MAIN_-768x432.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ruby Ibarra. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">By promoting his pride in launching his own clothing line, Gorillapino, and collaborating with former and current Fil Am artists (including Ruby Ibarra on her incisive 2017 album, \u003c/span>\u003ca href=\"https://pinoyhiphopsuperstar.com/ruby-ibarra-circa-91-album-review/\">\u003ci>\u003cspan style=\"font-weight: 400\">CIRCA91\u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\">, which includes extensive verses in Tagalog) Perfetto personifies the undying grit and collective strength of the Fil Am hip hop community that has always been \u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=Ccm73eJo2_U\">\u003cspan style=\"font-weight: 400\">“Going Off”\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> for the Bay.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“\u003ca href=\"https://theculturetrip.com/asia/philippines/articles/the-story-of-lapu-lapu-the-legendary-filipino-hero/\" target=\"_blank\" rel=\"noopener noreferrer\">Lapulapu\u003c/a> is the original Filipino warrior who cut off Magellan’s head when they tried to conquer us,” Perfetto says. “That’s the energy I move with. That’s who we are.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Translation: Filipinos stand united for anything they believe in. And local history underscores how they’ve always utilized the powers of music and community for good.\u003c/span>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/xOrYbSM1ArI'\n title='//www.youtube.com/embed/xOrYbSM1ArI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">Perfetto and the rest of these artists making waves out here can definitely wreck microphones, but they can just as easily build across communities to reach audiences of any background. More than anything, they represent how the Bay is a soil of innovation and solidarity—how we’re all building towards communal celebration.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We have a lot of similarities with other cultures,” Guapdad reminds me. “It’s just something we need to celebrate more.”\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\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/13905208/a-new-generation-of-filipino-hip-hop-builds-on-a-deep-bay-area-legacy",
"authors": [
"11748"
],
"series": [
"arts_22314"
],
"categories": [
"arts_1",
"arts_7862",
"arts_69"
],
"tags": [
"arts_10342",
"arts_10278",
"arts_2855",
"arts_3771",
"arts_6187",
"arts_831",
"arts_2907",
"arts_1803",
"arts_4219",
"arts_8924",
"arts_8682",
"arts_19347"
],
"featImg": "arts_13905238",
"label": "arts_22314"
},
"arts_13903394": {
"type": "posts",
"id": "arts_13903394",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13903394",
"score": null,
"sort": [
1632157491000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1632157491,
"format": "standard",
"title": "PHOTOS: H.E.R., Erykah Badu and Other R&B Stars Shine at Lights On Festival",
"headTitle": "PHOTOS: H.E.R., Erykah Badu and Other R&B Stars Shine at Lights On Festival | KQED",
"content": "\u003cp>Earnest lyrics about love, soulful instrumentation and a little bit of nostalgia tend to bring out the best in people—something H.E.R. surely thought about when she curated the Lights On Festival. The event brought an unmistakably joyful mood to the Concord Pavilion this past weekend, Sept. 18 and 19. Tens of thousands of R&B lovers, mostly Black and brown women of different ages, showed up in their most fashion-forward outfits to belt along to legacy acts (Keyshia Cole and Erykah Badu), appreciate some of today’s biggest stars (H.E.R. and her surprise guests, Ari Lennox, Ty Dolla $ign) and discover up-and-coming talent (Tiana Major9, VanJess and so many others).\u003c/p>\n\u003cp>Several of the artists on stage, including Cole and Ty Dolla $ign, said Lights On was their first live performance since the pandemic. And indeed, the excited energy of emerging was palpable throughout the fest, with a receptive audience hanging on the artists’ every word, putting their cell phone lights up and cheering with maximum intensity. With one stage for lesser-known acts during the day and another for heavy hitters in the evening, the design of the festival made it easy to stay put in one location and take in the music with minimal distractions.\u003c/p>\n\u003cfigure id=\"attachment_13903421\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13903421\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A5122.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5122.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5122-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5122-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ty Dolla $ign performs at Lights On Festival at Concord Pavilion on Saturday, Sept. 18, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to being a chart-topping singer, H.E.R. is known for her guitar chops, and Lights On had a noticeable emphasis on live instrumentation. Masego let his saxophone rip as if playing in a basement jazz club during “Tadow.” Ty Dolla $ign performed radio bangers like “Paranoid“ and “Blasé Blasé” with a six-piece band that included a brass section and head-banging guitarist. Erykah Badu arrived Parliament-Funkadelic-style with a 10-piece ensemble dressed in white bodysuits, as if they had just arrived from an Afrofuturist spaceship. Newcomer Fousheé impressed by hitting Mariah Carey-level high notes while her band interspersed gritty, post-punk power chords into their R&B compositions.\u003c/p>\n\u003cp>Although the cynical among us often complain that popular music has given way to lazy backing-track performances and recordings salvaged by Auto-Tune, Lights On Festival celebrated care and craft as the true core of R&B.\u003c/p>\n\u003ch2>Greetings From Badubotron\u003c/h2>\n\u003cp>Neo-soul queen Erykah Badu and her sprawling, percussion-forward band transported the audience with jazz and funk interpolations of her beloved hits and newer songs alike on Saturday night. Badu came out to an electrofunk beat in a silver cape and let us know that we were about to take a trip to Badubotron, with laser lights shining down like tractor beams from a UFO. The only rule is “to each his own,” since we each only know what’s best for us, she explained in song.\u003c/p>\n\u003cfigure id=\"attachment_13903425\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13903425\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A5194.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5194.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5194-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5194-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Erykah Badu performs at Lights On Festival at Concord Pavilion on Saturday, Sept. 18, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Between tracks like “On & On,” “Next Lifetime” and “Window Seat,” Badu would instruct her band to cut the keys and bass so that the congas and other percussion instruments could rock the crowd. Their rhythms, passed down through generations of drummers, connected past to future when they were joined by the bleeps and bloops of a synthesizer. Rather than rush from song to song, her band played lengthy, extended versions that allowed the audience to really get into each groove.\u003c/p>\n\u003cfigure id=\"attachment_13903424\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13903424\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A5144.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5144.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5144-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5144-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Erykah Badu performs at Lights On Festival at Concord Pavilion on Saturday, Sept. 18, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>During “Apple Tree,” one of her early hits from \u003cem>Baduizm\u003c/em>, Badu showed she could scat with the best of them. Her improvisatory, free-spirited approach to her classic material was invigorating—a testament to her commitment to creatively challenging herself and making her own rules.\u003c/p>\n\u003cfigure id=\"attachment_13903415\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13903415\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A4830.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4830.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4830-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4830-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Keyshia Cole performs at Lights On Festival at Concord Pavilion on Saturday, Sept. 18, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Keyshia Cole Gives an Emotional Hometown Performance\u003c/h2>\n\u003cp>Oakland native Keyshia Cole doesn’t get brought up often enough in conversations about the R&B greats of the 2000s, but her powerhouse vocals and hit-after-hit setlist proved her standing. With a warm, honeyed timbre and runs that swelled into rapturous climaxes, Cole was a formidable presence at Lights On Saturday night.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Cole arrived in a pink, sculptural dress with a cadre of male back-up dancers, also head-to-toe in baby pink, and delved into scorned-woman missives like “I Should Have Cheated,” heartbreak confessionals like “Love” and get-your-life-on-the-dancefloor favorites like “Let It Go,” her track with Missy Elliott and Lil Kim.\u003c/p>\n\u003cfigure id=\"attachment_13903413\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13903413\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A4801.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4801.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4801-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4801-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Keyshia Cole performs at Lights On Festival at Concord Pavilion on Saturday, Sept. 18, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The set took an emotional turn when Cole and her DJ paid homage to her late mother Frankie Lons, who passed away in July. “I’m happy she was a part of my life and I was able to experience her, and I’m happy you guys were able to experience her. She was so funny, so hilarious,” said Cole before taking the audience to church with the ballad “Heaven Sent.”\u003c/p>\n\u003cfigure id=\"attachment_13903465\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13903465\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A6001.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A6001.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A6001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A6001-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">H.E.R. performs at Lights On Festival at Concord Pavilion on Sunday, Sept. 19, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>H.E.R. Gives a Star-Studded Finale\u003c/h2>\n\u003cp>As the festival curator and Sunday’s headlining artist, H.E.R. announced her mission statement to the crowd a few songs into her set: “I don’t know why people say R&B is dead when R&B lives in everything, it’s the foundation,” the 24-year-old Vallejo native said. That idea proved to be the guiding light behind her dynamic, star-studded performance, which immediately energized the audience with sparks exploding from the stage and a quartet of dancing brass players.\u003c/p>\n\u003cp>Dressed in a regal red cape, H.E.R. presided over an ensemble of 10 musicians and singers, running through larger-than-life renditions of hits like “We Goin Crazy” and “B.S.” But the real fun began when the special guests began to reveal themselves from behind the curtain. After H.E.R. played her new track “Closer to Me” on keyboard (the beat of which flips Goapele’s 2001 hit “Closer”), Goapele joined H.E.R. on stage so the two Bay Area natives could harmonize on the original.\u003c/p>\n\u003cfigure id=\"attachment_13903464\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13903464\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A5979.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5979.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5979-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5979-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">H.E.R. and Goapele perform at Lights On Festival at Concord Pavilion on Sunday, Sept. 19, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The cameos only got more unexpected from there: Saweetie, another Bay Area native, came on to rap “Best Friend” in a pink fur coat; and Chloe Bailey (who’s proving to be the breakout star of Chloe x Halle) came on for a cover of Led Zeppelin’s “Black Dog,” with H.E.R. shredding on her Fender. (An appearance from Chris Brown, given his history of allegations, didn’t make sense at a festival largely celebrating women, but the cheering crowd didn’t seem to mind.)\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>If H.E.R. set out to prove R&B’s enduring relevance, by the end of Lights On, there was no question she succeeded.\u003c/p>\n\u003cfigure id=\"attachment_13903398\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13903398\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A4407.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4407.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4407-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4407-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tiana Major9 performs at Lights On Festival at Concord Pavilion on Saturday, Sept. 18, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13903401\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13903401\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A4464.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4464.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4464-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4464-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Lights On Festival on Saturday, Sept. 18, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13903400\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903400\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A4422.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4422.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4422-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4422-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tiana Major9 performs at Lights On Festival at Concord Pavilion on Saturday, Sept. 18, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13903399\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903399\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A4410.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4410.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4410-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4410-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Lights On Festival on Saturday, Sept. 18, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13903402\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13903402\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A4476.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4476.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4476-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4476-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Joyce Wrice backstage at Lights On Festival on Saturday, Sept. 18, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13903404\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13903404\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A4526.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4526.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4526-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4526-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Fousheé performs at Lights On Festival at Concord Pavilion on Saturday, Sept. 18, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13903405\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13903405\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A4564.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4564.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4564-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4564-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Fousheé performs at Lights On Festival at Concord Pavilion on Saturday, Sept. 18, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13903419\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13903419\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A4950.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4950.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4950-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4950-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ty Dolla $ign performs at Lights On Festival at Concord Pavilion on Saturday, Sept. 18, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13903417\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903417\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A4861.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4861.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4861-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4861-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tiana Major9 backstage at Lights On Festival on Saturday, Sept. 18, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13903412\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903412\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A4741.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4741.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4741-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4741-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Lights On Festival on Saturday, Sept. 18, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13903411\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13903411\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A4736.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4736.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4736-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4736-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Lights On Festival on Saturday, Sept. 18, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13903410\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903410\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A4664.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4664.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4664-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4664-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Masego performs at Lights On Festival at Concord Pavilion on Saturday, Sept. 18, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13903409\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903409\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A4639.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4639.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4639-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4639-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Masego performs at Lights On Festival at Concord Pavilion on Saturday, Sept. 18, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13903408\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13903408\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A4621.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4621.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4621-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4621-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Lights On Festival on Saturday, Sept. 18, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13903423\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13903423\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A5135.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5135.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5135-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5135-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Lights On Festival on Saturday, Sept. 18, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13903460\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13903460\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A5818.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5818.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5818-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5818-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">H.E.R. performs at Lights On Festival at Concord Pavilion on Sunday, Sept. 19, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13903459\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13903459\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A5791.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5791.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5791-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5791-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bryson Tiller performs at Lights On Festival at Concord Pavilion on Sunday, Sept. 19, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13903457\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903457\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A5777.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5777.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5777-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5777-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">VanJess backstage at Lights On Festival on Sunday, Sept. 19, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13903455\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903455\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A5763.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5763.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5763-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5763-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Lights On Festival on Sunday, Sept. 19, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13903454\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903454\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A5752.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5752.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5752-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5752-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Lights On Festival on Sunday, Sept. 19, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13903453\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903453\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A5692.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5692.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5692-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5692-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Lights On Festival on Sunday, Sept. 19, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13903450\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903450\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A5656.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5656.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5656-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5656-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ari Lennox performs at Lights On Festival at Concord Pavilion on Sunday, Sept. 19, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13903451\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903451\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A5658.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5658.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5658-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5658-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Lights On Festival on Sunday, Sept. 19, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13903448\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903448\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A5621.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5621.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5621-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5621-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ari Lennox performs at Lights On Festival at Concord Pavilion on Sunday, Sept. 19, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13903447\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903447\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A5592.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5592.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5592-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5592-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Lights On Festival on Sunday, Sept. 19, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13903445\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903445\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A5580.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5580.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5580-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5580-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kiana Ledé performs at Lights On Festival at Concord Pavilion on Sunday, Sept. 19, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13903443\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903443\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A5562.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5562.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5562-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5562-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kiana Ledé performs at Lights On Festival at Concord Pavilion on Sunday, Sept. 19, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13903441\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903441\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A5515.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5515.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5515-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5515-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lucky Daye performs at Lights On Festival at Concord Pavilion on Sunday, Sept. 19, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13903440\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903440\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A5471.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5471.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5471-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5471-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lucky Daye performs at Lights On Festival at Concord Pavilion on Sunday, Sept. 19, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13903439\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903439\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A5469.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5469.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5469-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5469-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Lights On Festival on Sunday, Sept. 19, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13903438\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903438\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A5467.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5467.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5467-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5467-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Lights On Festival on Sunday, Sept. 19, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13903437\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903437\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A5461.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5461.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5461-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5461-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd partakes in complementary carnival rides at Lights On Festival on Sunday, Sept. 19, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13903435\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903435\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A5412.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5412.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5412-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5412-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">VanJess perform at Lights On Festival at Concord Pavilion on Sunday, Sept. 19, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13903434\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903434\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A5391.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5391.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5391-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5391-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">VanJess perform at Lights On Festival at Concord Pavilion on Sunday, Sept. 19, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13903432\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13903432\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A5360.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5360.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5360-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5360-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd has a dance off at Lights On Festival on Sunday, Sept. 19, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1800,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 16
},
"modified": 1705007730,
"excerpt": "Chart-topping singer and Vallejo native H.E.R. curated a dynamic festival that included Keyshia Cole and Ty Dolla $ign.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Chart-topping singer and Vallejo native H.E.R. curated a dynamic festival that included Keyshia Cole and Ty Dolla $ign.",
"title": "PHOTOS: H.E.R., Erykah Badu and Other R&B Stars Shine at Lights On Festival | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "PHOTOS: H.E.R., Erykah Badu and Other R&B Stars Shine at Lights On Festival",
"datePublished": "2021-09-20T10:04:51-07:00",
"dateModified": "2024-01-11T13:15:30-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "photos-h-e-r-erykah-badu-and-other-rb-stars-shine-at-lights-on-festival",
"status": "publish",
"templateType": "standard",
"featuredImageType": "standard",
"sticky": false,
"path": "/arts/13903394/photos-h-e-r-erykah-badu-and-other-rb-stars-shine-at-lights-on-festival",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Earnest lyrics about love, soulful instrumentation and a little bit of nostalgia tend to bring out the best in people—something H.E.R. surely thought about when she curated the Lights On Festival. The event brought an unmistakably joyful mood to the Concord Pavilion this past weekend, Sept. 18 and 19. Tens of thousands of R&B lovers, mostly Black and brown women of different ages, showed up in their most fashion-forward outfits to belt along to legacy acts (Keyshia Cole and Erykah Badu), appreciate some of today’s biggest stars (H.E.R. and her surprise guests, Ari Lennox, Ty Dolla $ign) and discover up-and-coming talent (Tiana Major9, VanJess and so many others).\u003c/p>\n\u003cp>Several of the artists on stage, including Cole and Ty Dolla $ign, said Lights On was their first live performance since the pandemic. And indeed, the excited energy of emerging was palpable throughout the fest, with a receptive audience hanging on the artists’ every word, putting their cell phone lights up and cheering with maximum intensity. With one stage for lesser-known acts during the day and another for heavy hitters in the evening, the design of the festival made it easy to stay put in one location and take in the music with minimal distractions.\u003c/p>\n\u003cfigure id=\"attachment_13903421\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13903421\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A5122.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5122.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5122-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5122-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ty Dolla $ign performs at Lights On Festival at Concord Pavilion on Saturday, Sept. 18, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to being a chart-topping singer, H.E.R. is known for her guitar chops, and Lights On had a noticeable emphasis on live instrumentation. Masego let his saxophone rip as if playing in a basement jazz club during “Tadow.” Ty Dolla $ign performed radio bangers like “Paranoid“ and “Blasé Blasé” with a six-piece band that included a brass section and head-banging guitarist. Erykah Badu arrived Parliament-Funkadelic-style with a 10-piece ensemble dressed in white bodysuits, as if they had just arrived from an Afrofuturist spaceship. Newcomer Fousheé impressed by hitting Mariah Carey-level high notes while her band interspersed gritty, post-punk power chords into their R&B compositions.\u003c/p>\n\u003cp>Although the cynical among us often complain that popular music has given way to lazy backing-track performances and recordings salvaged by Auto-Tune, Lights On Festival celebrated care and craft as the true core of R&B.\u003c/p>\n\u003ch2>Greetings From Badubotron\u003c/h2>\n\u003cp>Neo-soul queen Erykah Badu and her sprawling, percussion-forward band transported the audience with jazz and funk interpolations of her beloved hits and newer songs alike on Saturday night. Badu came out to an electrofunk beat in a silver cape and let us know that we were about to take a trip to Badubotron, with laser lights shining down like tractor beams from a UFO. The only rule is “to each his own,” since we each only know what’s best for us, she explained in song.\u003c/p>\n\u003cfigure id=\"attachment_13903425\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13903425\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A5194.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5194.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5194-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5194-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Erykah Badu performs at Lights On Festival at Concord Pavilion on Saturday, Sept. 18, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Between tracks like “On & On,” “Next Lifetime” and “Window Seat,” Badu would instruct her band to cut the keys and bass so that the congas and other percussion instruments could rock the crowd. Their rhythms, passed down through generations of drummers, connected past to future when they were joined by the bleeps and bloops of a synthesizer. Rather than rush from song to song, her band played lengthy, extended versions that allowed the audience to really get into each groove.\u003c/p>\n\u003cfigure id=\"attachment_13903424\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13903424\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A5144.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5144.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5144-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5144-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Erykah Badu performs at Lights On Festival at Concord Pavilion on Saturday, Sept. 18, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>During “Apple Tree,” one of her early hits from \u003cem>Baduizm\u003c/em>, Badu showed she could scat with the best of them. Her improvisatory, free-spirited approach to her classic material was invigorating—a testament to her commitment to creatively challenging herself and making her own rules.\u003c/p>\n\u003cfigure id=\"attachment_13903415\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13903415\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A4830.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4830.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4830-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4830-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Keyshia Cole performs at Lights On Festival at Concord Pavilion on Saturday, Sept. 18, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Keyshia Cole Gives an Emotional Hometown Performance\u003c/h2>\n\u003cp>Oakland native Keyshia Cole doesn’t get brought up often enough in conversations about the R&B greats of the 2000s, but her powerhouse vocals and hit-after-hit setlist proved her standing. With a warm, honeyed timbre and runs that swelled into rapturous climaxes, Cole was a formidable presence at Lights On Saturday night.\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>Cole arrived in a pink, sculptural dress with a cadre of male back-up dancers, also head-to-toe in baby pink, and delved into scorned-woman missives like “I Should Have Cheated,” heartbreak confessionals like “Love” and get-your-life-on-the-dancefloor favorites like “Let It Go,” her track with Missy Elliott and Lil Kim.\u003c/p>\n\u003cfigure id=\"attachment_13903413\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13903413\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A4801.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4801.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4801-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4801-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Keyshia Cole performs at Lights On Festival at Concord Pavilion on Saturday, Sept. 18, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The set took an emotional turn when Cole and her DJ paid homage to her late mother Frankie Lons, who passed away in July. “I’m happy she was a part of my life and I was able to experience her, and I’m happy you guys were able to experience her. She was so funny, so hilarious,” said Cole before taking the audience to church with the ballad “Heaven Sent.”\u003c/p>\n\u003cfigure id=\"attachment_13903465\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13903465\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A6001.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A6001.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A6001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A6001-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">H.E.R. performs at Lights On Festival at Concord Pavilion on Sunday, Sept. 19, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>H.E.R. Gives a Star-Studded Finale\u003c/h2>\n\u003cp>As the festival curator and Sunday’s headlining artist, H.E.R. announced her mission statement to the crowd a few songs into her set: “I don’t know why people say R&B is dead when R&B lives in everything, it’s the foundation,” the 24-year-old Vallejo native said. That idea proved to be the guiding light behind her dynamic, star-studded performance, which immediately energized the audience with sparks exploding from the stage and a quartet of dancing brass players.\u003c/p>\n\u003cp>Dressed in a regal red cape, H.E.R. presided over an ensemble of 10 musicians and singers, running through larger-than-life renditions of hits like “We Goin Crazy” and “B.S.” But the real fun began when the special guests began to reveal themselves from behind the curtain. After H.E.R. played her new track “Closer to Me” on keyboard (the beat of which flips Goapele’s 2001 hit “Closer”), Goapele joined H.E.R. on stage so the two Bay Area natives could harmonize on the original.\u003c/p>\n\u003cfigure id=\"attachment_13903464\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13903464\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A5979.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5979.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5979-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5979-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">H.E.R. and Goapele perform at Lights On Festival at Concord Pavilion on Sunday, Sept. 19, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The cameos only got more unexpected from there: Saweetie, another Bay Area native, came on to rap “Best Friend” in a pink fur coat; and Chloe Bailey (who’s proving to be the breakout star of Chloe x Halle) came on for a cover of Led Zeppelin’s “Black Dog,” with H.E.R. shredding on her Fender. (An appearance from Chris Brown, given his history of allegations, didn’t make sense at a festival largely celebrating women, but the cheering crowd didn’t seem to mind.)\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>If H.E.R. set out to prove R&B’s enduring relevance, by the end of Lights On, there was no question she succeeded.\u003c/p>\n\u003cfigure id=\"attachment_13903398\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13903398\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A4407.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4407.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4407-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4407-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tiana Major9 performs at Lights On Festival at Concord Pavilion on Saturday, Sept. 18, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13903401\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13903401\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A4464.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4464.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4464-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4464-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Lights On Festival on Saturday, Sept. 18, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13903400\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903400\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A4422.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4422.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4422-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4422-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tiana Major9 performs at Lights On Festival at Concord Pavilion on Saturday, Sept. 18, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13903399\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903399\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A4410.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4410.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4410-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4410-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Lights On Festival on Saturday, Sept. 18, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13903402\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13903402\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A4476.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4476.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4476-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4476-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Joyce Wrice backstage at Lights On Festival on Saturday, Sept. 18, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13903404\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13903404\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A4526.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4526.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4526-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4526-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Fousheé performs at Lights On Festival at Concord Pavilion on Saturday, Sept. 18, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13903405\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13903405\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A4564.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4564.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4564-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4564-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Fousheé performs at Lights On Festival at Concord Pavilion on Saturday, Sept. 18, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13903419\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13903419\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A4950.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4950.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4950-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4950-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ty Dolla $ign performs at Lights On Festival at Concord Pavilion on Saturday, Sept. 18, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13903417\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903417\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A4861.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4861.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4861-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4861-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tiana Major9 backstage at Lights On Festival on Saturday, Sept. 18, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13903412\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903412\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A4741.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4741.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4741-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4741-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Lights On Festival on Saturday, Sept. 18, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13903411\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13903411\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A4736.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4736.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4736-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4736-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Lights On Festival on Saturday, Sept. 18, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13903410\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903410\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A4664.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4664.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4664-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4664-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Masego performs at Lights On Festival at Concord Pavilion on Saturday, Sept. 18, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13903409\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903409\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A4639.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4639.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4639-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4639-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Masego performs at Lights On Festival at Concord Pavilion on Saturday, Sept. 18, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13903408\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13903408\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A4621.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4621.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4621-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4621-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Lights On Festival on Saturday, Sept. 18, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13903423\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13903423\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A5135.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5135.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5135-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5135-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Lights On Festival on Saturday, Sept. 18, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13903460\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13903460\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A5818.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5818.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5818-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5818-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">H.E.R. performs at Lights On Festival at Concord Pavilion on Sunday, Sept. 19, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13903459\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13903459\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A5791.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5791.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5791-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5791-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bryson Tiller performs at Lights On Festival at Concord Pavilion on Sunday, Sept. 19, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13903457\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903457\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A5777.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5777.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5777-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5777-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">VanJess backstage at Lights On Festival on Sunday, Sept. 19, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13903455\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903455\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A5763.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5763.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5763-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5763-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Lights On Festival on Sunday, Sept. 19, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13903454\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903454\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A5752.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5752.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5752-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5752-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Lights On Festival on Sunday, Sept. 19, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13903453\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903453\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A5692.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5692.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5692-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5692-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Lights On Festival on Sunday, Sept. 19, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13903450\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903450\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A5656.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5656.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5656-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5656-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ari Lennox performs at Lights On Festival at Concord Pavilion on Sunday, Sept. 19, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13903451\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903451\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A5658.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5658.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5658-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5658-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Lights On Festival on Sunday, Sept. 19, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13903448\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903448\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A5621.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5621.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5621-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5621-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ari Lennox performs at Lights On Festival at Concord Pavilion on Sunday, Sept. 19, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13903447\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903447\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A5592.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5592.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5592-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5592-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Lights On Festival on Sunday, Sept. 19, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13903445\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903445\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A5580.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5580.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5580-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5580-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kiana Ledé performs at Lights On Festival at Concord Pavilion on Sunday, Sept. 19, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13903443\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903443\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A5562.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5562.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5562-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5562-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kiana Ledé performs at Lights On Festival at Concord Pavilion on Sunday, Sept. 19, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13903441\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903441\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A5515.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5515.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5515-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5515-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lucky Daye performs at Lights On Festival at Concord Pavilion on Sunday, Sept. 19, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13903440\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903440\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A5471.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5471.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5471-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5471-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lucky Daye performs at Lights On Festival at Concord Pavilion on Sunday, Sept. 19, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13903439\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903439\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A5469.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5469.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5469-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5469-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Lights On Festival on Sunday, Sept. 19, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13903438\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903438\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A5467.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5467.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5467-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5467-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Lights On Festival on Sunday, Sept. 19, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13903437\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903437\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A5461.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5461.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5461-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5461-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd partakes in complementary carnival rides at Lights On Festival on Sunday, Sept. 19, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13903435\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903435\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A5412.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5412.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5412-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5412-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">VanJess perform at Lights On Festival at Concord Pavilion on Sunday, Sept. 19, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13903434\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903434\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A5391.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5391.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5391-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5391-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">VanJess perform at Lights On Festival at Concord Pavilion on Sunday, Sept. 19, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13903432\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13903432\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A5360.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5360.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5360-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A5360-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd has a dance off at Lights On Festival on Sunday, Sept. 19, 2021. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13903394/photos-h-e-r-erykah-badu-and-other-rb-stars-shine-at-lights-on-festival",
"authors": [
"11387"
],
"categories": [
"arts_1"
],
"tags": [
"arts_10278",
"arts_6187",
"arts_1694"
],
"featImg": "arts_13903461",
"label": "arts"
},
"arts_13896127": {
"type": "posts",
"id": "arts_13896127",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13896127",
"score": null,
"sort": [
1619115758000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1619115758,
"format": "standard",
"title": "The 2021 Oscars' Best Original Song Nominees, Cruelly Ranked",
"headTitle": "The 2021 Oscars’ Best Original Song Nominees, Cruelly Ranked | KQED",
"content": "\u003cp>It’s been an unusual year for… a lot of things, really, so why should the Oscars be any different? But the category of best original song feels especially anomalous, given the way the pandemic forced the postponement of so many blockbusters: We didn’t get a \u003cem>Frozen\u003c/em>-style animated musical to lock down one of the spots by default (and Christina Aguilera’s \u003ca href=\"https://www.youtube.com/watch?v=G6PZm8vhm6I\" target=\"_blank\" rel=\"noopener noreferrer\">new song\u003c/a> from the live-action \u003cem>Mulan\u003c/em> remake didn’t make the cut), while Billie Eilish’s \u003ca href=\"https://www.youtube.com/watch?v=BboMpayJomw\" target=\"_blank\" rel=\"noopener noreferrer\">James Bond theme\u003c/a> might have been the frontrunner had \u003cem>No Time to Die\u003c/em> actually come out as planned.\u003c/p>\n\u003cp>That’s left more room than usual for somber closing-credits dirges reflecting the themes of dramas about the pursuit of social justice—songs that, over the years, tend to bleed together in our collective memory to form a glum-but-rousing \u003ca href=\"https://www.mentalfloss.com/article/506504/almost-comprehensive-history-rat-kings\">rat king\u003c/a> called “I Will Speak and Raise My Voice to Rise and Stand and Fight.” These songs, following a path blazed by Common and John Legend’s 2014 \u003cem>Selma\u003c/em> anthem “\u003ca href=\"https://www.youtube.com/watch?v=HUZOKvYcx_o\" target=\"_blank\" rel=\"noopener noreferrer\">Glory\u003c/a>,” form a subgenre best described as, well, Glorycore. Speak! Rise! Stand! Fight!\u003c/p>\n\u003cp>Taken collectively, this year’s crop could have used a jolt of joy and energy—a “\u003ca href=\"https://www.youtube.com/watch?v=bOR38552MJA\">Blame Canada\u003c/a>,” if you will. But, given that it’s probably best that we won’t have to watch Sacha Baron Cohen perform “\u003ca href=\"https://www.youtube.com/watch?v=1EuyDMq3mYQ\" target=\"_blank\" rel=\"noopener noreferrer\">Wuhan Flu\u003c/a>” on the Oscars out of context, these are the five songs we’re getting. Here they are, cruelly and objectively ranked in ascending order of quality.\u003c/p>\n\u003cp>\u003cstrong>5. “Hear My Voice,” \u003c/strong>\u003cstrong>\u003cem>The Trial of the Chicago 7\u003c/em>\u003c/strong>\u003cstrong>, performed by Celeste (Daniel Pemberton and Celeste, songwriters)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=pnY9_DXMBis\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Hear My Voice” has a vibrant vocal from soul singer Celeste, a grand string arrangement and a universally accessible message about, you know, having one’s voice heard. But a song can be \u003cem>too\u003c/em> universal: You could tack “Hear My Voice” onto the closing credits of three dozen different movies from 2020 and make a case that it fits. It’s an afterthought in \u003cem>The Trial of the Chicago 7\u003c/em>, and it’d be an afterthought just about anywhere else.\u003c/p>\n\u003cp>Seriously, what reason does “Hear My Voice” have to exist beyond the pursuit of this award? It’s a nice boost to Celeste’s worthy career, but the song itself might as well be titled “For Your Consideration: Hear My Voice (from \u003cem>The Trial Of The Chicago 7\u003c/em>).”\u003c/p>\n\u003cp>\u003cstrong>4. “Io sì (Seen),” \u003c/strong>\u003cstrong>\u003cem>The Life Ahead\u003c/em>\u003c/strong>\u003cstrong>, performed by Laura Pausini (Diane Warren and Laura Pausini, songwriters)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=imjSm7FNmwE\u003c/p>\n\u003cp>Diane Warren has been nominated for Best Original Song an astonishing 12 times, including for indelible hits like “Nothing’s Gonna Stop Us Now,” “How Do I Live” and “I Don’t Want to Miss a Thing”—from the Academy Awards staples \u003cem>Mannequin\u003c/em>, \u003cem>Con Air\u003c/em> and \u003cem>Armageddon\u003c/em>, respectively. But she’s never won, and after her 2015 Lady Gaga collaboration “\u003ca href=\"https://www.youtube.com/watch?v=ZmWBrN7QV6Y\" target=\"_blank\" rel=\"noopener noreferrer\">Til It Happens to You\u003c/a>” wrongly lost to Sam Smith’s “\u003ca href=\"https://www.youtube.com/watch?v=8jzDnsjYv9A\" target=\"_blank\" rel=\"noopener noreferrer\">Writing’s on the Wall\u003c/a>,” Warren has settled into a pattern of writing or co-writing a given year’s fourth- or fifth-most-powerful Best Original Song nominee, year in and year out.\u003c/p>\n\u003cp>Though she didn’t write Celeste’s “Hear My Voice,” Warren has become one of the most dedicated and persistent practitioners of Glorycore, contributing “\u003ca href=\"https://www.youtube.com/watch?v=2GhY7qXGx-0\" target=\"_blank\" rel=\"noopener noreferrer\">Stand Up for Something\u003c/a>” (from \u003cem>Marshall\u003c/em>), “\u003ca href=\"https://www.youtube.com/watch?v=ho0aVZHQnNM\" target=\"_blank\" rel=\"noopener noreferrer\">I’ll Fight\u003c/a>” (from \u003cem>RBG\u003c/em>) and “\u003ca href=\"https://www.youtube.com/watch?v=s7CHl9cB-m8\" target=\"_blank\" rel=\"noopener noreferrer\">I’m Standing With You\u003c/a>” (from \u003cem>Breakthrough\u003c/em>) to the catalog of Oscars-approved anthems about loyalty and/or defiance. In “Io sì” (from the Italian drama \u003cem>The Life Ahead\u003c/em>), she at least mellows her approach a bit, writing in Italian about… well, a kind of defiant loyalty. Translated, the words Laura Pausini sings could have been written by an app programmed to get its user nominated for Best Original Song at the Academy Awards: “If you want me, I’m here / Nobody sees you, but I do.”\u003c/p>\n\u003cp>Still, though it’s not a heavy favorite to win, don’t be surprised if Warren finally ends her losing streak Sunday night. As a sentimental choice from a pool with no clear frontrunner, she’s got a significantly better chance than Celeste—or, say, anyone nominated for Best Actor against Chadwick Boseman.\u003c/p>\n\u003cp>\u003cstrong>3. “Speak Now,” \u003c/strong>\u003cstrong>\u003cem>One Night in Miami…\u003c/em>\u003c/strong>\u003cstrong>, performed by Leslie Odom Jr. (Sam Ashworth and Leslie Odom Jr., songwriters)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ZvnPEMW1jj8\u003c/p>\n\u003cp>On one hand, “Speak Now” doesn’t figure into the plot of \u003cem>One Night in Miami…\u003c/em>, Regina King’s excellent drama about an eventful evening in the lives of Sam Cooke, Malcolm X, Muhammad Ali and Jim Brown. Nor does it stretch the boundaries of Oscar-friendly songs about speaking, standing, rising and/or fighting. But it does tie into one of the central tensions of the film, in which Cooke (as played by Odom) wrestles with his responsibility to perform songs that address the moment and challenge white audiences.\u003c/p>\n\u003cp>The Tony- and Grammy-winning star of \u003cem>Hamilton\u003c/em>, Odom was also nominated for best supporting actor, and he’s deployed extremely well throughout King’s film: In both \u003cem>One Night in Miami…\u003c/em> and “Speak Now,” he’s not imitating Cooke so much as embodying the legend’s essence and letting his own talent make up the difference.\u003c/p>\n\u003cp>\u003cstrong>2. “Fight for You,” \u003c/strong>\u003cstrong>\u003cem>Judas and the Black Messiah\u003c/em>\u003c/strong>\u003cstrong>, performed by H.E.R. (D’Mile, H.E.R. and Tiara Thomas, songwriters)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Nu8TS2Vr6lo\u003c/p>\n\u003cp>So if you’re keeping track, that’s a song about being heard, a song about being seen and \u003cem>another\u003c/em> song about being heard. At least H.E.R. is bringing a fight to the mix, right?\u003c/p>\n\u003cp>Unfortunately, we’re now 4-for-4 with best original song nominees whose placement in their respective movies begins riiiiiiiight as the credits begin to roll. Still, “Fight for You” has a brassy period quality to it that suits the sound and tone of \u003cem>Judas and the Black Messiah\u003c/em>; it feels like an extension of the film’s score and overall messaging. Even better, it raises the stakes from words to actions, complete with a call for revolution befitting the film’s subject matter.\u003c/p>\n\u003cp>If you’re attempting to navigate an Oscar pool, this feels like an unusually tricky category to call—a notion reflected in the \u003ca href=\"https://www.goldderby.com/odds/graph/oscars-2021-predictions/best-song/\" target=\"_blank\" rel=\"noopener noreferrer\">bunched-up Gold Derby standings\u003c/a>. After all, voters could be eager to help Warren break her dry spell, or get Leslie Odom Jr. one letter closer to his inevitable EGOT, or surrender to Netflix’s aggressive attempts to promote \u003cem>The Trial of the Chicago 7\u003c/em> at all costs. But “Fight for You” feels like as likely a bet as any: It’s timeless \u003cem>and\u003c/em> timely \u003cem>and\u003c/em> era-appropriate, in ways that help it transcend mere Glorycore award-grubbing. Plus, \u003ca href=\"https://www.grammy.com/grammys/artists/her/243298\" target=\"_blank\" rel=\"noopener noreferrer\">the Grammys love H.E.R.\u003c/a> Why wouldn’t the Oscars join them?\u003c/p>\n\u003cp>\u003cstrong>1. “Husavik,” \u003c/strong>\u003cstrong>\u003cem>Eurovision Song Contest: The Story of Fire Saga\u003c/em>\u003c/strong>\u003cstrong>, performed by Molly Sandén, Rachel McAdams and Will Ferrell (Rickard Göransson, Fat Max Gsus and Savan Kotecha, songwriters)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=qjuphuG3ndw&t=1s\u003c/p>\n\u003cp>\u003cem>Eurovision Song Contest\u003c/em> is hardly what you’d consider Oscar bait: It’s a fun but scattershot send-up of a subject that’s already parodying itself, led by stars (Will Ferrell and Rachel McAdams) whose eternal gameness can’t overcome a laggy pace and iffy joke density. But the film succeeds in a crucial area: It largely gets the songs right, pushing the pageantry over the top while still generating material that would thrive on a real-life Eurovision stage.\u003c/p>\n\u003cp>Lyrically cheesy in a manner befitting its context in the film, the song is built on a soaring melody that ratchets up the orchestral grandeur and provides a strong showcase for both McAdams (in a quiet solo scene) and Swedish singer Molly Sandén, whose tremendous voice viewers hear when McAdams sings onstage. As a best original song nominee, “Husavik” checks all the boxes this category ought to be in the interest of checking: Where all four other nominated songs are tacked onto their films’ closing credits, “Husavik” resides at the center of \u003cem>Eurovision Song Contest\u003c/em>‘s climactic scene. It has to absolutely kill for the film’s finale to work, and it brings the house down.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Not saying it \u003cem>will\u003c/em> win, because it probably won’t. But it should.\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=The+2021+Oscars%27+Best+Original+Song+Nominees%2C+Cruelly+Ranked&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
"stats": {
"hasVideo": true,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1541,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 23
},
"modified": 1705019135,
"excerpt": "This year's choices include three \"Glorycore\" entries. You know... songs about speaking and rising and standing and fighting...",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "This year's choices include three "Glorycore" entries. You know... songs about speaking and rising and standing and fighting...",
"title": "The 2021 Oscars' Best Original Song Nominees, Cruelly Ranked | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "The 2021 Oscars' Best Original Song Nominees, Cruelly Ranked",
"datePublished": "2021-04-22T11:22:38-07:00",
"dateModified": "2024-01-11T16:25:35-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "the-2021-oscars-best-original-song-nominees-cruelly-ranked",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=987253460&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"templateType": "standard",
"nprStoryDate": "Wed, 21 Apr 2021 14:03:01 -0400",
"nprLastModifiedDate": "Wed, 21 Apr 2021 14:04:44 -0400",
"featuredImageType": "standard",
"nprHtmlLink": "https://www.npr.org/2021/04/21/987253460/the-2021-oscars-best-original-song-nominees-cruelly-ranked?ft=nprml&f=987253460",
"nprImageAgency": "Netflix",
"nprStoryId": "987253460",
"nprByline": "Stephen Thompson",
"sticky": false,
"nprImageCredit": "John Wilson",
"nprRetrievedStory": "1",
"nprPubDate": "Wed, 21 Apr 2021 14:03:00 -0400",
"path": "/arts/13896127/the-2021-oscars-best-original-song-nominees-cruelly-ranked",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s been an unusual year for… a lot of things, really, so why should the Oscars be any different? But the category of best original song feels especially anomalous, given the way the pandemic forced the postponement of so many blockbusters: We didn’t get a \u003cem>Frozen\u003c/em>-style animated musical to lock down one of the spots by default (and Christina Aguilera’s \u003ca href=\"https://www.youtube.com/watch?v=G6PZm8vhm6I\" target=\"_blank\" rel=\"noopener noreferrer\">new song\u003c/a> from the live-action \u003cem>Mulan\u003c/em> remake didn’t make the cut), while Billie Eilish’s \u003ca href=\"https://www.youtube.com/watch?v=BboMpayJomw\" target=\"_blank\" rel=\"noopener noreferrer\">James Bond theme\u003c/a> might have been the frontrunner had \u003cem>No Time to Die\u003c/em> actually come out as planned.\u003c/p>\n\u003cp>That’s left more room than usual for somber closing-credits dirges reflecting the themes of dramas about the pursuit of social justice—songs that, over the years, tend to bleed together in our collective memory to form a glum-but-rousing \u003ca href=\"https://www.mentalfloss.com/article/506504/almost-comprehensive-history-rat-kings\">rat king\u003c/a> called “I Will Speak and Raise My Voice to Rise and Stand and Fight.” These songs, following a path blazed by Common and John Legend’s 2014 \u003cem>Selma\u003c/em> anthem “\u003ca href=\"https://www.youtube.com/watch?v=HUZOKvYcx_o\" target=\"_blank\" rel=\"noopener noreferrer\">Glory\u003c/a>,” form a subgenre best described as, well, Glorycore. Speak! Rise! Stand! Fight!\u003c/p>\n\u003cp>Taken collectively, this year’s crop could have used a jolt of joy and energy—a “\u003ca href=\"https://www.youtube.com/watch?v=bOR38552MJA\">Blame Canada\u003c/a>,” if you will. But, given that it’s probably best that we won’t have to watch Sacha Baron Cohen perform “\u003ca href=\"https://www.youtube.com/watch?v=1EuyDMq3mYQ\" target=\"_blank\" rel=\"noopener noreferrer\">Wuhan Flu\u003c/a>” on the Oscars out of context, these are the five songs we’re getting. Here they are, cruelly and objectively ranked in ascending order of quality.\u003c/p>\n\u003cp>\u003cstrong>5. “Hear My Voice,” \u003c/strong>\u003cstrong>\u003cem>The Trial of the Chicago 7\u003c/em>\u003c/strong>\u003cstrong>, performed by Celeste (Daniel Pemberton and Celeste, songwriters)\u003c/strong>\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/pnY9_DXMBis'\n title='//www.youtube.com/embed/pnY9_DXMBis'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Hear My Voice” has a vibrant vocal from soul singer Celeste, a grand string arrangement and a universally accessible message about, you know, having one’s voice heard. But a song can be \u003cem>too\u003c/em> universal: You could tack “Hear My Voice” onto the closing credits of three dozen different movies from 2020 and make a case that it fits. It’s an afterthought in \u003cem>The Trial of the Chicago 7\u003c/em>, and it’d be an afterthought just about anywhere else.\u003c/p>\n\u003cp>Seriously, what reason does “Hear My Voice” have to exist beyond the pursuit of this award? It’s a nice boost to Celeste’s worthy career, but the song itself might as well be titled “For Your Consideration: Hear My Voice (from \u003cem>The Trial Of The Chicago 7\u003c/em>).”\u003c/p>\n\u003cp>\u003cstrong>4. “Io sì (Seen),” \u003c/strong>\u003cstrong>\u003cem>The Life Ahead\u003c/em>\u003c/strong>\u003cstrong>, performed by Laura Pausini (Diane Warren and Laura Pausini, songwriters)\u003c/strong>\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/imjSm7FNmwE'\n title='//www.youtube.com/embed/imjSm7FNmwE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Diane Warren has been nominated for Best Original Song an astonishing 12 times, including for indelible hits like “Nothing’s Gonna Stop Us Now,” “How Do I Live” and “I Don’t Want to Miss a Thing”—from the Academy Awards staples \u003cem>Mannequin\u003c/em>, \u003cem>Con Air\u003c/em> and \u003cem>Armageddon\u003c/em>, respectively. But she’s never won, and after her 2015 Lady Gaga collaboration “\u003ca href=\"https://www.youtube.com/watch?v=ZmWBrN7QV6Y\" target=\"_blank\" rel=\"noopener noreferrer\">Til It Happens to You\u003c/a>” wrongly lost to Sam Smith’s “\u003ca href=\"https://www.youtube.com/watch?v=8jzDnsjYv9A\" target=\"_blank\" rel=\"noopener noreferrer\">Writing’s on the Wall\u003c/a>,” Warren has settled into a pattern of writing or co-writing a given year’s fourth- or fifth-most-powerful Best Original Song nominee, year in and year out.\u003c/p>\n\u003cp>Though she didn’t write Celeste’s “Hear My Voice,” Warren has become one of the most dedicated and persistent practitioners of Glorycore, contributing “\u003ca href=\"https://www.youtube.com/watch?v=2GhY7qXGx-0\" target=\"_blank\" rel=\"noopener noreferrer\">Stand Up for Something\u003c/a>” (from \u003cem>Marshall\u003c/em>), “\u003ca href=\"https://www.youtube.com/watch?v=ho0aVZHQnNM\" target=\"_blank\" rel=\"noopener noreferrer\">I’ll Fight\u003c/a>” (from \u003cem>RBG\u003c/em>) and “\u003ca href=\"https://www.youtube.com/watch?v=s7CHl9cB-m8\" target=\"_blank\" rel=\"noopener noreferrer\">I’m Standing With You\u003c/a>” (from \u003cem>Breakthrough\u003c/em>) to the catalog of Oscars-approved anthems about loyalty and/or defiance. In “Io sì” (from the Italian drama \u003cem>The Life Ahead\u003c/em>), she at least mellows her approach a bit, writing in Italian about… well, a kind of defiant loyalty. Translated, the words Laura Pausini sings could have been written by an app programmed to get its user nominated for Best Original Song at the Academy Awards: “If you want me, I’m here / Nobody sees you, but I do.”\u003c/p>\n\u003cp>Still, though it’s not a heavy favorite to win, don’t be surprised if Warren finally ends her losing streak Sunday night. As a sentimental choice from a pool with no clear frontrunner, she’s got a significantly better chance than Celeste—or, say, anyone nominated for Best Actor against Chadwick Boseman.\u003c/p>\n\u003cp>\u003cstrong>3. “Speak Now,” \u003c/strong>\u003cstrong>\u003cem>One Night in Miami…\u003c/em>\u003c/strong>\u003cstrong>, performed by Leslie Odom Jr. (Sam Ashworth and Leslie Odom Jr., songwriters)\u003c/strong>\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/ZvnPEMW1jj8'\n title='//www.youtube.com/embed/ZvnPEMW1jj8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>On one hand, “Speak Now” doesn’t figure into the plot of \u003cem>One Night in Miami…\u003c/em>, Regina King’s excellent drama about an eventful evening in the lives of Sam Cooke, Malcolm X, Muhammad Ali and Jim Brown. Nor does it stretch the boundaries of Oscar-friendly songs about speaking, standing, rising and/or fighting. But it does tie into one of the central tensions of the film, in which Cooke (as played by Odom) wrestles with his responsibility to perform songs that address the moment and challenge white audiences.\u003c/p>\n\u003cp>The Tony- and Grammy-winning star of \u003cem>Hamilton\u003c/em>, Odom was also nominated for best supporting actor, and he’s deployed extremely well throughout King’s film: In both \u003cem>One Night in Miami…\u003c/em> and “Speak Now,” he’s not imitating Cooke so much as embodying the legend’s essence and letting his own talent make up the difference.\u003c/p>\n\u003cp>\u003cstrong>2. “Fight for You,” \u003c/strong>\u003cstrong>\u003cem>Judas and the Black Messiah\u003c/em>\u003c/strong>\u003cstrong>, performed by H.E.R. (D’Mile, H.E.R. and Tiara Thomas, songwriters)\u003c/strong>\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/Nu8TS2Vr6lo'\n title='//www.youtube.com/embed/Nu8TS2Vr6lo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>So if you’re keeping track, that’s a song about being heard, a song about being seen and \u003cem>another\u003c/em> song about being heard. At least H.E.R. is bringing a fight to the mix, right?\u003c/p>\n\u003cp>Unfortunately, we’re now 4-for-4 with best original song nominees whose placement in their respective movies begins riiiiiiiight as the credits begin to roll. Still, “Fight for You” has a brassy period quality to it that suits the sound and tone of \u003cem>Judas and the Black Messiah\u003c/em>; it feels like an extension of the film’s score and overall messaging. Even better, it raises the stakes from words to actions, complete with a call for revolution befitting the film’s subject matter.\u003c/p>\n\u003cp>If you’re attempting to navigate an Oscar pool, this feels like an unusually tricky category to call—a notion reflected in the \u003ca href=\"https://www.goldderby.com/odds/graph/oscars-2021-predictions/best-song/\" target=\"_blank\" rel=\"noopener noreferrer\">bunched-up Gold Derby standings\u003c/a>. After all, voters could be eager to help Warren break her dry spell, or get Leslie Odom Jr. one letter closer to his inevitable EGOT, or surrender to Netflix’s aggressive attempts to promote \u003cem>The Trial of the Chicago 7\u003c/em> at all costs. But “Fight for You” feels like as likely a bet as any: It’s timeless \u003cem>and\u003c/em> timely \u003cem>and\u003c/em> era-appropriate, in ways that help it transcend mere Glorycore award-grubbing. Plus, \u003ca href=\"https://www.grammy.com/grammys/artists/her/243298\" target=\"_blank\" rel=\"noopener noreferrer\">the Grammys love H.E.R.\u003c/a> Why wouldn’t the Oscars join them?\u003c/p>\n\u003cp>\u003cstrong>1. “Husavik,” \u003c/strong>\u003cstrong>\u003cem>Eurovision Song Contest: The Story of Fire Saga\u003c/em>\u003c/strong>\u003cstrong>, performed by Molly Sandén, Rachel McAdams and Will Ferrell (Rickard Göransson, Fat Max Gsus and Savan Kotecha, songwriters)\u003c/strong>\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/qjuphuG3ndw'\n title='//www.youtube.com/embed/qjuphuG3ndw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Eurovision Song Contest\u003c/em> is hardly what you’d consider Oscar bait: It’s a fun but scattershot send-up of a subject that’s already parodying itself, led by stars (Will Ferrell and Rachel McAdams) whose eternal gameness can’t overcome a laggy pace and iffy joke density. But the film succeeds in a crucial area: It largely gets the songs right, pushing the pageantry over the top while still generating material that would thrive on a real-life Eurovision stage.\u003c/p>\n\u003cp>Lyrically cheesy in a manner befitting its context in the film, the song is built on a soaring melody that ratchets up the orchestral grandeur and provides a strong showcase for both McAdams (in a quiet solo scene) and Swedish singer Molly Sandén, whose tremendous voice viewers hear when McAdams sings onstage. As a best original song nominee, “Husavik” checks all the boxes this category ought to be in the interest of checking: Where all four other nominated songs are tacked onto their films’ closing credits, “Husavik” resides at the center of \u003cem>Eurovision Song Contest\u003c/em>‘s climactic scene. It has to absolutely kill for the film’s finale to work, and it brings the house down.\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>Not saying it \u003cem>will\u003c/em> win, because it probably won’t. But it should.\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=The+2021+Oscars%27+Best+Original+Song+Nominees%2C+Cruelly+Ranked&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13896127/the-2021-oscars-best-original-song-nominees-cruelly-ranked",
"authors": [
"byline_arts_13896127"
],
"categories": [
"arts_1",
"arts_74",
"arts_69"
],
"tags": [
"arts_3701",
"arts_6187",
"arts_3698",
"arts_1771"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13896128",
"label": "arts_137"
},
"arts_13864717": {
"type": "posts",
"id": "arts_13864717",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13864717",
"score": null,
"sort": [
1567020739000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 140
},
"blocks": [],
"publishDate": 1567020739,
"format": "standard",
"title": "Fall Music Guide 2019: 10 Must-See Concerts in the Bay Area",
"headTitle": "Fall Music Guide 2019: 10 Must-See Concerts in the Bay Area | KQED",
"content": "\u003cp>As summer festival season comes to a close, this fall welcomes highly anticipated pop tours at the newly opened Chase Center, local music showcases, outdoor festivals and the last chance to watch Michael Tilson Thomas conduct the San Francisco Symphony before he retires from his post as music director.\u003c/p>\n\u003cp>To help you plan your calendar, we’ve rounded up 10 must-see shows in the Bay Area.\u003c/p>\n\u003cfigure id=\"attachment_13865172\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865172\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/GettyImages-965855278-1-800x450.jpg\" alt=\"KRS-One performs during the YO! MTV Raps 30th Anniversary Live Event at Barclays Center on June 1, 2018 in New York City. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-965855278-1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-965855278-1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-965855278-1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-965855278-1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-965855278-1-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-965855278-1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">KRS-One performs during the YO! MTV Raps 30th Anniversary Live Event at Barclays Center on June 1, 2018 in New York City. \u003ccite>(Nicholas Hunt/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>KRS-One\u003c/strong>\u003cbr>\n\u003cem>Sept. 8, Oct. 12–13\u003c/em>\u003cbr>\n\u003cem>Yoshi’s, Oakland; Cornerstone, Berkeley; Mystic Theater, Petaluma\u003c/em>\u003cbr>\n\u003cem>Details \u003ca href=\"https://www.yoshis.com/e/krsone-66619178757/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>, \u003ca href=\"https://www.cornerstoneberkeley.com/e/krs-one-w-dj-aspect-feat-scarub-of-living-legends-and-unlearn-the-world-67054252073/\" target=\"_blank\" rel=\"noopener\">here\u003c/a> and \u003ca href=\"https://www.eventbrite.com/e/krs-one-w-dj-aspect-feat-scarub-of-living-legends-and-unlearn-the-world-tickets-68016141109?aff=odwdwdspacecraft\" target=\"_blank\" rel=\"noopener\">here\u003c/a>\u003c/em>\u003c/p>\n\u003cp>KRS-One is a name synonymous with the origins of hip-hop. Not only did the Bronx MC perfect the style of rocking the mic in the late ’80s, but his politically outspoken lyrics continue to influence rappers across multiple generations. This September he performs in Oakland at the jazz club Yoshi’s, with additional dates in October at Berkeley’s Cornerstone, a former pool hall-turned-spacious concert venue, and Petaluma’s Mystic Theater, a renovated vaudeville theater from 1911.\u003c/p>\n\u003cfigure id=\"attachment_13809716\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13809716\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Michael-Tilson-Thomas-leads-the-San-Francisco-Symphony-in-a-performance-of-Symphonie-Fantastique-by-Berlioz-e1506467682565-800x450.jpg\" alt=\"Music Director Michael Tilson Thomas leads the San Francisco Symphony in a performance of 'Symphonie Fantastique' by Berlioz\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Michael-Tilson-Thomas-leads-the-San-Francisco-Symphony-in-a-performance-of-Symphonie-Fantastique-by-Berlioz-e1506467682565-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Michael-Tilson-Thomas-leads-the-San-Francisco-Symphony-in-a-performance-of-Symphonie-Fantastique-by-Berlioz-e1506467682565-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Michael-Tilson-Thomas-leads-the-San-Francisco-Symphony-in-a-performance-of-Symphonie-Fantastique-by-Berlioz-e1506467682565-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Michael-Tilson-Thomas-leads-the-San-Francisco-Symphony-in-a-performance-of-Symphonie-Fantastique-by-Berlioz-e1506467682565-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Michael-Tilson-Thomas-leads-the-San-Francisco-Symphony-in-a-performance-of-Symphonie-Fantastique-by-Berlioz-e1506467682565-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Michael-Tilson-Thomas-leads-the-San-Francisco-Symphony-in-a-performance-of-Symphonie-Fantastique-by-Berlioz-e1506467682565-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Michael-Tilson-Thomas-leads-the-San-Francisco-Symphony-in-a-performance-of-Symphonie-Fantastique-by-Berlioz-e1506467682565-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Michael-Tilson-Thomas-leads-the-San-Francisco-Symphony-in-a-performance-of-Symphonie-Fantastique-by-Berlioz-e1506467682565-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Michael-Tilson-Thomas-leads-the-San-Francisco-Symphony-in-a-performance-of-Symphonie-Fantastique-by-Berlioz-e1506467682565-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Michael-Tilson-Thomas-leads-the-San-Francisco-Symphony-in-a-performance-of-Symphonie-Fantastique-by-Berlioz-e1506467682565.jpg 1753w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Music Director Michael Tilson Thomas leads the San Francisco Symphony in a performance of ‘Symphonie Fantastique’ by Berlioz. \u003ccite>(Stefan Cohen/SF Symphony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>San Francisco Symphony: MTT & Mahler 6\u003c/strong>\u003cbr>\n\u003cem>Sept. 12–15\u003c/em>\u003cbr>\n\u003cem>Davis Symphony Hall, San Francisco\u003c/em>\u003cbr>\n\u003cem>\u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2019-20/MTT-Mahler-Mahler-6\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Fans of the San Francisco Symphony know that Michael Tilson Thomas’ most beloved composer is the modernist Gustav Mahler. Starting in 2001, MTT made Mahler a key focus of the Symphony’s repertoire, and their graceful, dynamic recordings of his works have earned them seven Grammy awards over the years. As MTT prepares to retire from SFS after a 25-year tenure, he conducts the orchestra for Mahler’s Symphony No. 6, an emotional rollercoaster that zig-zags through peril, tragedy, triumph and joy.\u003c/p>\n\u003cfigure id=\"attachment_13850489\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13850489\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/GettyImages-1097571910-800x450.jpg\" alt=\"H.E.R. performs onstage during the 61st Annual GRAMMY Awards at Staples Center on February 10, 2019 in Los Angeles, California.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/GettyImages-1097571910-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/GettyImages-1097571910-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/GettyImages-1097571910-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/GettyImages-1097571910-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/GettyImages-1097571910-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/GettyImages-1097571910-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/GettyImages-1097571910.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">H.E.R. performs onstage during the 61st Annual GRAMMY Awards at Staples Center on February 10, 2019 in Los Angeles, California. \u003ccite>(Kevin Winter/Getty Images for The Recording Academy))\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Lights On Festival\u003c/strong>\u003cbr>\n\u003cem>Sept. 14\u003c/em>\u003cbr>\n\u003cem>Concord Pavillion, Concord\u003c/em>\u003cbr>\n\u003cem>\u003ca href=\"http://www.concordamp.com/events/lights-on-festival/#.XWRNaJNKit8\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/em>\u003c/p>\n\u003cp>The antidote to ginormous music festivals that attempt to cater to every taste? Smaller, artist-curated affairs like Lights On, an R&B extravaganza with a lineup handpicked by headliner H.E.R. Known for emotionally intelligent lyricism and an old-school R&B sensibility, the Grammy-winning, Vallejo-raised singer tops the bill, which also includes Dreamville Records breakout star Ari Lennox, pop underdog Jhene Aiko and soulful singer-guitarist Daniel Ceasar. Bay Area up-and-comers Rayana Jay and Marc E. Bassey round out the bill.\u003c/p>\n\u003cfigure id=\"attachment_13832804\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13832804\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/janet-jackson-800x450.jpg\" alt=\"Honoree Janet Jackson performs onstage during the 2018 Billboard Music Awards at MGM Grand Garden Arena on May 20, 2018 in Las Vegas, Nevada.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/janet-jackson-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/janet-jackson-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/janet-jackson-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/janet-jackson-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/janet-jackson-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/janet-jackson.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/janet-jackson-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/janet-jackson-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/janet-jackson-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/janet-jackson-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/janet-jackson-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Honoree Janet Jackson performs onstage during the 2018 Billboard Music Awards at MGM Grand Garden Arena on May 20, 2018 in Las Vegas. \u003ccite>(Kevin Winter/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Janet Jackson\u003c/strong>\u003cbr>\n\u003cem>Sept. 21\u003c/em>\u003cbr>\n\u003cem>Chase Center, San Francisco\u003c/em>\u003cbr>\n\u003cem>\u003ca href=\"https://www.chasecenter.com/events/3S94zQi6ySxQOtFFnwmRfl\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/em>\u003c/p>\n\u003cp>As those who saw her \u003ca href=\"https://www.kqed.org/arts/13838820/jackson-monae-feminist-pop-sunday-outside-lands\" target=\"_blank\" rel=\"noopener\">headlining Outside Lands set\u003c/a> in 2018 can attest, Janet Jackson puts on one hell of a show. With hits spanning four decades, athletic choreography and a vulnerable stage presence, Jackson’s live set tells a story of self-empowerment. She’s made progressive pop speaking out against racism and misogyny since the ’80s, and with her recent induction into the Rock & Roll Hall of Fame and accolades like the Billboard Icon Award, the world is finally realizing how ahead of her time she’s been all these years.\u003c/p>\n\u003cfigure id=\"attachment_13865173\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865173\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/GettyImages-461864018-800x450.jpg\" alt=\"Bobby McFerrin performs during The Nearness Of You Benefit Concert at Frederick P. Rose Hall, Jazz at Lincoln Center on January 20, 2015 in New York City.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-461864018-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-461864018-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-461864018-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-461864018-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-461864018-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-461864018.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bobby McFerrin performs during The Nearness Of You Benefit Concert at Frederick P. Rose Hall, Jazz at Lincoln Center on January 20, 2015 in New York City. \u003ccite>(Ilya S. Savenok/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Bobby McFerrin\u003c/strong>\u003cbr>\n\u003cem>Sept. 19-22\u003c/em>\u003cbr>\n\u003cem>SFJAZZ Center, San Francisco\u003c/em>\u003cbr>\n\u003cem>\u003ca href=\"https://www.sfjazz.org/calendar/?month=9.2019&series=25206\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/em>\u003c/p>\n\u003cp>Those who only know Bobby McFerrin as the one-hit wonder behind “Don’t Worry Be Happy” may not realize that he’s a virtuoso vocal composer who’s just as comfortable beat-boxing as he is singing jazz and even opera. The 10-time Grammy winner comes to SFJAZZ for a series of concerts in September, and will return in April 2020 for the \u003ca href=\"https://www.kqed.org/arts/13857895/nea-jazz-masters-announced-tribute-concert-coming-to-san-francisco\" target=\"_blank\" rel=\"noopener\">National Endowment for the Arts Jazz Masters Fellowship\u003c/a> tribute concert, of which he is an honoree along with saxophone great Roscoe Mitchell.\u003c/p>\n\u003cfigure id=\"attachment_13865169\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865169\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/GettyImages-1164522226-800x520.jpg\" alt=\"J Balvin performs on stage at concert sponsored by Guess at Kucukciftlik Park on July 26, 2019 in Istanbul, Turkey.\" width=\"800\" height=\"520\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-1164522226-800x520.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-1164522226-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-1164522226-768x499.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-1164522226-1020x663.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-1164522226-1200x780.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-1164522226.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">J Balvin performs on stage at concert sponsored by Guess at Kucukciftlik Park on July 26, 2019 in Istanbul, Turkey. \u003ccite>(Ferhat Zupcevic/Getty Images for Guess)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>J Balvin\u003c/strong>\u003cbr>\n\u003cem>Oct. 17\u003c/em>\u003cbr>\n\u003cem>SAP Center, San Jose\u003c/em>\u003cbr>\n\u003cem>\u003ca href=\"http://www.sapcenter.com/events/detail/jbalvin\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/em>\u003c/p>\n\u003cp>A leader of the new generation of Latin American pop acts reigning the U.S. charts, Colombia’s J Balvin is set to turn San Jose’s SAP Center into one big dance party when he comes to town for his Arcoiris tour. With reggaeton and dancehall rhythms backing sleek pop production, his hip-winding tracks and collaborations with Cardi B, Sean Paul and Bad Bunny have earned him a devoted international audience.\u003c/p>\n\u003cfigure id=\"attachment_13840860\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840860\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0240-800x533.jpg\" alt=\"P-Lo plays Rolling Loud Bay Area in Oakland on Saturday, September 15, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0240.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0240-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0240-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0240-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0240-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0240-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">P-Lo plays Rolling Loud Bay Area in Oakland on Saturday, September 15, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>P-Lo\u003c/strong>\u003cbr>\n\u003cem>Oct. 31\u003c/em>\u003cbr>\n\u003cem>Fox Theatre, Oakland\u003c/em>\u003cbr>\n\u003cem>\u003ca href=\"http://thefoxoakland.com/events/p-lo\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/em>\u003c/p>\n\u003cp>At the illustrious Fox Theater, where all-time greats and Grammy winners hold court, P-Lo’s first headlining show is a triumph for the East Bay. Local fans have watched the Pinole artist put in years of work, first as a member of local rap crew HBK Gang, then as a producer for the likes of Yo Gotti and Wiz Khalifa, and later as a rapper in his own right. Celebrating his new, self-released album \u003cem>Shine\u003c/em>, P-Lo brings his post-hyphy slaps on tour to the Fox’s ornate art deco halls.\u003c/p>\n\u003cfigure id=\"attachment_13865174\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865174\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/GettyImages-1166853509-800x450.jpg\" alt='Terra Lopez speaks onstage at the \"Emerging Artists: We See You\" panel during the Billboard And The Hollywood Reporter Pride Summit on August 08, 2019 in West Hollywood, California. ' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-1166853509-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-1166853509-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-1166853509-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-1166853509-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-1166853509-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-1166853509.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Terra Lopez speaks onstage at the “Emerging Artists: We See You” panel during the Billboard And The Hollywood Reporter Pride Summit on August 08, 2019 in West Hollywood, California. \u003ccite>(Andrew Toth/Getty Images for Billboard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Rituals of Mine, The Seshen\u003c/strong>\u003cbr>\nOct. 13\u003cbr>\nThe New Parish, Oakland\u003cbr>\n\u003ca href=\"https://www.thenewparish.com/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/p>\n\u003cp>Since leaving Oakland for the next phase of her music career in Los Angeles, Rituals of Mine’s Terra Lopez founded Bitchwave Records, which spotlights LGBTQ+ people of color, and made headlines with a touring audio art installation that put men on the receiving end of catcalls. With music partner Adam Pierce, she returns to the New Parish for a headlining set of dark, downtempo electronic pop. Local favorite the Seshen opens with a set of kaleidoscopic neo-soul. Both bands have been on the forefront of the Bay Area’s indie pop scene for years, and the show is bound to feel like a warm reunion of old friends.\u003c/p>\n\u003cfigure id=\"attachment_13865170\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865170\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/GettyImages-821089402-800x450.jpg\" alt=\"Doug Martsch of Built to Spill performs onstage during day 2 of FYF Fest 2017 at Exposition Park on July 22, 2017 in Los Angeles, California.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-821089402-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-821089402-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-821089402-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-821089402-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-821089402-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-821089402.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Doug Martsch of Built to Spill performs onstage during day 2 of FYF Fest 2017 at Exposition Park on July 22, 2017 in Los Angeles, California. \u003ccite>(Timothy Norris/Getty Images for FYF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Built to Spill\u003c/strong>\u003cbr>\nNov. 5–6, Nov. 23\u003cbr>\nThe Fillmore, San Francisco and Gundlach Bundschu Winery, Sonoma\u003cbr>\n\u003ca href=\"https://www.eventbrite.com/e/built-to-spill-gundlach-bundschu-winery-sonoma-november-23-2019-tickets-58804904051?aff=ebdshpsearchautocomplete\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/p>\n\u003cp>Pioneering indie rockers Built to Spill emerged from the Northwest’s DIY scene in the early ’90s and quickly rose to major label success. Combining a slackerish charm with serious guitar chops, the band builds pop songs out into elaborate jam sessions; it’s no wonder many consider founding member Doug Martsch a modern-day guitar hero. Built to Spill returns to San Francisco to headline the Fillmore for two nights. If you’d rather see them in a more idyllic, outdoor setting, they play the Gundlach Bundschu Winery in Sonoma in November.\u003c/p>\n\u003cfigure id=\"attachment_13865171\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865171\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/GettyImages-79204042-800x450.jpg\" alt=\"Joanna Newsom performs on stage at the Sydney Opera House as part of the 2008 Sydney Festival on January 25, 2008 in Sydney, Australia. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-79204042-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-79204042-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-79204042-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-79204042-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-79204042-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-79204042.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Joanna Newsom performs on stage at the Sydney Opera House as part of the 2008 Sydney Festival on January 25, 2008 in Sydney, Australia. \u003ccite>(Mike Flokis/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Joanna Newsom\u003c/strong>\u003cbr>\nNov. 25–26\u003cbr>\nHerbst Theatre, San Francisco\u003cbr>\n\u003ca href=\"https://www.cityboxoffice.com/eventperformances.asp?evt=2595\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Joanna Newsom came up during the freak-folk wave of the mid 2000s, and her stellar musicianship and enigmatic, elfin voice quickly elevated her to some of the world’s most prestigious concert halls. Within the marble walls of the Herbst Theatre, which typically hosts classical performances, Newsom offers a highly anticipated performance that will be stripped down to three key elements: harp, piano and voice.\u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 1386,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 24
},
"modified": 1705022244,
"excerpt": "Pop stars, local music showcases, outdoor hip-hop festivals and more fill the Bay Area concert calendar this fall.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "Pop stars, local music showcases, outdoor hip-hop festivals and more fill the Bay Area concert calendar this fall.",
"title": "Fall Music Guide 2019: 10 Must-See Concerts in the Bay Area | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Fall Music Guide 2019: 10 Must-See Concerts in the Bay Area",
"datePublished": "2019-08-28T12:32:19-07:00",
"dateModified": "2024-01-11T17:17:24-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "fall-music-guide-2019-10-festivals-concerts-shows-in-the-bay-area",
"status": "publish",
"templateType": "standard",
"featuredImageType": "standard",
"sticky": false,
"path": "/arts/13864717/fall-music-guide-2019-10-festivals-concerts-shows-in-the-bay-area",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As summer festival season comes to a close, this fall welcomes highly anticipated pop tours at the newly opened Chase Center, local music showcases, outdoor festivals and the last chance to watch Michael Tilson Thomas conduct the San Francisco Symphony before he retires from his post as music director.\u003c/p>\n\u003cp>To help you plan your calendar, we’ve rounded up 10 must-see shows in the Bay Area.\u003c/p>\n\u003cfigure id=\"attachment_13865172\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865172\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/GettyImages-965855278-1-800x450.jpg\" alt=\"KRS-One performs during the YO! MTV Raps 30th Anniversary Live Event at Barclays Center on June 1, 2018 in New York City. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-965855278-1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-965855278-1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-965855278-1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-965855278-1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-965855278-1-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-965855278-1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">KRS-One performs during the YO! MTV Raps 30th Anniversary Live Event at Barclays Center on June 1, 2018 in New York City. \u003ccite>(Nicholas Hunt/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>KRS-One\u003c/strong>\u003cbr>\n\u003cem>Sept. 8, Oct. 12–13\u003c/em>\u003cbr>\n\u003cem>Yoshi’s, Oakland; Cornerstone, Berkeley; Mystic Theater, Petaluma\u003c/em>\u003cbr>\n\u003cem>Details \u003ca href=\"https://www.yoshis.com/e/krsone-66619178757/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>, \u003ca href=\"https://www.cornerstoneberkeley.com/e/krs-one-w-dj-aspect-feat-scarub-of-living-legends-and-unlearn-the-world-67054252073/\" target=\"_blank\" rel=\"noopener\">here\u003c/a> and \u003ca href=\"https://www.eventbrite.com/e/krs-one-w-dj-aspect-feat-scarub-of-living-legends-and-unlearn-the-world-tickets-68016141109?aff=odwdwdspacecraft\" target=\"_blank\" rel=\"noopener\">here\u003c/a>\u003c/em>\u003c/p>\n\u003cp>KRS-One is a name synonymous with the origins of hip-hop. Not only did the Bronx MC perfect the style of rocking the mic in the late ’80s, but his politically outspoken lyrics continue to influence rappers across multiple generations. This September he performs in Oakland at the jazz club Yoshi’s, with additional dates in October at Berkeley’s Cornerstone, a former pool hall-turned-spacious concert venue, and Petaluma’s Mystic Theater, a renovated vaudeville theater from 1911.\u003c/p>\n\u003cfigure id=\"attachment_13809716\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13809716\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Michael-Tilson-Thomas-leads-the-San-Francisco-Symphony-in-a-performance-of-Symphonie-Fantastique-by-Berlioz-e1506467682565-800x450.jpg\" alt=\"Music Director Michael Tilson Thomas leads the San Francisco Symphony in a performance of 'Symphonie Fantastique' by Berlioz\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Michael-Tilson-Thomas-leads-the-San-Francisco-Symphony-in-a-performance-of-Symphonie-Fantastique-by-Berlioz-e1506467682565-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Michael-Tilson-Thomas-leads-the-San-Francisco-Symphony-in-a-performance-of-Symphonie-Fantastique-by-Berlioz-e1506467682565-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Michael-Tilson-Thomas-leads-the-San-Francisco-Symphony-in-a-performance-of-Symphonie-Fantastique-by-Berlioz-e1506467682565-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Michael-Tilson-Thomas-leads-the-San-Francisco-Symphony-in-a-performance-of-Symphonie-Fantastique-by-Berlioz-e1506467682565-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Michael-Tilson-Thomas-leads-the-San-Francisco-Symphony-in-a-performance-of-Symphonie-Fantastique-by-Berlioz-e1506467682565-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Michael-Tilson-Thomas-leads-the-San-Francisco-Symphony-in-a-performance-of-Symphonie-Fantastique-by-Berlioz-e1506467682565-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Michael-Tilson-Thomas-leads-the-San-Francisco-Symphony-in-a-performance-of-Symphonie-Fantastique-by-Berlioz-e1506467682565-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Michael-Tilson-Thomas-leads-the-San-Francisco-Symphony-in-a-performance-of-Symphonie-Fantastique-by-Berlioz-e1506467682565-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Michael-Tilson-Thomas-leads-the-San-Francisco-Symphony-in-a-performance-of-Symphonie-Fantastique-by-Berlioz-e1506467682565-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Michael-Tilson-Thomas-leads-the-San-Francisco-Symphony-in-a-performance-of-Symphonie-Fantastique-by-Berlioz-e1506467682565.jpg 1753w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Music Director Michael Tilson Thomas leads the San Francisco Symphony in a performance of ‘Symphonie Fantastique’ by Berlioz. \u003ccite>(Stefan Cohen/SF Symphony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>San Francisco Symphony: MTT & Mahler 6\u003c/strong>\u003cbr>\n\u003cem>Sept. 12–15\u003c/em>\u003cbr>\n\u003cem>Davis Symphony Hall, San Francisco\u003c/em>\u003cbr>\n\u003cem>\u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2019-20/MTT-Mahler-Mahler-6\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Fans of the San Francisco Symphony know that Michael Tilson Thomas’ most beloved composer is the modernist Gustav Mahler. Starting in 2001, MTT made Mahler a key focus of the Symphony’s repertoire, and their graceful, dynamic recordings of his works have earned them seven Grammy awards over the years. As MTT prepares to retire from SFS after a 25-year tenure, he conducts the orchestra for Mahler’s Symphony No. 6, an emotional rollercoaster that zig-zags through peril, tragedy, triumph and joy.\u003c/p>\n\u003cfigure id=\"attachment_13850489\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13850489\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/GettyImages-1097571910-800x450.jpg\" alt=\"H.E.R. performs onstage during the 61st Annual GRAMMY Awards at Staples Center on February 10, 2019 in Los Angeles, California.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/GettyImages-1097571910-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/GettyImages-1097571910-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/GettyImages-1097571910-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/GettyImages-1097571910-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/GettyImages-1097571910-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/GettyImages-1097571910-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/GettyImages-1097571910.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">H.E.R. performs onstage during the 61st Annual GRAMMY Awards at Staples Center on February 10, 2019 in Los Angeles, California. \u003ccite>(Kevin Winter/Getty Images for The Recording Academy))\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Lights On Festival\u003c/strong>\u003cbr>\n\u003cem>Sept. 14\u003c/em>\u003cbr>\n\u003cem>Concord Pavillion, Concord\u003c/em>\u003cbr>\n\u003cem>\u003ca href=\"http://www.concordamp.com/events/lights-on-festival/#.XWRNaJNKit8\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/em>\u003c/p>\n\u003cp>The antidote to ginormous music festivals that attempt to cater to every taste? Smaller, artist-curated affairs like Lights On, an R&B extravaganza with a lineup handpicked by headliner H.E.R. Known for emotionally intelligent lyricism and an old-school R&B sensibility, the Grammy-winning, Vallejo-raised singer tops the bill, which also includes Dreamville Records breakout star Ari Lennox, pop underdog Jhene Aiko and soulful singer-guitarist Daniel Ceasar. Bay Area up-and-comers Rayana Jay and Marc E. Bassey round out the bill.\u003c/p>\n\u003cfigure id=\"attachment_13832804\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13832804\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/janet-jackson-800x450.jpg\" alt=\"Honoree Janet Jackson performs onstage during the 2018 Billboard Music Awards at MGM Grand Garden Arena on May 20, 2018 in Las Vegas, Nevada.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/janet-jackson-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/janet-jackson-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/janet-jackson-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/janet-jackson-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/janet-jackson-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/janet-jackson.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/janet-jackson-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/janet-jackson-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/janet-jackson-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/janet-jackson-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/janet-jackson-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Honoree Janet Jackson performs onstage during the 2018 Billboard Music Awards at MGM Grand Garden Arena on May 20, 2018 in Las Vegas. \u003ccite>(Kevin Winter/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Janet Jackson\u003c/strong>\u003cbr>\n\u003cem>Sept. 21\u003c/em>\u003cbr>\n\u003cem>Chase Center, San Francisco\u003c/em>\u003cbr>\n\u003cem>\u003ca href=\"https://www.chasecenter.com/events/3S94zQi6ySxQOtFFnwmRfl\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/em>\u003c/p>\n\u003cp>As those who saw her \u003ca href=\"https://www.kqed.org/arts/13838820/jackson-monae-feminist-pop-sunday-outside-lands\" target=\"_blank\" rel=\"noopener\">headlining Outside Lands set\u003c/a> in 2018 can attest, Janet Jackson puts on one hell of a show. With hits spanning four decades, athletic choreography and a vulnerable stage presence, Jackson’s live set tells a story of self-empowerment. She’s made progressive pop speaking out against racism and misogyny since the ’80s, and with her recent induction into the Rock & Roll Hall of Fame and accolades like the Billboard Icon Award, the world is finally realizing how ahead of her time she’s been all these years.\u003c/p>\n\u003cfigure id=\"attachment_13865173\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865173\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/GettyImages-461864018-800x450.jpg\" alt=\"Bobby McFerrin performs during The Nearness Of You Benefit Concert at Frederick P. Rose Hall, Jazz at Lincoln Center on January 20, 2015 in New York City.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-461864018-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-461864018-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-461864018-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-461864018-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-461864018-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-461864018.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bobby McFerrin performs during The Nearness Of You Benefit Concert at Frederick P. Rose Hall, Jazz at Lincoln Center on January 20, 2015 in New York City. \u003ccite>(Ilya S. Savenok/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Bobby McFerrin\u003c/strong>\u003cbr>\n\u003cem>Sept. 19-22\u003c/em>\u003cbr>\n\u003cem>SFJAZZ Center, San Francisco\u003c/em>\u003cbr>\n\u003cem>\u003ca href=\"https://www.sfjazz.org/calendar/?month=9.2019&series=25206\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/em>\u003c/p>\n\u003cp>Those who only know Bobby McFerrin as the one-hit wonder behind “Don’t Worry Be Happy” may not realize that he’s a virtuoso vocal composer who’s just as comfortable beat-boxing as he is singing jazz and even opera. The 10-time Grammy winner comes to SFJAZZ for a series of concerts in September, and will return in April 2020 for the \u003ca href=\"https://www.kqed.org/arts/13857895/nea-jazz-masters-announced-tribute-concert-coming-to-san-francisco\" target=\"_blank\" rel=\"noopener\">National Endowment for the Arts Jazz Masters Fellowship\u003c/a> tribute concert, of which he is an honoree along with saxophone great Roscoe Mitchell.\u003c/p>\n\u003cfigure id=\"attachment_13865169\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865169\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/GettyImages-1164522226-800x520.jpg\" alt=\"J Balvin performs on stage at concert sponsored by Guess at Kucukciftlik Park on July 26, 2019 in Istanbul, Turkey.\" width=\"800\" height=\"520\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-1164522226-800x520.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-1164522226-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-1164522226-768x499.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-1164522226-1020x663.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-1164522226-1200x780.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-1164522226.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">J Balvin performs on stage at concert sponsored by Guess at Kucukciftlik Park on July 26, 2019 in Istanbul, Turkey. \u003ccite>(Ferhat Zupcevic/Getty Images for Guess)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>J Balvin\u003c/strong>\u003cbr>\n\u003cem>Oct. 17\u003c/em>\u003cbr>\n\u003cem>SAP Center, San Jose\u003c/em>\u003cbr>\n\u003cem>\u003ca href=\"http://www.sapcenter.com/events/detail/jbalvin\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/em>\u003c/p>\n\u003cp>A leader of the new generation of Latin American pop acts reigning the U.S. charts, Colombia’s J Balvin is set to turn San Jose’s SAP Center into one big dance party when he comes to town for his Arcoiris tour. With reggaeton and dancehall rhythms backing sleek pop production, his hip-winding tracks and collaborations with Cardi B, Sean Paul and Bad Bunny have earned him a devoted international audience.\u003c/p>\n\u003cfigure id=\"attachment_13840860\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840860\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_0240-800x533.jpg\" alt=\"P-Lo plays Rolling Loud Bay Area in Oakland on Saturday, September 15, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0240.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0240-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0240-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0240-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0240-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_0240-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">P-Lo plays Rolling Loud Bay Area in Oakland on Saturday, September 15, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>P-Lo\u003c/strong>\u003cbr>\n\u003cem>Oct. 31\u003c/em>\u003cbr>\n\u003cem>Fox Theatre, Oakland\u003c/em>\u003cbr>\n\u003cem>\u003ca href=\"http://thefoxoakland.com/events/p-lo\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/em>\u003c/p>\n\u003cp>At the illustrious Fox Theater, where all-time greats and Grammy winners hold court, P-Lo’s first headlining show is a triumph for the East Bay. Local fans have watched the Pinole artist put in years of work, first as a member of local rap crew HBK Gang, then as a producer for the likes of Yo Gotti and Wiz Khalifa, and later as a rapper in his own right. Celebrating his new, self-released album \u003cem>Shine\u003c/em>, P-Lo brings his post-hyphy slaps on tour to the Fox’s ornate art deco halls.\u003c/p>\n\u003cfigure id=\"attachment_13865174\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865174\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/GettyImages-1166853509-800x450.jpg\" alt='Terra Lopez speaks onstage at the \"Emerging Artists: We See You\" panel during the Billboard And The Hollywood Reporter Pride Summit on August 08, 2019 in West Hollywood, California. ' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-1166853509-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-1166853509-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-1166853509-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-1166853509-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-1166853509-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-1166853509.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Terra Lopez speaks onstage at the “Emerging Artists: We See You” panel during the Billboard And The Hollywood Reporter Pride Summit on August 08, 2019 in West Hollywood, California. \u003ccite>(Andrew Toth/Getty Images for Billboard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Rituals of Mine, The Seshen\u003c/strong>\u003cbr>\nOct. 13\u003cbr>\nThe New Parish, Oakland\u003cbr>\n\u003ca href=\"https://www.thenewparish.com/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/p>\n\u003cp>Since leaving Oakland for the next phase of her music career in Los Angeles, Rituals of Mine’s Terra Lopez founded Bitchwave Records, which spotlights LGBTQ+ people of color, and made headlines with a touring audio art installation that put men on the receiving end of catcalls. With music partner Adam Pierce, she returns to the New Parish for a headlining set of dark, downtempo electronic pop. Local favorite the Seshen opens with a set of kaleidoscopic neo-soul. Both bands have been on the forefront of the Bay Area’s indie pop scene for years, and the show is bound to feel like a warm reunion of old friends.\u003c/p>\n\u003cfigure id=\"attachment_13865170\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865170\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/GettyImages-821089402-800x450.jpg\" alt=\"Doug Martsch of Built to Spill performs onstage during day 2 of FYF Fest 2017 at Exposition Park on July 22, 2017 in Los Angeles, California.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-821089402-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-821089402-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-821089402-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-821089402-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-821089402-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-821089402.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Doug Martsch of Built to Spill performs onstage during day 2 of FYF Fest 2017 at Exposition Park on July 22, 2017 in Los Angeles, California. \u003ccite>(Timothy Norris/Getty Images for FYF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Built to Spill\u003c/strong>\u003cbr>\nNov. 5–6, Nov. 23\u003cbr>\nThe Fillmore, San Francisco and Gundlach Bundschu Winery, Sonoma\u003cbr>\n\u003ca href=\"https://www.eventbrite.com/e/built-to-spill-gundlach-bundschu-winery-sonoma-november-23-2019-tickets-58804904051?aff=ebdshpsearchautocomplete\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/p>\n\u003cp>Pioneering indie rockers Built to Spill emerged from the Northwest’s DIY scene in the early ’90s and quickly rose to major label success. Combining a slackerish charm with serious guitar chops, the band builds pop songs out into elaborate jam sessions; it’s no wonder many consider founding member Doug Martsch a modern-day guitar hero. Built to Spill returns to San Francisco to headline the Fillmore for two nights. If you’d rather see them in a more idyllic, outdoor setting, they play the Gundlach Bundschu Winery in Sonoma in November.\u003c/p>\n\u003cfigure id=\"attachment_13865171\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865171\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/GettyImages-79204042-800x450.jpg\" alt=\"Joanna Newsom performs on stage at the Sydney Opera House as part of the 2008 Sydney Festival on January 25, 2008 in Sydney, Australia. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-79204042-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-79204042-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-79204042-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-79204042-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-79204042-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/GettyImages-79204042.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Joanna Newsom performs on stage at the Sydney Opera House as part of the 2008 Sydney Festival on January 25, 2008 in Sydney, Australia. \u003ccite>(Mike Flokis/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Joanna Newsom\u003c/strong>\u003cbr>\nNov. 25–26\u003cbr>\nHerbst Theatre, San Francisco\u003cbr>\n\u003ca href=\"https://www.cityboxoffice.com/eventperformances.asp?evt=2595\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\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>Joanna Newsom came up during the freak-folk wave of the mid 2000s, and her stellar musicianship and enigmatic, elfin voice quickly elevated her to some of the world’s most prestigious concert halls. Within the marble walls of the Herbst Theatre, which typically hosts classical performances, Newsom offers a highly anticipated performance that will be stripped down to three key elements: harp, piano and voice.\u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13864717/fall-music-guide-2019-10-festivals-concerts-shows-in-the-bay-area",
"authors": [
"11387"
],
"programs": [
"arts_140"
],
"categories": [
"arts_69"
],
"tags": [
"arts_1118",
"arts_1006",
"arts_6187",
"arts_4417",
"arts_1420",
"arts_2519",
"arts_1694",
"arts_1367",
"arts_1334"
],
"featImg": "arts_13865178",
"label": "arts_140"
},
"arts_13850496": {
"type": "posts",
"id": "arts_13850496",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13850496",
"score": null,
"sort": [
1549860943000
]
},
"parent": 0,
"labelTerm": {
"site": "arts",
"term": 137
},
"blocks": [],
"publishDate": 1549860943,
"format": "image",
"title": "A Complete Play-by-Play of the 2019 Grammy Awards",
"headTitle": "A Complete Play-by-Play of the 2019 Grammy Awards | KQED",
"content": "\u003cp>\u003cem>This is NPR Music’s live blog of the 2019 Grammy Awards. The telecast of the awards show is scheduled to run from 5:00 until 9:00 p.m. PST. We’ll be here the whole time, updating this post with every award or performance.\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>[contextly_sidebar id=”NOsRsKhC4dv9SK8p8eDhnDdOqxRkohH3″]\u003c/p>\n\u003cp>\u003cstrong>8:44 p.m. \u003c/strong>And, in the night’s final moments, Kacey Musgraves wins the night’s top honor, Album of the Year — her fourth trophy of the evening — for \u003cem>Golden Hour\u003c/em>. There was some speculation that Brandi Carlile’s nomination for album \u003cem>By The Way, I Forgive\u003c/em> \u003cem>You\u003c/em> might cause a vote split between the two roots-rooted artists, but Musgraves’ idiosyncratic work seems to have elevated her above some formidable competition, including the Kendrick Lamar-curated \u003cem>Black Panther: The Album,\u003c/em>Janelle Monáe’s visionary \u003cem>Dirty Computer\u003c/em> and Cardi B’s breakout \u003cem>Invasion of Privacy\u003c/em>. Musgraves seems more shocked than anyone. —\u003cem>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>8:42 p.m. \u003c/strong>It’s beginning to sink in just how shocked America still is by Childish Gambino’s “This Is America” — because he’s swept three categories, including one of the night’s biggest prizes in Record of the Year, in what really is a surprise to me. His producer Ludwig Gorannson accepts on his behalf, saying the song “calls out injustice, celebrates life and reunites us all at the same time.” Then, in the spirit of the song, he shouts out the name of one of the many contributors, 21 Savage, who remains under dentention at the hands of ICE since his arrest one week ago in Atlanta. “You should be here tonight,” Gorannson says in reference to 21. It’s just a reminder that everything at the heart of that song is and remains the state of America.\u003c/p>\n\u003cp>Goransson, himself a big winner tonight, won Grammys in association with “This Is America” as well as his score for \u003cem>Black Panther\u003c/em>. \u003cem>–Rodney Carmichael\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>8:35 p.m. \u003c/strong>For a lot of folks in music, 2018 was the Year of Aretha. So it’s no surprise that three singers — Yolanda Adams, Fantasia, and Andra Day — are paying tribute to her on the Grammy telecast. (Both Adams and Fantasia sang at Franklin’s extraordinary homegoing service in Detroit in August.) Singing “Natural Woman,” the three are stadning on a small platform away from the main stage as images of Franklin flash by. How is this so much smaller, and lesser, than Diana Ross’ birthday bash? \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Anastasia Tsioulcas\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>8:32 p.m. \u003c/strong>Among those remembered during this year’s In Memoriam tribute: James Ingram, Roy Clark, Nancy Wilson, Charles Aznavour, Vic Damone, Carol Channing, Joe Jackson, James Wright, Gary Burden, Avicii, Ed King, John Perry Barlow, Tony Joe White, Mac Miller, Roy Hargrove, Cecil Taylor, Bill Watrous, Geoff Emerick, Yvonne Staples, Randy Scruggs, Roger Clark, Charles Neville and — of course — Aretha Franklin. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>8:29 p.m. \u003c/strong>Neil Portnow, in his comments as outgoing president & CEO of the Recording Academy (formerly known as NARAS, or the National Academy of Recording Arts & Sciences), makes a big point of saluting women and that he’s learned from this past year. He announces that he will be leaving the organization this July, when his contract expires. He’s been leading the Academy since 2002. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Anastasia Tsioulcas\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>8:24 p.m. \u003c/strong>Best New Artist was a crowded field this year — literally. It’s one of the awards that was widened from five to eight nominees… and the majority of them were female this year. Dua Lipa, who, in a Grammy telecast tradition of sorts, has just stepped off from performing “Masseduction” with St. Vincent, almost starts off her speech by saying, “I guess this year, we’ve really stepped up,” in reference to Neil Portnow’s infamous comments a year ago. She also makes a point of referencing \u003ca href=\"https://www.npr.org/2016/08/31/491948179/dua-lipa-wants-to-break-america\">her personal background\u003c/a> as the England-born daughter of immigrants from Kosovo. But she’s cut off before she can finish her comments. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Anastasia Tsioulcas\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>8:16 p.m. \u003c/strong>Dua Lipa and St. Vincent, introduced by Wilmer Valderrama for some reason, delivered a “hashtag-Grammy-moment” with a mashup of St. Vincent’s song “Masseduction” (for which she won Best Rock Song and, less excitingly, Best Recording Package her album of the same name) and Dua Lipa’s single “One Kiss” — a performance that was entirely dominated by St. Vincent, her innate intensity and guitar virtuosity. Hard to blame the onstage cameraman for momentarily losing his balance for a second there. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>8:12 p.m. \u003c/strong>Well, after a lot of rap wrongs, the Grammy’s got this one right at least. Cardi’s win for Rap Album of the Year comes in a category stacked solid with men as her competition. Her acceptance speech is really highlighting the sacrifices she had to make as a woman who became a mother-to-be at the same time that the spotlight and industry pressure were on her to follow up her No. 1 hit “Bodak Yellow” with an album. That she came through with \u003cem>Invasion of Privacy,\u003c/em> a well-crafted album that maximizes everything fans love about Cardi without turning her into a caricature, is a real breakthrough. She became a serious artist with this album. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Rodney Carmichael\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>8:10 p.m. \u003c/strong>“Babe, I can’t breathe,” Cardi B said to husband Offset — who she \u003ca href=\"https://people.com/music/grammys-2019-cardi-b-offset-red-carpet-tongue-photos/\">tongued\u003c/a> on the red carpet earlier — as she was accepting the award for Best Rap Album. It was a rare example of the quickly risen star failing to find words. (You can find some deep background on Cardi’s fast success \u003ca href=\"https://www.npr.org/sections/therecord/2018/04/05/599592959/the-business-of-being-cardi-b\">right here\u003c/a>.) \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>8:02 p.m. \u003c/strong>A lot more people will be talking about Chloe x Halle — the sister duo signed by Beyonce — after this performance of Donny Hathaway’s “Where Is The Love.” And deservedly so. \u003cspan class=\"ILfuVd\">—\u003c/span>\u003cem>Rodney Carmichael\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>7:54 p.m. \u003c/strong>Brandi Carlile \u003ca href=\"https://www.npr.org/2018/02/14/582454085/brandi-carlile-on-practicing-forgiveness-even-when-its-hard\">does what she does\u003c/a>, which is absolutely slay songs that are inspirational and heartfelt, tiptoeing right up to the edge of maudlin. If you hadn’t been keeping track of the pre-telecast winners, you might not know that Carlile’s already having a big night, with three awards in the roots and Americana categories for “The Joke,” the song she played with her longtime collaborators Tim and Phil Hanseroth, and the album it comes from, \u003cem>By the Way, I Forgive You. \u003c/em>She has a shot at two more tonight, and they’re both big ones: Record and Album of the Year. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Jacob Ganz\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>7:49 p.m. \u003c/strong>Best R&B Album goes to H.E.R. for her self-titled album — her song “Best Part,” featuring Daniel Caesar, also won Best R&B Performance earlier tonight. H.E.R., born Gabi Wilson, told the audience that she’s been signed since she was 14 years old — which would have been in 2011. Feel old yet? (By the way that was BTS, the biggest K-pop group in the world, who presented her the award. They reached the top 10 of the Hot 100 for the first time last year — something H.E.R. has yet to do.)\u003cspan class=\"ILfuVd\">—\u003c/span>\u003cem>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>7:40 p.m. \u003c/strong>The Recording Academy would very much like the public to know that they’re staging a Motown tribute in April. A very sweet little moment — in which Alicia Keys duets with Smokey Robinson — turns into a strange, jukebox-musical traversal of Motown’s many eras, featuring an entertainer whom I’ve *never* associated with Detroit: Jennifer Lopez, who courses through at least three outfits. And then Jenny from the block performs some impressively acrobatic salsa to the strains of Ne-Yo. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Anastasia Tsioulcas\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>7:32 p.m. \u003c/strong>Travis Scott opens his performance — the ONLY main hip-hop performance of the night — with James Blake and Earth Wind & Fire members, before transitioning into the Grammys’ awkward attempt at the MTV Awards. Scott performs “No Bystanders” in a cage before surfing a seemingly hired crowd. After seeing that and Drake’s acceptance speech, I’d love to see what an overcorrection on hip-hop would look like from the Grammy’s next year. (Interesting to note that Scott was also one of the performers at last weekend’s Super Bowl, amid a lot of controversy and a lot of rap acts declining the invitation. He played the exact same role under the exact same circumstances tonight.) \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Rodney Carmichael\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>7:19 p.m. \u003c/strong>Lady Gaga brought to “Shallow” a ’90s alterna-rock interpretation, complete with Alice-In-Chains-ian acoustic guitar tone. She perhaps oversold her energy during the opener, before the song arrived at its Oscar-worthy anthemic energy. It’s a strange sort of meta-cultural exercise to see Lady Gaga, an actual pop star, bringing such energy to the performance of a song that was written for her portrayal of a fake pop star within a movie about the vagaries and pitfalls of… pop stardom. Regardless, the song won for best song written for visual media and Best Pop Duo/Group performance earlier tonight. She also picked up a prize for Best Pop Solo Performance for “Joanne (Where Do You Think You’re Going).” \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>7:12 p.m. \u003c/strong>While we’re enjoying Gaga’s Cooperless performance of “Shallow,” I’ll direct anyone who might have been confused by Diana Ross exclaiming “Happy Birthday to me!” at the end of her set to the Twitter feed of NPR Music’s pop critic Ann Powers (watching the show even though she’s on leave), \u003ca href=\"https://twitter.com/annkpowers/status/1094795066940493830\">who notes\u003c/a> that occasion won’t actually occur until March 26. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Jacob Ganz\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>7:04 p.m. \u003c/strong>Alicia Keys introduces Diana Ross ahead of her 75th birthday celebration in March, with a string that includes 42 No. 1 songs, paired with Ross’ 9-year-old grandson, Raif-Henok. (His appearance feels like that of a young princeling being introduced to society.) Ross — wearing blazing red tulle — belts out “The Best Years of My Life.” While the voice is a bit ragged, there’s no denying her queenliness. She then invites the crowd to “move the energy in the room” while she runs through “Reach Out And Touch (Somebody’s Hand).” Before crowing, “Happy birthday to me!” \u003cspan class=\"ILfuVd\">—\u003c/span>\u003cem>Anastasia Tsioulcas\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>6:54 p.m. \u003c/strong>Drake wins Best Rap Song for “God’s Plan,” and surprises everybody by actually being in attendance “I definitely did not think I was winning anything,” Drake says before giving a speech that speaks directly to the huge disconnect between institutions like the Grammys and hip-hop artists like Travis Scott, Cardi B and others, whom he references during his acceptance. It’s a speech that the Recording Academy and many watching at home needed to hear, but apparently the Academy didn’t want to. They cut Drake off without even the benefit of playing wrap-it-up music, after he said, “You don’t need this,” speaking to his peers and striving musicians. It was a direct reference to the trophy he was holding in his hand, one he said he was surprised to collect — which is surprising in itself considering Drake’s outsized success. That might have stung the Grammys, the the move to end the speech will be read like more disrespect in the historic gulf between The Grammys and The Culture. That speech, and the Grammys allowing him to have his say in full, might have gone a long way in righting some historic wrongs. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Rodney Carmichael\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>6:50 p.m. \u003c/strong>You might not be familiar with rising country-pop duo Dan + Shay, who just performed their highest-charting single, “Tequila,” for which they won the best country duo/group performance award tonight. Beginning as Nashville songwriters, the pair released their first album, \u003cem>Where It All Began\u003c/em>, in 2014 and have released two since, including last year’s self-titled album that contained that winning single.\u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>6:45 p.m. \u003c/strong>When show host Alicia Keys has to fill up an extended set with covers ranging from Nat King Cole to Ella Mai, it just underlines how many big-name nominees turned down the opportunity to perform this year. That race toward irrelevance — the Grammy’s are winning it. Despite it all, she sounded great as she straddled a piano stool rotating between two grand pianos. It felt like a classic Grammy mashup — mixing the old with the new. \u003cspan class=\"ILfuVd\">—\u003c/span>\u003cem>Rodney Carmichael\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>6:33 p.m. \u003c/strong>It’s been nearly an hour since our last trophy was given out — even by Grammy standards, that was \u003cem>quite \u003c/em>a while. Regardless, we have our winner for best country album: Kacey Musgraves’ \u003cem>Golden Hour\u003c/em>, which she accepted winged by album producers Daniel Tashian and Ian Fitchuk. She’s now won three statues so far tonight. \u003cspan class=\"ILfuVd\">—\u003c/span>\u003cem>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>6:30 p.m. \u003c/strong>Cardi B’s lip synch for “Money” was a little asynchronous — but her charisma, in service of a naughty Marlene Dietrich’d cabaret performance that recalled the song’s video, was minimally affected. She’s still up for Best Rap Album, Album of the Year and Record of the Year. Earlier in the night, she lost pop duo/group performance to Lady Gaga and Bradley Cooper’s “Shallow” and best rap performance to Kendrick Lamar, Jay Rock, Future and James Blake’s “King’s Dead” and Anderson .Paak’s “Bubblin.” \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>6:21 p.m. \u003c/strong>H.E.R., already a winner in the category of Best R&B Performance, gives a super confident performance. Even knowing her Disney history it’s been amazing to see how seasoned she is as she’s emerged over the past few years. She’s also nominated for a total of five awards, including Best New Artist and Album of the Year. For those who thought her nominations were premature, she proved otherwise with that performance.\u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Rodney Carmichael\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>6:10 p.m. \u003c/strong>As if the world couldn’t get more plasticine, we had Childish Gambino as an computer-generated avatar reprising his “This Is America” dance moves in an earlier advertisement for a new Google phone. Not to be outdone, Ariana Grande stumped during a commercial break for Apple and their animoji thingamajigs. Neither, it should be noted, are in attendance at the actual award show happening tonight, despite the fact that they’ve both won awards. \u003cspan class=\"ILfuVd\">—\u003c/span>\u003cem>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>6:08 p.m. \u003c/strong>The Dolly Parton tribute/performance was a mixed bag, from the costumes to the singing — it was clearly meant as a Big Moment, but was less than that. Katy Perry struggled with rhythm. Kacey Musgraves’ light was dimmed in comparison to Parton’s own wattage. But when Miley Cyrus (Parton’s goddaughter) and Maren Morris joined Parton for another trio, things got much, much better as they sang in some really lovely close harmonies. And Little Big Town seemed thrilled just to be sharing the stage with Parton, along with the great Linda Perry — one of the few female producers working in the business — playing guitar in her band, but Parton seemed most sparkling when performing a new song, “Red Shoes” while wearing, of course… red heels..\u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Anastasia Tsioulcas\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>5:53 p.m. \u003c/strong>Post Malone, accompanied at first by naught but a guitar and spangles for the opening bars of “Stay,” then pivoted to his hit “Rockstar” and sung it quite ably, no doubt to the surprise of many. Anthony Kiedis, singing the Red Hot Chili Peppers song “Dark Necessities,” perhaps less so. (For what it’s worth, “Rockstar” is up for one of the night’s top prizes, Record of the Year. The featured artist on that release, 21 Savage, is \u003ca href=\"https://www.npr.org/2019/02/05/691725441/lawyers-for-21-savage-explain-dreamer-history-characterize-detention-as-baseless\">currently sitting in an ICE detention center\u003c/a> in Georgia.)\u003cspan class=\"ILfuVd\">—\u003c/span>\u003cem>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>5:45 p.m. \u003c/strong>In a shock (to my system at least), Childish Gambino takes away Song of the Year for “This Is America” — which also won Best Music Video having racked up 482 million views. The field was crowded with nominees including Ella Mai, Drake, Kendrick Lamar & SZA …. And the win, though surprising, is interesting from a songwriting perspective. Gambino — a.k.a. Donald Glover — was not present to receive the award. He’s one of many top nominees on the hip-hop side especially — Kendrick Lamar and Drake also included — who are not in attendance tonight. It feels less like a protest on their part than just being fed up with investing so much into an institution that tends to invest so little into hip-hop. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Rodney Carmichael\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>5:35 p.m. \u003c/strong>In a performance of “Make Me Feel” that would’ve made her former mentor Prince blush with pride, Janelle Monae just took Black Girl Magic to epic levels with choreographed dancing from her backing chorus, some well-placed air humps, floor crawls and a mic drop. \u003cem>–Rodney Carmichael\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>5:29 p.m. \u003c/strong>I saw Kacey Musgraves perform in Washington, D.C. a few weeks ago — and was taken with her coolness and poise. She’s got a vibe that’s somehow super-1970s but very current as well — there was a lot of talk about how (relatively) diverse her fanbase is, for a country artist — and this simple, but beautiful performance of her song “Rainbow” felt very authentic to those ideals. \u003cspan class=\"ILfuVd\">—\u003c/span>\u003cem>Anastasia Tsioulcas\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>5:25 p.m. \u003c/strong>Nina Dobrev’s appearance to introduce Kacey Musgraves might be the closest, by association, that we get to Drake being onstage this evening — she co-starred with Drake in the show \u003cem>Degrassi: The Next Generation \u003c/em>(and the \u003cem>Degrassi\u003c/em>-checking \u003ca href=\"https://www.youtube.com/watch?v=rIhx2wZ8jnA\">music video for “I’m Upset.”\u003c/a>) \u003cspan class=\"ILfuVd\">—\u003c/span>\u003cem>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>5:22 p.m. \u003c/strong>The award for best pop/duo performance went to Lady Gaga and Bradley Cooper’s song “Shallow,” from the film — oh you know what it’s called. The song already won best song written for visual media earlier this evening. “I’m so proud to be part of a movie that addresses mental health issues — they’re so important. A lot of artists deal with that, and we’ve got to take care of each other. So if you see somebody who’s hurting, don’t look away.” \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>5:19 p.m. \u003c/strong>Shawn Mendes performed his modest hit “In My Blood” alongside Miley Cyrus. The song, which is up for song of the year — spent 23 weeks on the Hot 100 songs chart, topping out at No. 11. Mendes lost the trophy for best pop vocal album earlier tonight to Ariana Grande’s \u003cem>Sweetener\u003c/em>. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>5:15 p.m. \u003c/strong>Those five mostly talked about how much music means to them, not really about women, or the place of women in the business… even though *that* was \u003ca href=\"https://www.npr.org/2019/02/08/692671099/a-year-after-the-metoo-grammys-women-are-still-missing-in-music\">the story of last year’s Grammys\u003c/a>. In the days & weeks after last year’s awards, the Grammy organizers — particularly Neil Portnow, the president & CEO of the Recording Academy, and the telecast producer Ken Ehrlich, were the focus of outrage after both men made public statements that many interpreted as belittling women in the music industry. But perhaps the visuals of these five powerful, self-possessed women on stage are enough of a message… until Keys said, in a nod to an immortal Beyonce line: “Who runs the world?” \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Anastasia Tsioulcas\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>5:13 p.m. \u003c/strong>The Grammys waste no time acknowledging the elephant in the room as host Alicia Keys kicks off the show by introducing “some of [her] sisters” to the stage: Lady Gaga, Jada Pinkett Smith, Jennifer Lopez and Michelle Obama — met with raucous applause — take turns extolling the value of music. “Music helps us share ourselves, our dignity and sorrows, our hopes and joys,” Obama says as the five women end the opening in a embrace. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Rodney Carmichael\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>5:06 p.m. \u003c/strong>In the sclerotic world of the Grammys, it’s a big move to have an overtly Latinx opening act — Camila Cabello with J Balvin, Ricky Martin, Young Thug and Arturo Sandoval. The performance definitely feels like a statement, even though the set (which, in a pre-show interview with Ryan Seacrest, Cabello said was supposed to evoke a family home — her grandmother’s, I think) felt a little Broadway. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Anastasia Tsioulcas\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>4:59 p.m. \u003c/strong>The somewhat shambolic, or at least far less buttoned-up, pre-show wrapped up around 6:50 p.m. ET. Notable winners included:\u003c/p>\n\u003cp>\u003cstrong>Brandi Carlile\u003c/strong>, who’s already taken home three trophies, for best American roots performance and best American roots song for “The Joke,” as well as best Americana album for \u003cem>By The Way, I Forgive You\u003c/em>. The song and album is also up for record of the year and album of the year, respectively. (Read \u003ca href=\"https://www.npr.org/2017/11/13/563358018/songs-we-love-brandi-carlile-the-joke\">our chief critic Ann Powers take on “The Joke” here\u003c/a>.)\u003c/p>\n\u003cp>\u003cstrong>Ariana Grande\u003c/strong> — who \u003ca href=\"https://www.npr.org/2019/02/08/692671099/a-year-after-the-metoo-grammys-women-are-still-missing-in-music\">had a public falling out\u003c/a> with the night’s executive producer, Ken Ehrlich, earlier this week over her choice of song, a year after Lorde was denied the opportunity to perform during the telecast — won best pop vocal album for \u003cem>Sweetener.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Kacey Musgraves\u003c/strong> has won two golden gramophones so far: “Space Cowboy” was voted best country song by the Recording Academy, while “Butterflies” won best country solo performance. She’s also nominated for Album of the Year.\u003c/p>\n\u003cp>\u003cstrong>Lady Gaga\u003c/strong> — who will be performing tonight without Bradley Cooper, who is in Britain, attending the BAFTAs — won best song written for visual media for, of course, “Shallow” from \u003cem>A Star Is Born\u003c/em>. Other cinema winners included Kendrick Lamar, Jay Rock, Future and James Blake for their \u003cem>Black Panther \u003c/em>song “King’s Dead” (shared with Anderson .Paak and his song “Bubblin”); Hugh Jackman (and various other artists) for \u003cem>The Greatest Showman’s \u003c/em>compilation soundtrack; and Ludwig Göransson, who composed the score soundtrack for the visual media of Black Panther; and Terence Blanchard won best instrumental composition for “Blut Und Boden (Blood and Soil),” which you may recognize as the main theme to Spike Lee’s film BlacKkKKlansman.\u003c/p>\n\u003cp>\u003cstrong>The Carters’ \u003c/strong>\u003cem>Everything Is Love\u003c/em> for best urban contemporary album (shockingly, they weren’t present to accept their statue).\u003c/p>\n\u003cp>\u003cstrong>Chris Cornell’s \u003c/strong>children accepted an award on his behalf, for best rock performance of “When Bad Does Good.”\u003c/p>\n\u003cp>Unsurprisingly and well-deservedly, \u003cstrong>Childish Gambino\u003c/strong> was given best music video for “This Is America.”\u003c/p>\n\u003cp>\u003cstrong>Laurie Anderson and Kronos Quartet\u003c/strong> won best chamber music/small ensemble performance for \u003cem>Landfall\u003c/em> — \u003ca href=\"https://www.npr.org/2018/02/08/584036854/first-listen-laurie-anderson-kronos-quartet-landfall\">read our coverage here\u003c/a>.\u003c/p>\n\u003cp>Elder jazz statesman \u003cstrong>Wayne Shorter\u003c/strong> and his Quartet’s \u003cem>Emanon \u003c/em>won for best jazz instrumental album. (We reviewed \u003ca href=\"https://www.npr.org/2018/09/14/647522444/with-emanon-jazz-elder-wayne-shorter-grandly-sweeps-the-stars\">the monumental piece of work\u003c/a>.)\u003c/p>\n\u003cp>Former Tiny Desk Contest winner \u003cstrong>Fantastic Negrito\u003c/strong>‘s \u003cem>Please Don’t Be Dead\u003c/em> won best contemporary blues album.\u003c/p>\n\u003cp>\u003cstrong>The Soweto Gospel Choir\u003c/strong>, who’ve \u003ca href=\"https://www.npr.org/2012/04/16/150511993/soweto-gospel-choir-tiny-desk-concert\">visited the Tiny Desk before\u003c/a>, won best world music album for \u003cem>Freedom\u003c/em>.\u003c/p>\n\u003cp>Widely panned up-and-coming retro-rock group \u003cstrong>Greta Van Fleet\u003c/strong> took best rock album.\u003c/p>\n\u003cp>\u003cstrong>St. Vincent\u003c/strong> won best rock song for “Masseduction,” with producer Jack Antonoff by her side.\u003c/p>\n\u003cp>Matt Pike from the fairly underground metal band \u003cstrong>High On Fire\u003c/strong>, who likely didn’t ever expect to be ascending to the stage during the Grammys, accepted an award for best metal performance behind \u003cem>Electric Messiah\u003c/em>.\u003c/p>\n\u003cp>\u003cstrong>Dave Chappelle\u003c/strong>‘s \u003cem>Equanimity & The Bird Revelation \u003c/em>won best comedy album. \u003cem>–Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>4:55 p.m.\u003c/strong> Out of 84 total awards, here are the nine that will be awarded during the telecast tonight:\u003cbr>\nBest country album\u003cbr>\nBest rap album\u003cbr>\nBest rap song\u003cbr>\nBest R&B album\u003cbr>\nBest pop duo/group performance\u003cbr>\nBest new artist\u003cbr>\nSong of the year\u003cbr>\nAlbum of the year\u003cbr>\nRecord of year\u003cbr>\n\u003cem>–Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>4:50 p.m. \u003c/strong>Welcome to NPR’s live blog for the 61st annual Grammy Awards, where you’ll find commentary, context and pithy quips from our team. Going into the main show — with but nine awards left to give out — here are some things to keep in mind and look forward to:\u003c/p>\n\u003cp>The night is, mostly, all about the performances. There will be awkward moments, but a planned tribute to Aretha Franklin, which will be performed by Yolanda Adams, Fantasia and Andra Day, had better be one to remember.\u003c/p>\n\u003cp>What will the final speech from Neil Portnow — who caused more than a little consternation last year when he said women needed to “step up” in order to secure broader inclusion — contain? The executive is resigning as president of the Recording Academy this year.\u003c/p>\n\u003cp>Whether the Recording Academy’s task force — \u003ca href=\"https://www.npr.org/sections/therecord/2018/03/06/591213252/times-up-leader-tina-tchen-to-head-recording-academy-s-diversity-task-force\">set up in the wake\u003c/a> of Portnow’s comments and a severely lopsided number of female winners last year — has been successful in its aims to broaden not only the Academy’s membership but also those it honors.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Who doesn’t show up: Kendrick Lamar, Drake Childish Gambino, Ariana Grande, Jay-Z and Beyonce and a host of others are expected to skip this year. (As is Record of the Year nominee 21 Savage, who wasn’t given the choice of attending after being \u003ca href=\"https://www.npr.org/2019/02/05/691725441/lawyers-for-21-savage-explain-dreamer-history-characterize-detention-as-baseless\">taken into custody by ICE\u003c/a> exactly one week ago today.) How many of music’s biggest stars can skip the form’s “biggest night” before it begins to wither? \u003cem>–Andrew Flanagan\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 4544,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 62
},
"modified": 1705026622,
"excerpt": "The Recording Academy is spreading its prizes widely this year. No artist is dominating, but Lady Gaga, Cardi B, Kacey Musgraves and Brandi Carlile have all won awards.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The Recording Academy is spreading its prizes widely this year. No artist is dominating, but Lady Gaga, Cardi B, Kacey Musgraves and Brandi Carlile have all won awards.",
"title": "A Complete Play-by-Play of the 2019 Grammy Awards | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "A Complete Play-by-Play of the 2019 Grammy Awards",
"datePublished": "2019-02-10T20:55:43-08:00",
"dateModified": "2024-01-11T18:30:22-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "a-complete-play-by-play-of-the-2019-grammy-awards",
"status": "publish",
"nprApiLink": "http://api.npr.org/query?id=693367394&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004",
"nprByline": "Jacob Ganz",
"nprStoryDate": "Sun, 10 Feb 2019 19:50:13 -0500",
"nprLastModifiedDate": "Sun, 10 Feb 2019 23:38:48 -0500",
"sticky": false,
"nprHtmlLink": "https://www.npr.org/2019/02/10/693367394/live-blog-the-2019-grammy-awards?ft=nprml&f=693367394",
"nprImageAgency": "Getty Images",
"nprImageCredit": "Kevork Djansezian",
"nprStoryId": "693367394",
"nprRetrievedStory": "1",
"nprPubDate": "Sun, 10 Feb 2019 23:38:00 -0500",
"path": "/arts/13850496/a-complete-play-by-play-of-the-2019-grammy-awards",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This is NPR Music’s live blog of the 2019 Grammy Awards. The telecast of the awards show is scheduled to run from 5:00 until 9:00 p.m. PST. We’ll be here the whole time, updating this post with every award or performance.\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cstrong>8:44 p.m. \u003c/strong>And, in the night’s final moments, Kacey Musgraves wins the night’s top honor, Album of the Year — her fourth trophy of the evening — for \u003cem>Golden Hour\u003c/em>. There was some speculation that Brandi Carlile’s nomination for album \u003cem>By The Way, I Forgive\u003c/em> \u003cem>You\u003c/em> might cause a vote split between the two roots-rooted artists, but Musgraves’ idiosyncratic work seems to have elevated her above some formidable competition, including the Kendrick Lamar-curated \u003cem>Black Panther: The Album,\u003c/em>Janelle Monáe’s visionary \u003cem>Dirty Computer\u003c/em> and Cardi B’s breakout \u003cem>Invasion of Privacy\u003c/em>. Musgraves seems more shocked than anyone. —\u003cem>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>8:42 p.m. \u003c/strong>It’s beginning to sink in just how shocked America still is by Childish Gambino’s “This Is America” — because he’s swept three categories, including one of the night’s biggest prizes in Record of the Year, in what really is a surprise to me. His producer Ludwig Gorannson accepts on his behalf, saying the song “calls out injustice, celebrates life and reunites us all at the same time.” Then, in the spirit of the song, he shouts out the name of one of the many contributors, 21 Savage, who remains under dentention at the hands of ICE since his arrest one week ago in Atlanta. “You should be here tonight,” Gorannson says in reference to 21. It’s just a reminder that everything at the heart of that song is and remains the state of America.\u003c/p>\n\u003cp>Goransson, himself a big winner tonight, won Grammys in association with “This Is America” as well as his score for \u003cem>Black Panther\u003c/em>. \u003cem>–Rodney Carmichael\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>8:35 p.m. \u003c/strong>For a lot of folks in music, 2018 was the Year of Aretha. So it’s no surprise that three singers — Yolanda Adams, Fantasia, and Andra Day — are paying tribute to her on the Grammy telecast. (Both Adams and Fantasia sang at Franklin’s extraordinary homegoing service in Detroit in August.) Singing “Natural Woman,” the three are stadning on a small platform away from the main stage as images of Franklin flash by. How is this so much smaller, and lesser, than Diana Ross’ birthday bash? \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Anastasia Tsioulcas\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>8:32 p.m. \u003c/strong>Among those remembered during this year’s In Memoriam tribute: James Ingram, Roy Clark, Nancy Wilson, Charles Aznavour, Vic Damone, Carol Channing, Joe Jackson, James Wright, Gary Burden, Avicii, Ed King, John Perry Barlow, Tony Joe White, Mac Miller, Roy Hargrove, Cecil Taylor, Bill Watrous, Geoff Emerick, Yvonne Staples, Randy Scruggs, Roger Clark, Charles Neville and — of course — Aretha Franklin. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>8:29 p.m. \u003c/strong>Neil Portnow, in his comments as outgoing president & CEO of the Recording Academy (formerly known as NARAS, or the National Academy of Recording Arts & Sciences), makes a big point of saluting women and that he’s learned from this past year. He announces that he will be leaving the organization this July, when his contract expires. He’s been leading the Academy since 2002. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Anastasia Tsioulcas\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>8:24 p.m. \u003c/strong>Best New Artist was a crowded field this year — literally. It’s one of the awards that was widened from five to eight nominees… and the majority of them were female this year. Dua Lipa, who, in a Grammy telecast tradition of sorts, has just stepped off from performing “Masseduction” with St. Vincent, almost starts off her speech by saying, “I guess this year, we’ve really stepped up,” in reference to Neil Portnow’s infamous comments a year ago. She also makes a point of referencing \u003ca href=\"https://www.npr.org/2016/08/31/491948179/dua-lipa-wants-to-break-america\">her personal background\u003c/a> as the England-born daughter of immigrants from Kosovo. But she’s cut off before she can finish her comments. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Anastasia Tsioulcas\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>8:16 p.m. \u003c/strong>Dua Lipa and St. Vincent, introduced by Wilmer Valderrama for some reason, delivered a “hashtag-Grammy-moment” with a mashup of St. Vincent’s song “Masseduction” (for which she won Best Rock Song and, less excitingly, Best Recording Package her album of the same name) and Dua Lipa’s single “One Kiss” — a performance that was entirely dominated by St. Vincent, her innate intensity and guitar virtuosity. Hard to blame the onstage cameraman for momentarily losing his balance for a second there. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>8:12 p.m. \u003c/strong>Well, after a lot of rap wrongs, the Grammy’s got this one right at least. Cardi’s win for Rap Album of the Year comes in a category stacked solid with men as her competition. Her acceptance speech is really highlighting the sacrifices she had to make as a woman who became a mother-to-be at the same time that the spotlight and industry pressure were on her to follow up her No. 1 hit “Bodak Yellow” with an album. That she came through with \u003cem>Invasion of Privacy,\u003c/em> a well-crafted album that maximizes everything fans love about Cardi without turning her into a caricature, is a real breakthrough. She became a serious artist with this album. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Rodney Carmichael\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>8:10 p.m. \u003c/strong>“Babe, I can’t breathe,” Cardi B said to husband Offset — who she \u003ca href=\"https://people.com/music/grammys-2019-cardi-b-offset-red-carpet-tongue-photos/\">tongued\u003c/a> on the red carpet earlier — as she was accepting the award for Best Rap Album. It was a rare example of the quickly risen star failing to find words. (You can find some deep background on Cardi’s fast success \u003ca href=\"https://www.npr.org/sections/therecord/2018/04/05/599592959/the-business-of-being-cardi-b\">right here\u003c/a>.) \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>8:02 p.m. \u003c/strong>A lot more people will be talking about Chloe x Halle — the sister duo signed by Beyonce — after this performance of Donny Hathaway’s “Where Is The Love.” And deservedly so. \u003cspan class=\"ILfuVd\">—\u003c/span>\u003cem>Rodney Carmichael\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>7:54 p.m. \u003c/strong>Brandi Carlile \u003ca href=\"https://www.npr.org/2018/02/14/582454085/brandi-carlile-on-practicing-forgiveness-even-when-its-hard\">does what she does\u003c/a>, which is absolutely slay songs that are inspirational and heartfelt, tiptoeing right up to the edge of maudlin. If you hadn’t been keeping track of the pre-telecast winners, you might not know that Carlile’s already having a big night, with three awards in the roots and Americana categories for “The Joke,” the song she played with her longtime collaborators Tim and Phil Hanseroth, and the album it comes from, \u003cem>By the Way, I Forgive You. \u003c/em>She has a shot at two more tonight, and they’re both big ones: Record and Album of the Year. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Jacob Ganz\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>7:49 p.m. \u003c/strong>Best R&B Album goes to H.E.R. for her self-titled album — her song “Best Part,” featuring Daniel Caesar, also won Best R&B Performance earlier tonight. H.E.R., born Gabi Wilson, told the audience that she’s been signed since she was 14 years old — which would have been in 2011. Feel old yet? (By the way that was BTS, the biggest K-pop group in the world, who presented her the award. They reached the top 10 of the Hot 100 for the first time last year — something H.E.R. has yet to do.)\u003cspan class=\"ILfuVd\">—\u003c/span>\u003cem>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>7:40 p.m. \u003c/strong>The Recording Academy would very much like the public to know that they’re staging a Motown tribute in April. A very sweet little moment — in which Alicia Keys duets with Smokey Robinson — turns into a strange, jukebox-musical traversal of Motown’s many eras, featuring an entertainer whom I’ve *never* associated with Detroit: Jennifer Lopez, who courses through at least three outfits. And then Jenny from the block performs some impressively acrobatic salsa to the strains of Ne-Yo. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Anastasia Tsioulcas\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>7:32 p.m. \u003c/strong>Travis Scott opens his performance — the ONLY main hip-hop performance of the night — with James Blake and Earth Wind & Fire members, before transitioning into the Grammys’ awkward attempt at the MTV Awards. Scott performs “No Bystanders” in a cage before surfing a seemingly hired crowd. After seeing that and Drake’s acceptance speech, I’d love to see what an overcorrection on hip-hop would look like from the Grammy’s next year. (Interesting to note that Scott was also one of the performers at last weekend’s Super Bowl, amid a lot of controversy and a lot of rap acts declining the invitation. He played the exact same role under the exact same circumstances tonight.) \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Rodney Carmichael\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>7:19 p.m. \u003c/strong>Lady Gaga brought to “Shallow” a ’90s alterna-rock interpretation, complete with Alice-In-Chains-ian acoustic guitar tone. She perhaps oversold her energy during the opener, before the song arrived at its Oscar-worthy anthemic energy. It’s a strange sort of meta-cultural exercise to see Lady Gaga, an actual pop star, bringing such energy to the performance of a song that was written for her portrayal of a fake pop star within a movie about the vagaries and pitfalls of… pop stardom. Regardless, the song won for best song written for visual media and Best Pop Duo/Group performance earlier tonight. She also picked up a prize for Best Pop Solo Performance for “Joanne (Where Do You Think You’re Going).” \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>7:12 p.m. \u003c/strong>While we’re enjoying Gaga’s Cooperless performance of “Shallow,” I’ll direct anyone who might have been confused by Diana Ross exclaiming “Happy Birthday to me!” at the end of her set to the Twitter feed of NPR Music’s pop critic Ann Powers (watching the show even though she’s on leave), \u003ca href=\"https://twitter.com/annkpowers/status/1094795066940493830\">who notes\u003c/a> that occasion won’t actually occur until March 26. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Jacob Ganz\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>7:04 p.m. \u003c/strong>Alicia Keys introduces Diana Ross ahead of her 75th birthday celebration in March, with a string that includes 42 No. 1 songs, paired with Ross’ 9-year-old grandson, Raif-Henok. (His appearance feels like that of a young princeling being introduced to society.) Ross — wearing blazing red tulle — belts out “The Best Years of My Life.” While the voice is a bit ragged, there’s no denying her queenliness. She then invites the crowd to “move the energy in the room” while she runs through “Reach Out And Touch (Somebody’s Hand).” Before crowing, “Happy birthday to me!” \u003cspan class=\"ILfuVd\">—\u003c/span>\u003cem>Anastasia Tsioulcas\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>6:54 p.m. \u003c/strong>Drake wins Best Rap Song for “God’s Plan,” and surprises everybody by actually being in attendance “I definitely did not think I was winning anything,” Drake says before giving a speech that speaks directly to the huge disconnect between institutions like the Grammys and hip-hop artists like Travis Scott, Cardi B and others, whom he references during his acceptance. It’s a speech that the Recording Academy and many watching at home needed to hear, but apparently the Academy didn’t want to. They cut Drake off without even the benefit of playing wrap-it-up music, after he said, “You don’t need this,” speaking to his peers and striving musicians. It was a direct reference to the trophy he was holding in his hand, one he said he was surprised to collect — which is surprising in itself considering Drake’s outsized success. That might have stung the Grammys, the the move to end the speech will be read like more disrespect in the historic gulf between The Grammys and The Culture. That speech, and the Grammys allowing him to have his say in full, might have gone a long way in righting some historic wrongs. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Rodney Carmichael\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>6:50 p.m. \u003c/strong>You might not be familiar with rising country-pop duo Dan + Shay, who just performed their highest-charting single, “Tequila,” for which they won the best country duo/group performance award tonight. Beginning as Nashville songwriters, the pair released their first album, \u003cem>Where It All Began\u003c/em>, in 2014 and have released two since, including last year’s self-titled album that contained that winning single.\u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>6:45 p.m. \u003c/strong>When show host Alicia Keys has to fill up an extended set with covers ranging from Nat King Cole to Ella Mai, it just underlines how many big-name nominees turned down the opportunity to perform this year. That race toward irrelevance — the Grammy’s are winning it. Despite it all, she sounded great as she straddled a piano stool rotating between two grand pianos. It felt like a classic Grammy mashup — mixing the old with the new. \u003cspan class=\"ILfuVd\">—\u003c/span>\u003cem>Rodney Carmichael\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>6:33 p.m. \u003c/strong>It’s been nearly an hour since our last trophy was given out — even by Grammy standards, that was \u003cem>quite \u003c/em>a while. Regardless, we have our winner for best country album: Kacey Musgraves’ \u003cem>Golden Hour\u003c/em>, which she accepted winged by album producers Daniel Tashian and Ian Fitchuk. She’s now won three statues so far tonight. \u003cspan class=\"ILfuVd\">—\u003c/span>\u003cem>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>6:30 p.m. \u003c/strong>Cardi B’s lip synch for “Money” was a little asynchronous — but her charisma, in service of a naughty Marlene Dietrich’d cabaret performance that recalled the song’s video, was minimally affected. She’s still up for Best Rap Album, Album of the Year and Record of the Year. Earlier in the night, she lost pop duo/group performance to Lady Gaga and Bradley Cooper’s “Shallow” and best rap performance to Kendrick Lamar, Jay Rock, Future and James Blake’s “King’s Dead” and Anderson .Paak’s “Bubblin.” \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>6:21 p.m. \u003c/strong>H.E.R., already a winner in the category of Best R&B Performance, gives a super confident performance. Even knowing her Disney history it’s been amazing to see how seasoned she is as she’s emerged over the past few years. She’s also nominated for a total of five awards, including Best New Artist and Album of the Year. For those who thought her nominations were premature, she proved otherwise with that performance.\u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Rodney Carmichael\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>6:10 p.m. \u003c/strong>As if the world couldn’t get more plasticine, we had Childish Gambino as an computer-generated avatar reprising his “This Is America” dance moves in an earlier advertisement for a new Google phone. Not to be outdone, Ariana Grande stumped during a commercial break for Apple and their animoji thingamajigs. Neither, it should be noted, are in attendance at the actual award show happening tonight, despite the fact that they’ve both won awards. \u003cspan class=\"ILfuVd\">—\u003c/span>\u003cem>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>6:08 p.m. \u003c/strong>The Dolly Parton tribute/performance was a mixed bag, from the costumes to the singing — it was clearly meant as a Big Moment, but was less than that. Katy Perry struggled with rhythm. Kacey Musgraves’ light was dimmed in comparison to Parton’s own wattage. But when Miley Cyrus (Parton’s goddaughter) and Maren Morris joined Parton for another trio, things got much, much better as they sang in some really lovely close harmonies. And Little Big Town seemed thrilled just to be sharing the stage with Parton, along with the great Linda Perry — one of the few female producers working in the business — playing guitar in her band, but Parton seemed most sparkling when performing a new song, “Red Shoes” while wearing, of course… red heels..\u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Anastasia Tsioulcas\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>5:53 p.m. \u003c/strong>Post Malone, accompanied at first by naught but a guitar and spangles for the opening bars of “Stay,” then pivoted to his hit “Rockstar” and sung it quite ably, no doubt to the surprise of many. Anthony Kiedis, singing the Red Hot Chili Peppers song “Dark Necessities,” perhaps less so. (For what it’s worth, “Rockstar” is up for one of the night’s top prizes, Record of the Year. The featured artist on that release, 21 Savage, is \u003ca href=\"https://www.npr.org/2019/02/05/691725441/lawyers-for-21-savage-explain-dreamer-history-characterize-detention-as-baseless\">currently sitting in an ICE detention center\u003c/a> in Georgia.)\u003cspan class=\"ILfuVd\">—\u003c/span>\u003cem>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>5:45 p.m. \u003c/strong>In a shock (to my system at least), Childish Gambino takes away Song of the Year for “This Is America” — which also won Best Music Video having racked up 482 million views. The field was crowded with nominees including Ella Mai, Drake, Kendrick Lamar & SZA …. And the win, though surprising, is interesting from a songwriting perspective. Gambino — a.k.a. Donald Glover — was not present to receive the award. He’s one of many top nominees on the hip-hop side especially — Kendrick Lamar and Drake also included — who are not in attendance tonight. It feels less like a protest on their part than just being fed up with investing so much into an institution that tends to invest so little into hip-hop. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Rodney Carmichael\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>5:35 p.m. \u003c/strong>In a performance of “Make Me Feel” that would’ve made her former mentor Prince blush with pride, Janelle Monae just took Black Girl Magic to epic levels with choreographed dancing from her backing chorus, some well-placed air humps, floor crawls and a mic drop. \u003cem>–Rodney Carmichael\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>5:29 p.m. \u003c/strong>I saw Kacey Musgraves perform in Washington, D.C. a few weeks ago — and was taken with her coolness and poise. She’s got a vibe that’s somehow super-1970s but very current as well — there was a lot of talk about how (relatively) diverse her fanbase is, for a country artist — and this simple, but beautiful performance of her song “Rainbow” felt very authentic to those ideals. \u003cspan class=\"ILfuVd\">—\u003c/span>\u003cem>Anastasia Tsioulcas\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>5:25 p.m. \u003c/strong>Nina Dobrev’s appearance to introduce Kacey Musgraves might be the closest, by association, that we get to Drake being onstage this evening — she co-starred with Drake in the show \u003cem>Degrassi: The Next Generation \u003c/em>(and the \u003cem>Degrassi\u003c/em>-checking \u003ca href=\"https://www.youtube.com/watch?v=rIhx2wZ8jnA\">music video for “I’m Upset.”\u003c/a>) \u003cspan class=\"ILfuVd\">—\u003c/span>\u003cem>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>5:22 p.m. \u003c/strong>The award for best pop/duo performance went to Lady Gaga and Bradley Cooper’s song “Shallow,” from the film — oh you know what it’s called. The song already won best song written for visual media earlier this evening. “I’m so proud to be part of a movie that addresses mental health issues — they’re so important. A lot of artists deal with that, and we’ve got to take care of each other. So if you see somebody who’s hurting, don’t look away.” \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>5:19 p.m. \u003c/strong>Shawn Mendes performed his modest hit “In My Blood” alongside Miley Cyrus. The song, which is up for song of the year — spent 23 weeks on the Hot 100 songs chart, topping out at No. 11. Mendes lost the trophy for best pop vocal album earlier tonight to Ariana Grande’s \u003cem>Sweetener\u003c/em>. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>5:15 p.m. \u003c/strong>Those five mostly talked about how much music means to them, not really about women, or the place of women in the business… even though *that* was \u003ca href=\"https://www.npr.org/2019/02/08/692671099/a-year-after-the-metoo-grammys-women-are-still-missing-in-music\">the story of last year’s Grammys\u003c/a>. In the days & weeks after last year’s awards, the Grammy organizers — particularly Neil Portnow, the president & CEO of the Recording Academy, and the telecast producer Ken Ehrlich, were the focus of outrage after both men made public statements that many interpreted as belittling women in the music industry. But perhaps the visuals of these five powerful, self-possessed women on stage are enough of a message… until Keys said, in a nod to an immortal Beyonce line: “Who runs the world?” \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Anastasia Tsioulcas\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>5:13 p.m. \u003c/strong>The Grammys waste no time acknowledging the elephant in the room as host Alicia Keys kicks off the show by introducing “some of [her] sisters” to the stage: Lady Gaga, Jada Pinkett Smith, Jennifer Lopez and Michelle Obama — met with raucous applause — take turns extolling the value of music. “Music helps us share ourselves, our dignity and sorrows, our hopes and joys,” Obama says as the five women end the opening in a embrace. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Rodney Carmichael\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>5:06 p.m. \u003c/strong>In the sclerotic world of the Grammys, it’s a big move to have an overtly Latinx opening act — Camila Cabello with J Balvin, Ricky Martin, Young Thug and Arturo Sandoval. The performance definitely feels like a statement, even though the set (which, in a pre-show interview with Ryan Seacrest, Cabello said was supposed to evoke a family home — her grandmother’s, I think) felt a little Broadway. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Anastasia Tsioulcas\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>4:59 p.m. \u003c/strong>The somewhat shambolic, or at least far less buttoned-up, pre-show wrapped up around 6:50 p.m. ET. Notable winners included:\u003c/p>\n\u003cp>\u003cstrong>Brandi Carlile\u003c/strong>, who’s already taken home three trophies, for best American roots performance and best American roots song for “The Joke,” as well as best Americana album for \u003cem>By The Way, I Forgive You\u003c/em>. The song and album is also up for record of the year and album of the year, respectively. (Read \u003ca href=\"https://www.npr.org/2017/11/13/563358018/songs-we-love-brandi-carlile-the-joke\">our chief critic Ann Powers take on “The Joke” here\u003c/a>.)\u003c/p>\n\u003cp>\u003cstrong>Ariana Grande\u003c/strong> — who \u003ca href=\"https://www.npr.org/2019/02/08/692671099/a-year-after-the-metoo-grammys-women-are-still-missing-in-music\">had a public falling out\u003c/a> with the night’s executive producer, Ken Ehrlich, earlier this week over her choice of song, a year after Lorde was denied the opportunity to perform during the telecast — won best pop vocal album for \u003cem>Sweetener.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Kacey Musgraves\u003c/strong> has won two golden gramophones so far: “Space Cowboy” was voted best country song by the Recording Academy, while “Butterflies” won best country solo performance. She’s also nominated for Album of the Year.\u003c/p>\n\u003cp>\u003cstrong>Lady Gaga\u003c/strong> — who will be performing tonight without Bradley Cooper, who is in Britain, attending the BAFTAs — won best song written for visual media for, of course, “Shallow” from \u003cem>A Star Is Born\u003c/em>. Other cinema winners included Kendrick Lamar, Jay Rock, Future and James Blake for their \u003cem>Black Panther \u003c/em>song “King’s Dead” (shared with Anderson .Paak and his song “Bubblin”); Hugh Jackman (and various other artists) for \u003cem>The Greatest Showman’s \u003c/em>compilation soundtrack; and Ludwig Göransson, who composed the score soundtrack for the visual media of Black Panther; and Terence Blanchard won best instrumental composition for “Blut Und Boden (Blood and Soil),” which you may recognize as the main theme to Spike Lee’s film BlacKkKKlansman.\u003c/p>\n\u003cp>\u003cstrong>The Carters’ \u003c/strong>\u003cem>Everything Is Love\u003c/em> for best urban contemporary album (shockingly, they weren’t present to accept their statue).\u003c/p>\n\u003cp>\u003cstrong>Chris Cornell’s \u003c/strong>children accepted an award on his behalf, for best rock performance of “When Bad Does Good.”\u003c/p>\n\u003cp>Unsurprisingly and well-deservedly, \u003cstrong>Childish Gambino\u003c/strong> was given best music video for “This Is America.”\u003c/p>\n\u003cp>\u003cstrong>Laurie Anderson and Kronos Quartet\u003c/strong> won best chamber music/small ensemble performance for \u003cem>Landfall\u003c/em> — \u003ca href=\"https://www.npr.org/2018/02/08/584036854/first-listen-laurie-anderson-kronos-quartet-landfall\">read our coverage here\u003c/a>.\u003c/p>\n\u003cp>Elder jazz statesman \u003cstrong>Wayne Shorter\u003c/strong> and his Quartet’s \u003cem>Emanon \u003c/em>won for best jazz instrumental album. (We reviewed \u003ca href=\"https://www.npr.org/2018/09/14/647522444/with-emanon-jazz-elder-wayne-shorter-grandly-sweeps-the-stars\">the monumental piece of work\u003c/a>.)\u003c/p>\n\u003cp>Former Tiny Desk Contest winner \u003cstrong>Fantastic Negrito\u003c/strong>‘s \u003cem>Please Don’t Be Dead\u003c/em> won best contemporary blues album.\u003c/p>\n\u003cp>\u003cstrong>The Soweto Gospel Choir\u003c/strong>, who’ve \u003ca href=\"https://www.npr.org/2012/04/16/150511993/soweto-gospel-choir-tiny-desk-concert\">visited the Tiny Desk before\u003c/a>, won best world music album for \u003cem>Freedom\u003c/em>.\u003c/p>\n\u003cp>Widely panned up-and-coming retro-rock group \u003cstrong>Greta Van Fleet\u003c/strong> took best rock album.\u003c/p>\n\u003cp>\u003cstrong>St. Vincent\u003c/strong> won best rock song for “Masseduction,” with producer Jack Antonoff by her side.\u003c/p>\n\u003cp>Matt Pike from the fairly underground metal band \u003cstrong>High On Fire\u003c/strong>, who likely didn’t ever expect to be ascending to the stage during the Grammys, accepted an award for best metal performance behind \u003cem>Electric Messiah\u003c/em>.\u003c/p>\n\u003cp>\u003cstrong>Dave Chappelle\u003c/strong>‘s \u003cem>Equanimity & The Bird Revelation \u003c/em>won best comedy album. \u003cem>–Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>4:55 p.m.\u003c/strong> Out of 84 total awards, here are the nine that will be awarded during the telecast tonight:\u003cbr>\nBest country album\u003cbr>\nBest rap album\u003cbr>\nBest rap song\u003cbr>\nBest R&B album\u003cbr>\nBest pop duo/group performance\u003cbr>\nBest new artist\u003cbr>\nSong of the year\u003cbr>\nAlbum of the year\u003cbr>\nRecord of year\u003cbr>\n\u003cem>–Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>4:50 p.m. \u003c/strong>Welcome to NPR’s live blog for the 61st annual Grammy Awards, where you’ll find commentary, context and pithy quips from our team. Going into the main show — with but nine awards left to give out — here are some things to keep in mind and look forward to:\u003c/p>\n\u003cp>The night is, mostly, all about the performances. There will be awkward moments, but a planned tribute to Aretha Franklin, which will be performed by Yolanda Adams, Fantasia and Andra Day, had better be one to remember.\u003c/p>\n\u003cp>What will the final speech from Neil Portnow — who caused more than a little consternation last year when he said women needed to “step up” in order to secure broader inclusion — contain? The executive is resigning as president of the Recording Academy this year.\u003c/p>\n\u003cp>Whether the Recording Academy’s task force — \u003ca href=\"https://www.npr.org/sections/therecord/2018/03/06/591213252/times-up-leader-tina-tchen-to-head-recording-academy-s-diversity-task-force\">set up in the wake\u003c/a> of Portnow’s comments and a severely lopsided number of female winners last year — has been successful in its aims to broaden not only the Academy’s membership but also those it honors.\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>Who doesn’t show up: Kendrick Lamar, Drake Childish Gambino, Ariana Grande, Jay-Z and Beyonce and a host of others are expected to skip this year. (As is Record of the Year nominee 21 Savage, who wasn’t given the choice of attending after being \u003ca href=\"https://www.npr.org/2019/02/05/691725441/lawyers-for-21-savage-explain-dreamer-history-characterize-detention-as-baseless\">taken into custody by ICE\u003c/a> exactly one week ago today.) How many of music’s biggest stars can skip the form’s “biggest night” before it begins to wither? \u003cem>–Andrew Flanagan\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13850496/a-complete-play-by-play-of-the-2019-grammy-awards",
"authors": [
"byline_arts_13850496"
],
"categories": [
"arts_69",
"arts_235",
"arts_75"
],
"tags": [
"arts_6475",
"arts_6226",
"arts_1588",
"arts_1685",
"arts_6187",
"arts_2244",
"arts_596"
],
"affiliates": [
"arts_137"
],
"featImg": "arts_13850499",
"label": "arts_137"
},
"arts_13850458": {
"type": "posts",
"id": "arts_13850458",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13850458",
"score": null,
"sort": [
1549852703000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1549852703,
"format": "image",
"title": "Bay Area Artists H.E.R., Fantastic Negrito and More Win Grammys",
"headTitle": "Bay Area Artists H.E.R., Fantastic Negrito and More Win Grammys | KQED",
"content": "\u003cp>There were over two dozen Bay Area nominees at the 2019 Grammys—most of them in blues, jazz, classical and other categories you won’t see on TV. The seven awards Bay Area artists took home attest to the breadth and diversity of the region’s creative scenes.\u003c/p>\n\u003cp>Vallejo-raised singer \u003cstrong>H.E.R.\u003c/strong> won Best R&B Performance for “\u003ca href=\"https://www.youtube.com/watch?v=hKgl5-lkT8U\" target=\"_blank\" rel=\"noopener\">Best Part\u003c/a>” with Daniel Caesar and Best R&B Album for her self-titled 2017 project. On stage at the Staples Center, where the ceremony took place, her performance of the cathartic love song “\u003ca href=\"https://youtu.be/ya0LhdgXiaQ\" target=\"_blank\" rel=\"noopener\">Hard Place\u003c/a>” represented a full-circle moment: H.E.R. made her industry debut when she covered Alicia Keys on the \u003cem>Today Show \u003c/em>at 12 years old, and at the Grammys, Alicia Keys introduced her on stage with enthusiastic praise: “She’s completely in charge of her sound and creative process, and that’s what makes her next.”\u003c/p>\n\u003cp>Oakland blues luminary \u003cstrong>Fantastic Negrito\u003c/strong> took home the award for Best Contemporary Blues Album for his \u003ca href=\"https://open.spotify.com/album/0w1G67UUZQzMHsqO9cAZ06\" target=\"_blank\" rel=\"noopener\">\u003cem>Please Don’t Be Dead\u003c/em>\u003c/a>, a roots rock, blues and funk record that optimistically delivers a defiant message of survival. \u003cstrong>High on Fire\u003c/strong>, a veteran Oakland metal band, won Best Metal Performance for their high-intensity album \u003ca href=\"https://www.youtube.com/watch?v=op9E1fhyV2Y\" target=\"_blank\" rel=\"noopener\">\u003cem>Electric Messiah\u003c/em>\u003c/a>, a tribute to the late Lemmy Kilmister from pioneering hard rock band Motörhead. [contextly_sidebar id=”aegPM1aJbUGHg4rZKoumubHB9GeydshH”]\u003c/p>\n\u003cp>Forward-thinking string ensemble \u003cstrong>Kronos Quartet\u003c/strong> won for Best Chamber Music/Small Ensemble Performance for their moody, surreal collaborative album \u003ca href=\"https://www.npr.org/2018/02/08/584036854/first-listen-laurie-anderson-kronos-quartet-landfall\" target=\"_blank\" rel=\"noopener\">\u003cem>Landfall\u003c/em>\u003c/a> with interdisciplinary artist Laurie Anderson, who was the resident artistic director at SFJazz in 2018. Composer \u003cstrong>Mason Bates \u003c/strong>took home Best Opera Recording for \u003ca href=\"https://www.kqed.org/news/11572666/silicon-valley-composer-transforms-steve-jobs-life-story-into-opera\" target=\"_blank\" rel=\"noopener\">\u003cem>The (R)evolution of Steve Jobs\u003c/em>\u003c/a>, an opera about the Apple founder coming to San Francisco Opera in the 2019-2020 season. (It debuted with the Santa Fe Opera in 2017). And engineer \u003cstrong>Shawn Murphy\u003c/strong> won Best Engineered Classical Album for his work on Boston Symphony Orchestra’s Shostakovich Symphonies Nos. 4 and 11. [contextly_sidebar id=”PG9gW2jdmBWy0PpW48bRxfJQiBjMY5BC”]\u003c/p>\n\u003cp>\u003cem>This post has been updated to reflect H.E.R.’s Best R&B Album win.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 372,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 7
},
"modified": 1705026624,
"excerpt": "The complete list of Bay Area winners at the 61st Grammy Awards. ",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "The complete list of Bay Area winners at the 61st Grammy Awards. ",
"title": "Bay Area Artists H.E.R., Fantastic Negrito and More Win Grammys | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Bay Area Artists H.E.R., Fantastic Negrito and More Win Grammys",
"datePublished": "2019-02-10T18:38:23-08:00",
"dateModified": "2024-01-11T18:30:24-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "bay-area-artists-h-e-r-fantastic-negrito-and-more-win-grammys",
"status": "publish",
"sticky": false,
"path": "/arts/13850458/bay-area-artists-h-e-r-fantastic-negrito-and-more-win-grammys",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There were over two dozen Bay Area nominees at the 2019 Grammys—most of them in blues, jazz, classical and other categories you won’t see on TV. The seven awards Bay Area artists took home attest to the breadth and diversity of the region’s creative scenes.\u003c/p>\n\u003cp>Vallejo-raised singer \u003cstrong>H.E.R.\u003c/strong> won Best R&B Performance for “\u003ca href=\"https://www.youtube.com/watch?v=hKgl5-lkT8U\" target=\"_blank\" rel=\"noopener\">Best Part\u003c/a>” with Daniel Caesar and Best R&B Album for her self-titled 2017 project. On stage at the Staples Center, where the ceremony took place, her performance of the cathartic love song “\u003ca href=\"https://youtu.be/ya0LhdgXiaQ\" target=\"_blank\" rel=\"noopener\">Hard Place\u003c/a>” represented a full-circle moment: H.E.R. made her industry debut when she covered Alicia Keys on the \u003cem>Today Show \u003c/em>at 12 years old, and at the Grammys, Alicia Keys introduced her on stage with enthusiastic praise: “She’s completely in charge of her sound and creative process, and that’s what makes her next.”\u003c/p>\n\u003cp>Oakland blues luminary \u003cstrong>Fantastic Negrito\u003c/strong> took home the award for Best Contemporary Blues Album for his \u003ca href=\"https://open.spotify.com/album/0w1G67UUZQzMHsqO9cAZ06\" target=\"_blank\" rel=\"noopener\">\u003cem>Please Don’t Be Dead\u003c/em>\u003c/a>, a roots rock, blues and funk record that optimistically delivers a defiant message of survival. \u003cstrong>High on Fire\u003c/strong>, a veteran Oakland metal band, won Best Metal Performance for their high-intensity album \u003ca href=\"https://www.youtube.com/watch?v=op9E1fhyV2Y\" target=\"_blank\" rel=\"noopener\">\u003cem>Electric Messiah\u003c/em>\u003c/a>, a tribute to the late Lemmy Kilmister from pioneering hard rock band Motörhead. \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Forward-thinking string ensemble \u003cstrong>Kronos Quartet\u003c/strong> won for Best Chamber Music/Small Ensemble Performance for their moody, surreal collaborative album \u003ca href=\"https://www.npr.org/2018/02/08/584036854/first-listen-laurie-anderson-kronos-quartet-landfall\" target=\"_blank\" rel=\"noopener\">\u003cem>Landfall\u003c/em>\u003c/a> with interdisciplinary artist Laurie Anderson, who was the resident artistic director at SFJazz in 2018. Composer \u003cstrong>Mason Bates \u003c/strong>took home Best Opera Recording for \u003ca href=\"https://www.kqed.org/news/11572666/silicon-valley-composer-transforms-steve-jobs-life-story-into-opera\" target=\"_blank\" rel=\"noopener\">\u003cem>The (R)evolution of Steve Jobs\u003c/em>\u003c/a>, an opera about the Apple founder coming to San Francisco Opera in the 2019-2020 season. (It debuted with the Santa Fe Opera in 2017). And engineer \u003cstrong>Shawn Murphy\u003c/strong> won Best Engineered Classical Album for his work on Boston Symphony Orchestra’s Shostakovich Symphonies Nos. 4 and 11. \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cem>This post has been updated to reflect H.E.R.’s Best R&B Album win.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13850458/bay-area-artists-h-e-r-fantastic-negrito-and-more-win-grammys",
"authors": [
"11387"
],
"categories": [
"arts_69",
"arts_235"
],
"tags": [
"arts_9943",
"arts_15393",
"arts_1588",
"arts_1118",
"arts_6187",
"arts_2244",
"arts_763"
],
"featImg": "arts_13850489",
"label": "arts"
},
"arts_13846668": {
"type": "posts",
"id": "arts_13846668",
"meta": {
"index": "posts_1716263798",
"site": "arts",
"id": "13846668",
"score": null,
"sort": [
1544213970000
]
},
"parent": 0,
"labelTerm": {
"site": "arts"
},
"blocks": [],
"publishDate": 1544213970,
"format": "image",
"title": "Vallejo-Raised Singer H.E.R. Snags 5 Grammy Nominations",
"headTitle": "Vallejo-Raised Singer H.E.R. Snags 5 Grammy Nominations | KQED",
"content": "\u003cp>Little personal information is out there about R&B singer H.E.R., who, until recently, didn’t show her face in her videos or promo materials.\u003c/p>\n\u003cp>The mysterious Vallejo-raised singer, born Gabi Wilson, got her first record deal at age 14. Now 21 years old, she’s become a critical darling since releasing her self-titled EPs \u003cem>H.E.R. Volume 1\u003c/em> and \u003cem>Volume 2\u003c/em> in 2016 and ’17. She counts Rihanna, Alicia Keys, Usher and \u003ca href=\"https://twitter.com/hermusicx/status/898295477858295808?lang=en\" target=\"_blank\" rel=\"noopener\">E-40\u003c/a> among her fans. Since her debut, H.E.R. has snagged two No. 1 singles on Billboard’s adult R&B chart, “Focus” and “Best Part” featuring fellow rising R&B star Daniel Caesar, and supported Bryson Tiller and Chris Brown on tour.\u003c/p>\n\u003cp>H.E.R., whose smoky voice and wise-beyond-her-years lyrics have drawn comparisons to Lauryn Hill, can now add five Grammy nominations to her impressive resume. The \u003ca href=\"https://www.grammy.com/grammys/news/2019-grammy-awards-complete-nominations-list\" target=\"_blank\" rel=\"noopener\">slate of 2019 contenders\u003c/a>, announced Friday, has her up for album of the year, best new artist, best R&B performance, best R&B song and best R&B album. H.E.R. told Billboard that the album of the year nomination— where she’s up against heavy-hitters Cardi B, Drake and Post Malone—surprised her the most. It’s for her self-titled album (RCA), comprised of songs from those earlier \u003cem>Volume 1\u003c/em> and \u003cem>Volume 2\u003c/em> EPs.\u003c/p>\n\u003cp>Discussing the spontaneous nature of the project, she she told \u003ca href=\"https://www.billboard.com/articles/news/grammys/8489232/her-talks-5-grammy-nominations-staying-true-to-herself-people-just\" target=\"_blank\" rel=\"noopener\">Billboard\u003c/a>: “It was literally a ‘It’s time for me to drop music. I finally realized who I was. Let me just see what happens’ [kind of thing]. Then, two years later, a sold-out tour and five Grammy nominations.”\u003c/p>\n\u003cp>We’ll be rooting for H.E.R. when the Grammy Awards air on Feb. 10. Check out the full list of 2019 nominees \u003ca href=\"https://www.grammy.com/grammys/news/2019-grammy-awards-complete-nominations-list\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://youtu.be/Z5ze4CUAkE8\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
"stats": {
"hasVideo": false,
"hasChartOrMap": false,
"hasAudio": false,
"hasPolis": false,
"wordCount": 338,
"hasGoogleForm": false,
"hasGallery": false,
"hasHearkenModule": false,
"iframeSrcs": [],
"paragraphCount": 7
},
"modified": 1705026893,
"excerpt": "A former child prodigy, she's up for album of the year, best new artist, best R&B performance, best R&B song and best R&B album.",
"headData": {
"twImgId": "",
"twTitle": "",
"ogTitle": "",
"ogImgId": "",
"twDescription": "",
"description": "A former child prodigy, she's up for album of the year, best new artist, best R&B performance, best R&B song and best R&B album.",
"title": "Vallejo-Raised Singer H.E.R. Snags 5 Grammy Nominations | KQED",
"ogDescription": "",
"schema": {
"@context": "https://schema.org",
"@type": "Article",
"headline": "Vallejo-Raised Singer H.E.R. Snags 5 Grammy Nominations",
"datePublished": "2018-12-07T12:19:30-08:00",
"dateModified": "2024-01-11T18:34:53-08:00",
"image": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
}
},
"guestAuthors": [],
"slug": "vallejo-raised-h-e-r-snags-5-grammy-nominations",
"status": "publish",
"sticky": false,
"path": "/arts/13846668/vallejo-raised-h-e-r-snags-5-grammy-nominations",
"audioTrackLength": null,
"parsedContent": [
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Little personal information is out there about R&B singer H.E.R., who, until recently, didn’t show her face in her videos or promo materials.\u003c/p>\n\u003cp>The mysterious Vallejo-raised singer, born Gabi Wilson, got her first record deal at age 14. Now 21 years old, she’s become a critical darling since releasing her self-titled EPs \u003cem>H.E.R. Volume 1\u003c/em> and \u003cem>Volume 2\u003c/em> in 2016 and ’17. She counts Rihanna, Alicia Keys, Usher and \u003ca href=\"https://twitter.com/hermusicx/status/898295477858295808?lang=en\" target=\"_blank\" rel=\"noopener\">E-40\u003c/a> among her fans. Since her debut, H.E.R. has snagged two No. 1 singles on Billboard’s adult R&B chart, “Focus” and “Best Part” featuring fellow rising R&B star Daniel Caesar, and supported Bryson Tiller and Chris Brown on tour.\u003c/p>\n\u003cp>H.E.R., whose smoky voice and wise-beyond-her-years lyrics have drawn comparisons to Lauryn Hill, can now add five Grammy nominations to her impressive resume. The \u003ca href=\"https://www.grammy.com/grammys/news/2019-grammy-awards-complete-nominations-list\" target=\"_blank\" rel=\"noopener\">slate of 2019 contenders\u003c/a>, announced Friday, has her up for album of the year, best new artist, best R&B performance, best R&B song and best R&B album. H.E.R. told Billboard that the album of the year nomination— where she’s up against heavy-hitters Cardi B, Drake and Post Malone—surprised her the most. It’s for her self-titled album (RCA), comprised of songs from those earlier \u003cem>Volume 1\u003c/em> and \u003cem>Volume 2\u003c/em> EPs.\u003c/p>\n\u003cp>Discussing the spontaneous nature of the project, she she told \u003ca href=\"https://www.billboard.com/articles/news/grammys/8489232/her-talks-5-grammy-nominations-staying-true-to-herself-people-just\" target=\"_blank\" rel=\"noopener\">Billboard\u003c/a>: “It was literally a ‘It’s time for me to drop music. I finally realized who I was. Let me just see what happens’ [kind of thing]. Then, two years later, a sold-out tour and five Grammy nominations.”\u003c/p>\n\u003cp>We’ll be rooting for H.E.R. when the Grammy Awards air on Feb. 10. Check out the full list of 2019 nominees \u003ca href=\"https://www.grammy.com/grammys/news/2019-grammy-awards-complete-nominations-list\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
"attributes": {
"named": {},
"numeric": []
}
},
{
"type": "component",
"content": "",
"name": "ad",
"attributes": {
"named": {
"label": "fullwidth"
},
"numeric": [
"fullwidth"
]
}
},
{
"type": "contentString",
"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\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/Z5ze4CUAkE8'\n title='//www.youtube.com/embed/Z5ze4CUAkE8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
"attributes": {
"named": {},
"numeric": []
}
}
],
"link": "/arts/13846668/vallejo-raised-h-e-r-snags-5-grammy-nominations",
"authors": [
"11387"
],
"categories": [
"arts_69",
"arts_235"
],
"tags": [
"arts_1118",
"arts_1685",
"arts_6187",
"arts_831",
"arts_924"
],
"featImg": "arts_13846672",
"label": "arts"
}
},
"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",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvbmV3cy9jYXRlZ29yeS9iYXktY3VyaW91cy1wb2RjYXN0L2ZlZWQvcG9kY2FzdA",
"stitcher": "https://www.stitcher.com/podcast/kqed/bay-curious",
"spotify": "https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"
}
},
"bbc-world-service": {
"id": "bbc-world-service",
"title": "BBC World Service",
"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
"airtime": "MON-FRI 9pm-10pm, TUE-FRI 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.bbc.co.uk/sounds/play/live:bbc_world_service",
"meta": {
"site": "news",
"source": "BBC World Service"
},
"link": "/radio/program/bbc-world-service",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2",
"tuneIn": "https://tunein.com/radio/BBC-World-Service-p455581/",
"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"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",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1MDAyODE4NTgz",
"npr": "https://www.npr.org/podcasts/432285393/the-california-report",
"stitcher": "https://www.stitcher.com/podcast/kqedfm-kqeds-the-california-report-podcast-8838",
"rss": "https://ww2.kqed.org/news/tag/tcram/feed/podcast"
}
},
"californiareportmagazine": {
"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Magazine-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report Magazine",
"officialWebsiteLink": "/californiareportmagazine",
"meta": {
"site": "news",
"source": "kqed",
"order": 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",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvbmV3cy9zZXJpZXMvamVycnlicm93bi9mZWVkL3BvZGNhc3Qv"
}
},
"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",
"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",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5Nzk2MzI2MTEx",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
"stitcher": "https://www.stitcher.com/podcast/kqed/political-breakdown",
"spotify": "https://open.spotify.com/show/07RVyIjIdk2WDuVehvBMoN",
"rss": "https://ww2.kqed.org/news/tag/political-breakdown/feed/podcast"
}
},
"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",
"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/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vc29sZG91dA"
}
},
"spooked": {
"id": "spooked",
"title": "Spooked",
"tagline": "True-life supernatural stories",
"info": "",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/10/Spooked-Podcast-Tile-703x703-1.jpg",
"imageAlt": "",
"officialWebsiteLink": "https://spookedpodcast.org/",
"meta": {
"site": "news",
"source": "kqed",
"order": 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",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM4MjU5Nzg2MzI3",
"npr": "https://www.npr.org/podcasts/586725995/the-bay",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-bay",
"spotify": "https://open.spotify.com/show/4BIKBKIujizLHlIlBNaAqQ",
"rss": "https://feeds.megaphone.fm/KQINC8259786327"
}
},
"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",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM0NTcwODQ2MjY2",
"npr": "https://www.npr.org/podcasts/447248267/the-leap",
"stitcher": "https://www.stitcher.com/podcast/kqed/the-leap",
"spotify": "https://open.spotify.com/show/3sSlVHHzU0ytLwuGs1SD1U",
"rss": "https://ww2.kqed.org/news/programs/the-leap/feed/podcast"
}
},
"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": {},
"radioSchedulesReducer": {},
"listsReducer": {
"posts/arts?tag=h-e-r": {
"isFetching": false,
"latestQuery": {
"from": 0,
"postsToRender": 9
},
"tag": null,
"vitalsOnly": true,
"totalRequested": 8,
"isLoading": false,
"isLoadingMore": true,
"total": {
"value": 8,
"relation": "eq"
},
"items": [
"arts_13906436",
"arts_13905208",
"arts_13903394",
"arts_13896127",
"arts_13864717",
"arts_13850496",
"arts_13850458",
"arts_13846668"
]
}
},
"recallGuideReducer": {
"intros": {},
"policy": {},
"candidates": {}
},
"savedArticleReducer": {
"articles": [],
"status": {}
},
"pfsSessionReducer": {},
"subscriptionsReducer": {},
"termsReducer": {
"about": {
"name": "About",
"type": "terms",
"id": "about",
"slug": "about",
"link": "/about",
"taxonomy": "site"
},
"arts": {
"name": "Arts & Culture",
"grouping": [
"arts",
"pop",
"trulyca"
],
"description": "KQED Arts provides daily in-depth coverage of the Bay Area's music, art, film, performing arts, literature and arts news, as well as cultural commentary and criticism.",
"type": "terms",
"id": "arts",
"slug": "arts",
"link": "/arts",
"taxonomy": "site"
},
"artschool": {
"name": "Art School",
"parent": "arts",
"type": "terms",
"id": "artschool",
"slug": "artschool",
"link": "/artschool",
"taxonomy": "site"
},
"bayareabites": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"parent": "food",
"type": "terms",
"id": "bayareabites",
"slug": "bayareabites",
"link": "/food",
"taxonomy": "site"
},
"bayareahiphop": {
"name": "Bay Area Hiphop",
"type": "terms",
"id": "bayareahiphop",
"slug": "bayareahiphop",
"link": "/bayareahiphop",
"taxonomy": "site"
},
"campaign21": {
"name": "Campaign 21",
"type": "terms",
"id": "campaign21",
"slug": "campaign21",
"link": "/campaign21",
"taxonomy": "site"
},
"checkplease": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"parent": "food",
"type": "terms",
"id": "checkplease",
"slug": "checkplease",
"link": "/food",
"taxonomy": "site"
},
"education": {
"name": "Education",
"grouping": [
"education"
],
"type": "terms",
"id": "education",
"slug": "education",
"link": "/education",
"taxonomy": "site"
},
"elections": {
"name": "Elections",
"type": "terms",
"id": "elections",
"slug": "elections",
"link": "/elections",
"taxonomy": "site"
},
"events": {
"name": "Events",
"type": "terms",
"id": "events",
"slug": "events",
"link": "/events",
"taxonomy": "site"
},
"event": {
"name": "Event",
"alias": "events",
"type": "terms",
"id": "event",
"slug": "event",
"link": "/event",
"taxonomy": "site"
},
"filmschoolshorts": {
"name": "Film School Shorts",
"type": "terms",
"id": "filmschoolshorts",
"slug": "filmschoolshorts",
"link": "/filmschoolshorts",
"taxonomy": "site"
},
"food": {
"name": "KQED food",
"grouping": [
"food",
"bayareabites",
"checkplease"
],
"type": "terms",
"id": "food",
"slug": "food",
"link": "/food",
"taxonomy": "site"
},
"forum": {
"name": "Forum",
"relatedContentQuery": "posts/forum?",
"parent": "news",
"type": "terms",
"id": "forum",
"slug": "forum",
"link": "/forum",
"taxonomy": "site"
},
"futureofyou": {
"name": "Future of You",
"grouping": [
"science",
"futureofyou"
],
"parent": "science",
"type": "terms",
"id": "futureofyou",
"slug": "futureofyou",
"link": "/futureofyou",
"taxonomy": "site"
},
"jpepinheart": {
"name": "KQED food",
"relatedContentQuery": "posts/food,bayareabites,checkplease",
"parent": "food",
"type": "terms",
"id": "jpepinheart",
"slug": "jpepinheart",
"link": "/food",
"taxonomy": "site"
},
"liveblog": {
"name": "Live Blog",
"type": "terms",
"id": "liveblog",
"slug": "liveblog",
"link": "/liveblog",
"taxonomy": "site"
},
"livetv": {
"name": "Live TV",
"parent": "tv",
"type": "terms",
"id": "livetv",
"slug": "livetv",
"link": "/livetv",
"taxonomy": "site"
},
"lowdown": {
"name": "The Lowdown",
"relatedContentQuery": "posts/lowdown?",
"parent": "news",
"type": "terms",
"id": "lowdown",
"slug": "lowdown",
"link": "/lowdown",
"taxonomy": "site"
},
"mindshift": {
"name": "Mindshift",
"parent": "news",
"description": "MindShift explores the future of education by highlighting the innovative – and sometimes counterintuitive – ways educators and parents are helping all children succeed.",
"type": "terms",
"id": "mindshift",
"slug": "mindshift",
"link": "/mindshift",
"taxonomy": "site"
},
"news": {
"name": "News",
"grouping": [
"news",
"forum"
],
"type": "terms",
"id": "news",
"slug": "news",
"link": "/news",
"taxonomy": "site"
},
"perspectives": {
"name": "Perspectives",
"parent": "radio",
"type": "terms",
"id": "perspectives",
"slug": "perspectives",
"link": "/perspectives",
"taxonomy": "site"
},
"podcasts": {
"name": "Podcasts",
"type": "terms",
"id": "podcasts",
"slug": "podcasts",
"link": "/podcasts",
"taxonomy": "site"
},
"pop": {
"name": "Pop",
"parent": "arts",
"type": "terms",
"id": "pop",
"slug": "pop",
"link": "/pop",
"taxonomy": "site"
},
"pressroom": {
"name": "Pressroom",
"type": "terms",
"id": "pressroom",
"slug": "pressroom",
"link": "/pressroom",
"taxonomy": "site"
},
"quest": {
"name": "Quest",
"parent": "science",
"type": "terms",
"id": "quest",
"slug": "quest",
"link": "/quest",
"taxonomy": "site"
},
"radio": {
"name": "Radio",
"grouping": [
"forum",
"perspectives"
],
"description": "Listen to KQED Public Radio – home of Forum and The California Report – on 88.5 FM in San Francisco, 89.3 FM in Sacramento, 88.3 FM in Santa Rosa and 88.1 FM in Martinez.",
"type": "terms",
"id": "radio",
"slug": "radio",
"link": "/radio",
"taxonomy": "site"
},
"root": {
"name": "KQED",
"image": "https://ww2.kqed.org/app/uploads/2020/02/KQED-OG-Image@1x.png",
"imageWidth": 1200,
"imageHeight": 630,
"headData": {
"title": "KQED | News, Radio, Podcasts, TV | Public Media for Northern California",
"description": "KQED provides public radio, television, and independent reporting on issues that matter to the Bay Area. We’re the NPR and PBS member station for Northern California."
},
"type": "terms",
"id": "root",
"slug": "root",
"link": "/root",
"taxonomy": "site"
},
"science": {
"name": "Science",
"grouping": [
"science",
"futureofyou"
],
"description": "KQED Science brings you award-winning science and environment coverage from the Bay Area and beyond.",
"type": "terms",
"id": "science",
"slug": "science",
"link": "/science",
"taxonomy": "site"
},
"stateofhealth": {
"name": "State of Health",
"parent": "science",
"type": "terms",
"id": "stateofhealth",
"slug": "stateofhealth",
"link": "/stateofhealth",
"taxonomy": "site"
},
"support": {
"name": "Support",
"type": "terms",
"id": "support",
"slug": "support",
"link": "/support",
"taxonomy": "site"
},
"thedolist": {
"name": "The Do List",
"parent": "arts",
"type": "terms",
"id": "thedolist",
"slug": "thedolist",
"link": "/thedolist",
"taxonomy": "site"
},
"trulyca": {
"name": "Truly CA",
"grouping": [
"arts",
"pop",
"trulyca"
],
"parent": "arts",
"type": "terms",
"id": "trulyca",
"slug": "trulyca",
"link": "/trulyca",
"taxonomy": "site"
},
"tv": {
"name": "TV",
"type": "terms",
"id": "tv",
"slug": "tv",
"link": "/tv",
"taxonomy": "site"
},
"voterguide": {
"name": "Voter Guide",
"parent": "elections",
"alias": "elections",
"type": "terms",
"id": "voterguide",
"slug": "voterguide",
"link": "/voterguide",
"taxonomy": "site"
},
"guiaelectoral": {
"name": "Guia Electoral",
"parent": "elections",
"alias": "elections",
"type": "terms",
"id": "guiaelectoral",
"slug": "guiaelectoral",
"link": "/guiaelectoral",
"taxonomy": "site"
},
"arts_6187": {
"type": "terms",
"id": "arts_6187",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "6187",
"found": true
},
"relationships": {},
"featImg": null,
"name": "h.e.r.",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "h.e.r. Archives | KQED Arts",
"ogDescription": null,
"imageData": {
"ogImageSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png",
"width": 1200,
"height": 630
},
"twImageSize": {
"file": "https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"
},
"twitterCard": "summary_large_image"
}
},
"ttid": 6199,
"slug": "h-e-r",
"isLoading": false,
"link": "/arts/tag/h-e-r"
},
"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_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_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_1366": {
"type": "terms",
"id": "arts_1366",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1366",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Michael Tilson Thomas",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Michael Tilson Thomas Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1378,
"slug": "michael-tilson-thomas",
"isLoading": false,
"link": "/arts/tag/michael-tilson-thomas"
},
"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_8682": {
"type": "terms",
"id": "arts_8682",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "8682",
"found": true
},
"relationships": {},
"featImg": null,
"name": "saweetie",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "saweetie Archives | KQED Arts",
"ogDescription": null
},
"ttid": 8694,
"slug": "saweetie",
"isLoading": false,
"link": "/arts/tag/saweetie"
},
"arts_22314": {
"type": "terms",
"id": "arts_22314",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "22314",
"found": true
},
"relationships": {},
"name": "That’s My Word",
"slug": "thats-my-word",
"taxonomy": "series",
"description": null,
"featImg": null,
"headData": {
"title": "That’s My Word | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 22326,
"isLoading": false,
"link": "/arts/series/thats-my-word"
},
"arts_7862": {
"type": "terms",
"id": "arts_7862",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "7862",
"found": true
},
"relationships": {},
"featImg": null,
"name": "History",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "History Archives | KQED Arts",
"ogDescription": null
},
"ttid": 7874,
"slug": "history",
"isLoading": false,
"link": "/arts/category/history"
},
"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_2855": {
"type": "terms",
"id": "arts_2855",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2855",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Filipino",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Filipino Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2867,
"slug": "filipino",
"isLoading": false,
"link": "/arts/tag/filipino"
},
"arts_3771": {
"type": "terms",
"id": "arts_3771",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3771",
"found": true
},
"relationships": {},
"featImg": null,
"name": "guapdad4000",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "guapdad4000 Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3783,
"slug": "guapdad4000",
"isLoading": false,
"link": "/arts/tag/guapdad4000"
},
"arts_831": {
"type": "terms",
"id": "arts_831",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "831",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Hip Hop",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"socialTitle": "Fresh Off the Streets: Get Amped by the Bay's Hottest Hip-Hop Stories",
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": "Discover rising stars, hidden gems, and live events that'll keep your head nodding. Find your next favorite local hip hop artist right here.",
"metaRobotsNoIndex": "index",
"title": "Fresh Off the Streets: Get Amped by the Bay's Hottest Hip-Hop Stories",
"ogDescription": null
},
"ttid": 849,
"slug": "hip-hop",
"isLoading": false,
"link": "/arts/tag/hip-hop"
},
"arts_2907": {
"type": "terms",
"id": "arts_2907",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2907",
"found": true
},
"relationships": {},
"featImg": null,
"name": "mike dream francisco",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "mike dream francisco Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2919,
"slug": "mike-dream-francisco",
"isLoading": false,
"link": "/arts/tag/mike-dream-francisco"
},
"arts_1803": {
"type": "terms",
"id": "arts_1803",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1803",
"found": true
},
"relationships": {},
"name": "P-Lo",
"slug": "p-lo",
"taxonomy": "tag",
"description": null,
"featImg": null,
"headData": {
"title": "P-Lo | KQED Arts",
"description": null,
"ogTitle": null,
"ogDescription": null,
"ogImgId": null,
"twTitle": null,
"twDescription": null,
"twImgId": null
},
"ttid": 1815,
"isLoading": false,
"link": "/arts/tag/p-lo"
},
"arts_4219": {
"type": "terms",
"id": "arts_4219",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "4219",
"found": true
},
"relationships": {},
"featImg": null,
"name": "rocky rivera",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "rocky rivera Archives | KQED Arts",
"ogDescription": null
},
"ttid": 4231,
"slug": "rocky-rivera",
"isLoading": false,
"link": "/arts/tag/rocky-rivera"
},
"arts_8924": {
"type": "terms",
"id": "arts_8924",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "8924",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Ruby Ibarra",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Ruby Ibarra Archives | KQED Arts",
"ogDescription": null
},
"ttid": 8936,
"slug": "ruby-ibarra",
"isLoading": false,
"link": "/arts/tag/ruby-ibarra"
},
"arts_19347": {
"type": "terms",
"id": "arts_19347",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "19347",
"found": true
},
"relationships": {},
"featImg": null,
"name": "tmw-latest",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "tmw-latest Archives | KQED Arts",
"ogDescription": null
},
"ttid": 19359,
"slug": "tmw-latest",
"isLoading": false,
"link": "/arts/tag/tmw-latest"
},
"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_74": {
"type": "terms",
"id": "arts_74",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "74",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Movies",
"description": null,
"taxonomy": "category",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Movies Archives | KQED Arts",
"ogDescription": null
},
"ttid": 75,
"slug": "movies",
"isLoading": false,
"link": "/arts/category/movies"
},
"arts_3701": {
"type": "terms",
"id": "arts_3701",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3701",
"found": true
},
"relationships": {},
"featImg": null,
"name": "academy awards",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "academy awards Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3713,
"slug": "academy-awards",
"isLoading": false,
"link": "/arts/tag/academy-awards"
},
"arts_3698": {
"type": "terms",
"id": "arts_3698",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "3698",
"found": true
},
"relationships": {},
"featImg": null,
"name": "oscars",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "oscars Archives | KQED Arts",
"ogDescription": null
},
"ttid": 3710,
"slug": "oscars",
"isLoading": false,
"link": "/arts/tag/oscars"
},
"arts_1771": {
"type": "terms",
"id": "arts_1771",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1771",
"found": true
},
"relationships": {},
"featImg": null,
"name": "soundtracks",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "soundtracks Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1783,
"slug": "soundtracks",
"isLoading": false,
"link": "/arts/tag/soundtracks"
},
"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_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_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_1006": {
"type": "terms",
"id": "arts_1006",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1006",
"found": true
},
"relationships": {},
"featImg": null,
"name": "guide",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "guide Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1023,
"slug": "guide",
"isLoading": false,
"link": "/arts/tag/guide"
},
"arts_4417": {
"type": "terms",
"id": "arts_4417",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "4417",
"found": true
},
"relationships": {},
"featImg": null,
"name": "janet jackson",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "janet jackson Archives | KQED Arts",
"ogDescription": null
},
"ttid": 4429,
"slug": "janet-jackson",
"isLoading": false,
"link": "/arts/tag/janet-jackson"
},
"arts_1420": {
"type": "terms",
"id": "arts_1420",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1420",
"found": true
},
"relationships": {},
"featImg": null,
"name": "jazz",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "jazz Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1432,
"slug": "jazz",
"isLoading": false,
"link": "/arts/tag/jazz"
},
"arts_2519": {
"type": "terms",
"id": "arts_2519",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2519",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Latin music",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Latin music Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2531,
"slug": "latin-music",
"isLoading": false,
"link": "/arts/tag/latin-music"
},
"arts_1334": {
"type": "terms",
"id": "arts_1334",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1334",
"found": true
},
"relationships": {},
"featImg": null,
"name": "the do list",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "the do list Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1346,
"slug": "the-do-list",
"isLoading": false,
"link": "/arts/tag/the-do-list"
},
"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_6475": {
"type": "terms",
"id": "arts_6475",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "6475",
"found": true
},
"relationships": {},
"featImg": null,
"name": "artspop",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "artspop Archives | KQED Arts",
"ogDescription": null
},
"ttid": 6487,
"slug": "artspop",
"isLoading": false,
"link": "/arts/tag/artspop"
},
"arts_6226": {
"type": "terms",
"id": "arts_6226",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "6226",
"found": true
},
"relationships": {},
"featImg": null,
"name": "cardi b",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "cardi b Archives | KQED Arts",
"ogDescription": null
},
"ttid": 6238,
"slug": "cardi-b",
"isLoading": false,
"link": "/arts/tag/cardi-b"
},
"arts_1588": {
"type": "terms",
"id": "arts_1588",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1588",
"found": true
},
"relationships": {},
"featImg": null,
"name": "fantastic negrito",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "fantastic negrito Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1600,
"slug": "fantastic-negrito",
"isLoading": false,
"link": "/arts/tag/fantastic-negrito"
},
"arts_1685": {
"type": "terms",
"id": "arts_1685",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "1685",
"found": true
},
"relationships": {},
"featImg": null,
"name": "grammys",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "grammys Archives | KQED Arts",
"ogDescription": null
},
"ttid": 1697,
"slug": "grammys",
"isLoading": false,
"link": "/arts/tag/grammys"
},
"arts_2244": {
"type": "terms",
"id": "arts_2244",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "2244",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Kronos Quartet",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Kronos Quartet Archives | KQED Arts",
"ogDescription": null
},
"ttid": 2256,
"slug": "kronos-quartet",
"isLoading": false,
"link": "/arts/tag/kronos-quartet"
},
"arts_596": {
"type": "terms",
"id": "arts_596",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "596",
"found": true
},
"relationships": {},
"featImg": null,
"name": "ntv",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "ntv Archives | KQED Arts",
"ogDescription": null
},
"ttid": 602,
"slug": "ntv",
"isLoading": false,
"link": "/arts/tag/ntv"
},
"arts_9943": {
"type": "terms",
"id": "arts_9943",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "9943",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Awards",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Awards Archives | KQED Arts",
"ogDescription": null
},
"ttid": 9955,
"slug": "awards",
"isLoading": false,
"link": "/arts/tag/awards"
},
"arts_15393": {
"type": "terms",
"id": "arts_15393",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "15393",
"found": true
},
"relationships": {},
"featImg": null,
"name": "classical",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "classical Archives | KQED Arts",
"ogDescription": null
},
"ttid": 15405,
"slug": "classical",
"isLoading": false,
"link": "/arts/tag/classical"
},
"arts_763": {
"type": "terms",
"id": "arts_763",
"meta": {
"index": "terms_1716263798",
"site": "arts",
"id": "763",
"found": true
},
"relationships": {},
"featImg": null,
"name": "Opera",
"description": null,
"taxonomy": "tag",
"headData": {
"twImgId": null,
"twTitle": null,
"ogTitle": null,
"ogImgId": null,
"twDescription": null,
"description": null,
"title": "Opera Archives | KQED Arts",
"ogDescription": null
},
"ttid": 781,
"slug": "opera",
"isLoading": false,
"link": "/arts/tag/opera"
},
"arts_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"
}
},
"userAgentReducer": {
"userAgent": "Mozilla/5.0 AppleWebKit/537.36 (KHTML, like Gecko; compatible; ClaudeBot/1.0; +claudebot@anthropic.com)",
"isBot": true
},
"userPermissionsReducer": {
"wpLoggedIn": false
},
"localStorageReducer": {},
"browserHistoryReducer": [],
"eventsReducer": {},
"fssReducer": {},
"tvDailyScheduleReducer": {},
"tvWeeklyScheduleReducer": {},
"tvPrimetimeScheduleReducer": {},
"tvMonthlyScheduleReducer": {},
"userAccountReducer": {
"user": {
"email": null,
"emailStatus": "EMAIL_UNVALIDATED",
"loggedStatus": "LOGGED_OUT",
"loggingChecked": false,
"articles": [],
"firstName": null,
"lastName": null,
"phoneNumber": null,
"fetchingMembership": false,
"membershipError": false,
"memberships": [
{
"id": null,
"startDate": null,
"firstName": null,
"lastName": null,
"familyNumber": null,
"memberNumber": null,
"memberSince": null,
"expirationDate": null,
"pfsEligible": false,
"isSustaining": false,
"membershipLevel": "Prospect",
"membershipStatus": "Non Member",
"lastGiftDate": null,
"renewalDate": null,
"lastDonationAmount": null
}
]
},
"authModal": {
"isOpen": false,
"view": "LANDING_VIEW"
},
"error": null
},
"youthMediaReducer": {},
"checkPleaseReducer": {
"filterData": {},
"restaurantData": []
},
"location": {
"pathname": "/arts/tag/h-e-r",
"previousPathname": "/"
}
}
